ROOM -- DAY \n </u> \n \tA few feet from Holland, leaning against the wall, is Rand. \n \tHe has evidently been there some time. He is not drunk, but \n \tit is obvious he has been drinking. Holland walks down the \n \tshort corridor toward him. \n \n \t\t\t\tRAND \n \t\tVery sad, very sweet. The noble \n \t\thusband and the noble nurse \n \t\tcomforting each other -- because","\t\tThere -- in the master's chair, \n \t\tsits the master -- my half-brother \n \t\tPaul Holland. But you've already \n \t\tmet him. \n \n \t\t\t\tBETSY \n \t\tYes -- on the boat. \n \n \t\t\t\tRAND \n \t\tAnd that chair -- \n \t\t\t(indicates the chair drawn \n \t\t\tback against the wall) \n \t\tis the particular property of Mrs.","\t\tFoolish? Tell them how foolish it \n \t\tis, Paul -- tell them! \n \n \t\t\t\tHOLLAND \n \t\t\t(very calmly but with a \n \t\t\tlittle uncertainty) \n \t\tMy guilt in this matter, if any, \n \t\tWesley, is not the subject of this \n \t\tdiscussion. \n \n \t\t\t\tRAND \n \t\tBut it is, Paul! Because that's"],["\tPriest walking with him. As they walk, Holland speaks: \n \n \t\t\t\tHOLLAND \n \t\tBut I assure you, Father Walters, \n \t\tMiss Connell had no idea of the \n \t\tconsequences when she went there. \n \n \t\t\t\tDR. MAXWELL \n \t\tPaul, we're not trying to blame \n \t\tMiss Connell. It isn't a question","\tThe CAMERA PANS ALONG the thread to show us that the other \n \tend of the thread, some twenty feet long, is held by a negro, \n \tcrouched near the altar. Halfway between this man and the \n \tdoll, the Sabreur, his sword stuck in the mound before him, \n \tstraddles the thread, his hands clasped around the thread but \n \tnot touching it. Carre-Four stands watching. \n","\tfacing Mrs. Rand and Betsy, is Dr. Maxwell and Commissioner \n \tJeffries. The latter is a dignified man of early middle-age. \n \tHe is dressed in a light business suit. At the window, at \n \tthe rear of the room, stands Holland, talking with a Priest. \n \tAs the scene opens, Mrs. Rand fills a teacup and holds it up \n \ttoward Holland. He comes toward her to pick up the cup, the","\tthe ceremony has taken place. Instantly the drumming and the \n \tsinging stops. A young colored girl jumps up from her seat \n \tamong the worshippers and begins shivering and quaking, \n \tcrying out wordlessly. There is a cry from the people. \n \n \t\t\t\tTHE PEOPLE \n \t\tPut the god in her! Put the god in \n \t\ther! \n \n \tThe Houngan prances forward, followed by the Sabreur. The","\this shoulders and turns him around three times, Evidently \n \tthis is absolute guarantee of an enormous income tax to be \n \tpaid at St. Sebastian. The woman and her son retire happily, \n \tpleased and grinning. Finally, exhausted, the girl possessed \n \tof the god, Shango, sinks to her knees and then falls \n \tfainting to the floor. Two colored men come in, carry her \n \taway. A great cry rises from the voodoo worshippers. \n","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n","\tdoor. Betsy leading Jessica by the hand takes her place with \n \tthe rest. She is third in the line of suppliants. She can \n \tsee the whole procedure. The suppliant places his forehead \n \tagainst the forehead of the god painted on the door, and \n \tspeaks. The first suppliant is a weary-looking field hand \n \twho shuffles to the door and speaks in such a low tone that","\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\timmediately. He looks frightened and guilty. Ti-Joseph \n \tturns and goes around the corner to his cafe. The Calypso \n \tsinger addresses one of the people in the little group before \n \thim. \n \n \t\t\t\tCALYPSO SINGER (cont'd) \n \t\tTi-Malice trip up my tongue -- What \n \t\tdo you wish trouble on me for -- \n \t\tYou saw Mister Rand go in there. ","\tbottles. Before this altar stands the Houngan, the high \n \tpriest of the voodoo ceremonies, a small, stoop-shouldered \n \tman in a worn, white coat and trousers with ragged cuffs. \n \tSeveral mild-looking negroes in white trousers and shirts sit \n \tin kitchen chairs on one side of the altar with rada drums \n \tbetween their knees. Grouped around this altar in a loose","\ther slippers and negligee and leaves the room. \n \n \t<u>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT \n </u> \n \tBetsy crosses in front of the fountain and goes to the small \n \tpostern door of heavy, iron-bound oaks which leads into the \n \truin. The sound of weeping continues. She tries the door. \n \tIt opens and she goes in, leaving it open behind her. \n","\t\tMiss Jessica. But the Houngan \n \t\tcured her. \n \n \t\t\t\tBETSY \n \t\tAre you trying to tell me that the \n \t\tHoungan -- the voodoo priest -- \n \t\tcould cure Mrs. Holland? \n \n \t\t\t\tALMA \n \t\tYes, Miss Betsy. I mean that. The \n \t\tHoungan will speak to the rada","\t\tTi-Peter, how do you ever expect to \n \t\tget to Heaven with one foot in the \n \t\tvoodoo Houmfort and the other in \n \t\tthe Baptist church? \n \n \tThe little black boy looks at her with rolling eyes but does \n \tnot answer. She gives him a playful pat on the behind, \n \tstarting him on his way to the door. \n \n \t\t\t\tMRS. RAND (CONT'D)","\twaiting. Then suddenly, from behind the closed and curiously \n \tpainted door of the inner Houmfort, a voice speaks. A voice \n \tthat is light, pleasant and authoritative. \n \n \t\t\t\tVOICE \n \t\t\t(muffled by the door) \n \t\tWhere are my people? Let them \n \t\tbring me the rice cakes -- let them \n \t\tdance and be happy -- \n","\tHe stands aside and lets her step through, goes ahead of her \n \tand precedes her down the garden path. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy and Clement pass the fountain. The figure of St. \n \tSebastian gleams wetly in the rays of the candlelight. On \n \tthe covered porch in front of the living room, a dinner","\t\tA man, miss -- an old man who lives \n \t\tin the garden at Fort Holland - \n \t\twith arrows stuck in him and a \n \t\tsorrowful, weeping look on his \n \t\tblack face. \n \n \t\t\t\tBETSY \n \t\t\t(incredulous) \n \t\tAlive? \n \n \t\t\t\tCOACHMAN \n \t\t\t(laughing, softly)","\t\t\t(quiet, with great \n \t\t\tauthority) \n \t\tCarre-Four! \n \n \tThe single word freezes Carre-Four into immobility. \n \tAstounded, Betsy and Holland turn to see Mrs. Rand at the far \n \tend of the porch -- her face and hair pale above a dark, coat \n \tlike robe. \n \n \t\t\t\tMRS. RAND (cont'd)","\twhitewashed boards, bare except for a table on which stands a \n \tsmall iron tripod from which an iron pot is suspended. \n \tAlthough there is no fire under the pot, the steam rises from \n \tthis receptacle and water boils and bubbles in it. \n \tIt is the Houngan who has lit the lamp and, on the other side \n \tof the table is Mrs. Rand. Her face is serious and unsmiling. \n \n \t\t\t\tBETSY","\tJessica's hand in hers, Betsy takes her place at the door. \n \tShe puts her forehead against the crudely painted forehead of \n \tthe god. She talks to the door. \n \n \t\t\t\tBETSY \n \t\tDamballa! This woman is sick. \n \n \tThe door swings open slowly. The feeble light of the outer \n \tHoumfort does not penetrate the darkness of the inner temple.","\tthe Sabreur, with the drummer crouched behind them. The \n \tSabreur takes the doll from Carre-Four's hand and holds it a \n \tfoot or so away from him. The great black hand reaches for \n \tit. Again the Sabreur takes the doll away and dances off \n \twith mincing steps to a distance of a few yards. Carre-Four \n \tlumbers after him, his hand extended. Again, the Sabreur"],["\t\tBetsy feels there is nothing she \n \t\tcan do for Jessica... \n \n \tPAGE MISSING \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \n </u> \n \tRand and Dr. Maxwell come through the gate and walk up the \n \tgarden path. As they do so, Mrs. Rand comes down the porch \n \tsteps. Betsy and Holland follow her. \n","\t\thave to come up here and talk to \n \t\tyou. I couldn't let you go back \n \t\twithout any word. I came to tell \n \t\tyou again -- Jessica cannot be \n \t\tcured. \n \n \t\t\t\tBETSY \n \t\tBut how did you get here? What \n \t\tare you doing here? \n \n \t\t\t\tMRS. RAND \n \t\tI asked you to let me explain. It's a","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tMrs. Rand looks at a page of rotogravure section. \n \n \t\t\t\tMRS. RAND \n \t\t\t(casually) \n \t\tThat's a long wait... \n \n \t\t\t\tHOLLAND \n \t\tI'm afraid not. Betsy's leaving \n \t\tus, Mother. \n \n \tMrs. Rand puts down the paper and looks at them, startled. \n","\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \n </u> \n \tMrs. Rand, in a simple afternoon dress, is seated on the \n \tsofa. Before her is a coffee table with a silver tea \n \tservice. She is engaged in pouring tea. Betsy is beside her \n \thelping her. Rand, in working clothes, is in an armchair \n \tnear the sofa with a highball in his hand. Also seated, and","\t\t\t\tMRS. RAND (cont'd) \n \t\tPaul! \n \n \tHolland pauses at the head of the stairs and turns to her. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tLet him go. Don't touch him, don't \n \t\ttry to stop him! \n \n \tBetsy has come down the porch behind Holland and she and Mrs.","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","\t\tBetsy, and a generous heart. \n \t\tDon't forget that. Don't call it \n \t\tnothing. \n \n \tBetsy turns wearily and returns to the sick room. Holland is \n \tabout to follow her when he hears a low chuckle and turns to \n \tsee who it is. \n \n \t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>","\t\t\t\tMRS. RAND \n \t\tBetsy, tell them about the \n \t\tHoumfort. Tell them what you saw \n \t\tthere. \n \n \t\t\t\tBETSY \n \t\t\t(protestingly) \n \t\tMrs. Rand... \n \n \t\t\t\tMRS. RAND \n \t\tYou must, Betsy. They'll have to \n \t\tbelieve you. \n","\t\t\t\tBETSY \n \t\t\t(reluctantly) \n \t\tMrs. Rand was at the Houmfort that \n \t\tnight. But there's nothing wrong \n \t\twith that. She's gone there for \n \t\tyears -- trying to take care of \n \t\tthose people, to help them. \n \n \t\t\t\tRAND \n \t\tWhat do you mean? \n \n \t\t\t\tHOLLAND","\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\t\t\t(starting forward around \n \t\t\tthe table) \n \t\tMrs. Rand. \n \n \t\t\t\tMRS. RAND \n \t\tWait. Don't draw any conclusions. \n \t\tLet me explain. \n \n \t\t\t\tBETSY \n \t\tBut, Mrs. Rand -- \n \n \t\t\t\tMRS. RAND \n \t\tI knew you'd come. And I knew I'd","\t\t\t\tBETSY \n \t\t\t(indignantly) \n \t\tOf course not! \n \n \tHolland waits --- looking at her a little quizzically. \n \n \t\t\t\tBETSY (cont'd) \n \t\tBut frankly, it was something of a \n \t\tshock to see my patient that way, \n \t\tfor the first time. No one had \n \t\ttold me Mrs. Holland was a mental","\t\tBut I'm Miss Jessica's nurse, Alma. \n \t\tYou don't have to do that for me. \n \n \t\t\t\tALMA \n \t\tI know, miss. But I like to do it. \n \t\tI like to tend for Miss Jessica and \n \t\tI want to tend for you. You settle \n \t\tright back, now, and I'll mix you \n \t\tyour coffee. \n \n \t\t\t\tBETSY","\t\t\t(quiet, with great \n \t\t\tauthority) \n \t\tCarre-Four! \n \n \tThe single word freezes Carre-Four into immobility. \n \tAstounded, Betsy and Holland turn to see Mrs. Rand at the far \n \tend of the porch -- her face and hair pale above a dark, coat \n \tlike robe. \n \n \t\t\t\tMRS. RAND (cont'd)","\t\t\t\tBETSY \n \t\t\t(dismayed) \n \t\tOh, Mrs. Rand -- \n \n \t\t\t\tMRS. RAND \n \t\t\t(interrupting) \n \t\tCome, come, don't tell me how sorry \n \t\tyou are that I should meet you this \n \t\tway. \n \t\t\t(puts out her hand) \n \t\tI'm even a little glad that"],["\t\t\thand on his arm) \n \t\tWait. I want to listen. \n \n \tWe hear the guitar music without singing, as the Calypso \n \tsinger plays a few measures to bridge the first and second \n \tverses. Ti-Joseph comes up to the table with Rand's drink. \n \tRand makes a motion to him indicating the corner around which \n \tthe Calypso singer is standing. Ti-Joseph gets the idea and \n \tgoes off instantly.","\tthe Sabreur, with the drummer crouched behind them. The \n \tSabreur takes the doll from Carre-Four's hand and holds it a \n \tfoot or so away from him. The great black hand reaches for \n \tit. Again the Sabreur takes the doll away and dances off \n \twith mincing steps to a distance of a few yards. Carre-Four \n \tlumbers after him, his hand extended. Again, the Sabreur","\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \n \tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\". \n \n \t\t\t\tMRS. RAND (CONT'D) \n \t\tBetsy! Get her away -- back to the \n \t\tFort! Do as I say -- they won't \n \t\thurt you. \n","\timmediately. He looks frightened and guilty. Ti-Joseph \n \tturns and goes around the corner to his cafe. The Calypso \n \tsinger addresses one of the people in the little group before \n \thim. \n \n \t\t\t\tCALYPSO SINGER (cont'd) \n \t\tTi-Malice trip up my tongue -- What \n \t\tdo you wish trouble on me for -- \n \t\tYou saw Mister Rand go in there. ","\tarms of the still-living Zombie. The upheld torches and \n \tspears of the fishermen give a weird, processional feeling to \n \tthe group. \n \n \t<u>EXT. DINING TERRACE -- NIGHT \n </u> \n \tHolland, Betsy and Mrs. Rand stand watching the fishermen \n \tbringing in the bodies of the dead. Across the garden from \n \tthe fountain stands the little group of house servants also","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n","\tthe gate. He looks at her for a long moment and then, as if \n \ta resolve had formed in his mind, goes to the statue of St. \n \tSebastian, takes hold of one of the iron arrows. He tugs at \n \tit, but it refuses to come free. He puts his foot up on the \n \twooden breast of the statue and gives a hard pull. The long, \n \tiron arrow comes out in his hand. With this in his hand, he","\tBetsy taken her place with the others than the Shango ritual \n \tapproaches its climax. The Sabreur, a colored man dressed in \n \twhite shirt and trousers, with a neat dark tie knotted under \n \this collar, comes in, bearing a sabre in his right hand, \n \tholding it in stately, almost processional manner. He \n \tadvances to the altar, strikes it three times and at this \n \tsignal two colored women dressed in white beguine dresses","\t\thands -- whom the other peasants \n \t\tcall Zombies. I am sure they \n \t\tsuffer from a similar destruction \n \t\tof spinal nerves as the result of \n \t\thigh fever. \n \n \tHe crosses the room and clasps shut the black leather bag in \n \twhich he carries his medicine kit. Betsy rises and walks \n \tover to him. \n \n \t\t\t\tBETSY","\ttwo bodies. One of the rada drummers comes up and crouches \n \tdown holding a small drum almost under the chins of the two \n \tgirls. \n \n \tThe other drummers stop playing and he begins to beat a quick \n \tstaccato rhythm that grows faster and faster. In this \n \tplaying, as in the pose of the girls, there is tremendous \n \ttension. By now all cries have ceased. Everyone is silent,","\tcomes into Holland's face. With a quick gesture, he presses \n \tBetsy back and steps in front of her. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\t\t(a little uncertainly) \n \t\tGet out of here -- \n \n \tCarre-Four is almost upon them. His shoulders press forward \n \tas he reaches out. \n \n \t\t\t\tMRS. RAND","\tThe CAMERA PANS ALONG the thread to show us that the other \n \tend of the thread, some twenty feet long, is held by a negro, \n \tcrouched near the altar. Halfway between this man and the \n \tdoll, the Sabreur, his sword stuck in the mound before him, \n \tstraddles the thread, his hands clasped around the thread but \n \tnot touching it. Carre-Four stands watching. \n","\t\tEverything good dies here -- even \n \t\tthe stars. \n \n \tHe leaves his position by the mast and walks aft. \n \n \tThe group of negroes at the mainmast. They have stopped \n \tsinging and they sit about the charcoal brazier. They are \n \teating, tearing at the meat with cruel, greedy, animal \n \tgestures. Holland walks past them on his way aft. \n","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\tsemicircle are the worshippers, a group of mild-mannered, \n \tpoorly-but-neatly-dressed negroes. They seem to have made an \n \teffort to dress in their best and their best is very poor \n \tindeed. As Betsy approaches, she can see familiar faces. \n \tAs she comes up they turn and look at her. They are not \n \thostile nor greatly surprised; just mildly curious. Leading","\t\tA man, miss -- an old man who lives \n \t\tin the garden at Fort Holland - \n \t\twith arrows stuck in him and a \n \t\tsorrowful, weeping look on his \n \t\tblack face. \n \n \t\t\t\tBETSY \n \t\t\t(incredulous) \n \t\tAlive? \n \n \t\t\t\tCOACHMAN \n \t\t\t(laughing, softly)","\tlighting one of the crude kerosene street lamps of St. \n \tSebastian with a long taper on the end of the stick. When it \n \tfinally lights up he lowers the glass chimney with another \n \tstick he carries. \n \n \tFrom the beach comes the sound of a guitar and a man singing. \n \tIt is very faint, at first, but as it comes closer we can \n \trecognize the voice of the Calypso singer and the melody he","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\t\tconscience has been tormenting you. \n \t\tThe rest is coincidence. There is \n \t\tno such thing as a Zombie. The \n \t\tdead do not come back to life. \n \t\tDeath is final. \n \n \tFrom the hills comes the sound of a single conch, loud and \n \tthin. \n \n \tThe CAMERA PANS from the group around Mrs. Rand to the tower","\t\tI don't think he can even sit in \n \t\tthe saddle. \n \n \t\t\t\tMRS. RAND \n \t\tDon't worry about a sugar planter. \n \t\tGive him a mule and he'll ride to \n \t\this own funeral. \n \n \tTi-Joseph gets Rand to his feet and helps him stagger around \n \tthe corner. From around the corner we can hear Ti-Joseph \n \tbellowing."],["\t\tof blame. It's a question of what \n \t\twe are to do with Jessica. The \n \t\tcommissioner is very concerned. \n \n \t\t\t\tJEFFRIES \n \t\tIt has become a serious problem. \n \t\tThere's so much gossip, rumor and \n \t\tagitation about the whole thing. \n \n \t\t\t\tHOLLAND \n \t\tI know. We've felt it at the mill. ","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\tClement is about to follow them when the door to Jessica's \n \tbedroom opens a few inches. Alma puts her head out \n \tcautiously. \n \n \t\t\t\tALMA \n \t\t\t(whispering) \n \t\tClement... \n \n \tClement goes over to her. \n \n \t\t\t\tALMA (cont'd) \n \t\tI'm going to stay with Miss Jessica","\thanging immobile, close to her slim body. She is blonde and \n \tas far as the light will reveal, she seems beautiful. She \n \tmakes the circuit of the garden, pacing slowly along the \n \tpaths. Betsy watches her. Then, from the living room, a \n \tman's voice calls out to her. \n \n \t\t\t\tHOLLAND'S VOICE \n \t\tJessica. \n","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\t\tNo. You're quite wrong. Right \n \t\there's the seat of the trouble. \n \t\tMrs. Holland has become an object \n \t\tof speculation and religious \n \t\tinterest to these people. It's \n \t\trevived all their old superstitions \n \t\t-- Zombies -- and that sort of \n \t\tnonsense. \n \n \t\t\t\tMRS. RAND","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\t\tcruel to Jessica. When I got to \n \t\tknow her -- when I found out how \n \t\tempty and ungenerous she was, there \n \t\twas something about her -- \n \t\tsomething smooth and false -- that \n \t\tmade we want to hurt her. \n \n \t\t\t\tBETSY \n \t\tI can understand that. Everyone \n \t\tfeels that way about someone. \n \n \t\t\t\tHOLLAND","\t\t\t\tHOLLAND \n \t\tThe Houmfort -- they're trying to \n \t\tget her back there. \n \n \tBetsy and Holland look at each other. Then Betsy takes \n \tJessica's arm. \n \n \t\t\t\tBETSY \n \t\tCome with me, Jessica. \n \n \tObedient again, Jessica allows Betsy to turn her around and","\t\tNo. It's not just how I felt \n \t\ttoward Jessica. I've been cruel to \n \t\teven you. \n \n \tBesty, smiling, shakes her head. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tThe first night I saw you -- you \n \t\twere looking at the sea. You were \n \t\tenchanted -- and I had to break \n \t\tthat enchantment. Do you","\t<u>INT. JESSICA'S BEDROOM - DAY \n </u> \n \tIt is a beautiful woman's bedroom, feminine but with no \n \tsuggestion of the bagnic; elegant rather than seductive, and \n \treflecting a playful yet sophisticated taste. The furniture \n \tis Biedermeier. There is a large bed, a trim chaise lounge, \n \ta little slipper chair and in one corner of the room, that","\tat the next window. Again, he tries the bars and peers into \n \tthe room. Again, he vanishes in the darkness. We hear a \n \tfaint sound from the tower. Betsy wakens. Her eyes go \n \tquickly to the bed, where the outline of Jessica's figure \n \treassures her. There is another muffled, dragging sound from \n \tthe tower. Betsy sits up, listens intently. She gets up and","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\t\tBetsy, and a generous heart. \n \t\tDon't forget that. Don't call it \n \t\tnothing. \n \n \tBetsy turns wearily and returns to the sick room. Holland is \n \tabout to follow her when he hears a low chuckle and turns to \n \tsee who it is. \n \n \t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>"],["\t\tmy head. The chanting -- the \n \t\tlights -- everything blurred \n \t\ttogether. And then I heard a \n \t\tvoice, speaking in a sudden \n \t\tsilence. My voice. I was \n \t\tpossessed. I said that the woman \n \t\tat Fort Holland was evil and that \n \t\tthe Houngan must maker her a \n \t\tZombie. \n","\ttransformation in the girl. Her frenzy ceases. She seems to \n \tbe filled with a jubilant calm and dances into the cleared \n \tspace before the altar. Her words are no longer meaningless. \n \tThey have taken shape and form and, when she speaks, she \n \tspeaks with great resonance as if her voice came from \n \tsomewhere other than her own throat. She is possessed by the \n \tgod, Shango. \n","\this shoulders and turns him around three times, Evidently \n \tthis is absolute guarantee of an enormous income tax to be \n \tpaid at St. Sebastian. The woman and her son retire happily, \n \tpleased and grinning. Finally, exhausted, the girl possessed \n \tof the god, Shango, sinks to her knees and then falls \n \tfainting to the floor. Two colored men come in, carry her \n \taway. A great cry rises from the voodoo worshippers. \n","\tthe ceremony has taken place. Instantly the drumming and the \n \tsinging stops. A young colored girl jumps up from her seat \n \tamong the worshippers and begins shivering and quaking, \n \tcrying out wordlessly. There is a cry from the people. \n \n \t\t\t\tTHE PEOPLE \n \t\tPut the god in her! Put the god in \n \t\ther! \n \n \tThe Houngan prances forward, followed by the Sabreur. The","\tOne by one, people from among the group of devotees dance \n \tinto the circle, go up to her and beg for favors. One woman \n \tleads a little boy up to her. We hear her words as she calls \n \tout to the possessed girl: \n \n \t\t\t\tWOMAN \n \t\tMake him rich, Shango! Make him \n \t\trich! \n \n \tThe girl lays her fingers on the boy's eyes, and then takes","\t\tMiss Jessica. But the Houngan \n \t\tcured her. \n \n \t\t\t\tBETSY \n \t\tAre you trying to tell me that the \n \t\tHoungan -- the voodoo priest -- \n \t\tcould cure Mrs. Holland? \n \n \t\t\t\tALMA \n \t\tYes, Miss Betsy. I mean that. The \n \t\tHoungan will speak to the rada","\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\tbottles. Before this altar stands the Houngan, the high \n \tpriest of the voodoo ceremonies, a small, stoop-shouldered \n \tman in a worn, white coat and trousers with ragged cuffs. \n \tSeveral mild-looking negroes in white trousers and shirts sit \n \tin kitchen chairs on one side of the altar with rada drums \n \tbetween their knees. Grouped around this altar in a loose","\tthe first portion of their meal and Clement is taking off the \n \tsoup plates. Somewhere off in the hills there is the \n \tululating sounds of a great sea conch being blown. \n \n \t\t\t\tBETSY \n \t\tYou don't seem very disturbed by \n \t\tit. I've always thought Voodoo was \n \t\tsomething to be scared of: the \n \t\tdrums sounded in the hills and \n \t\teverybody was frightened. \n","\tJessica's hand in hers, Betsy takes her place at the door. \n \tShe puts her forehead against the crudely painted forehead of \n \tthe god. She talks to the door. \n \n \t\t\t\tBETSY \n \t\tDamballa! This woman is sick. \n \n \tThe door swings open slowly. The feeble light of the outer \n \tHoumfort does not penetrate the darkness of the inner temple.","\t\tTi-Peter, how do you ever expect to \n \t\tget to Heaven with one foot in the \n \t\tvoodoo Houmfort and the other in \n \t\tthe Baptist church? \n \n \tThe little black boy looks at her with rolling eyes but does \n \tnot answer. She gives him a playful pat on the behind, \n \tstarting him on his way to the door. \n \n \t\t\t\tMRS. RAND (CONT'D)","\t\tBut I had no thought of harming \n \t\ther. It wasn't I... \n \n \t\t\t\tDR. MAXWELL \n \t\tYou were possessed. That is true -- \n \t\tpossessed by your subconscious \n \t\tmind. You were in the Houmfort, \n \t\tsurrounded by their symbols. To \n \t\tthem, nothing worse can happen to a \n \t\tperson than to be made into a","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tJessica by the hand, Betsy takes her place at one end of the \n \tsemicircle around the altar. Her arrival has in no way \n \tinterrupted the ceremonies. The Houngan continues to chant \n \tbefore the altar, the rada drums beat and the crowd sings the \n \tchorus of the Shango song at the proper intervals. It is all \n \tvery decorous and decidedly religious in tone. No sooner has","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tHoungan holds a little saucer in his hand with some dark \n \tliquid at the bottom of it. He dips four fingers into this \n \tliquid while the girl quivers and writhes before him in \n \treligious ecstasy. He marks her forehead with four strange \n \tmarks, one with each finger. The Sabreur, crying out the \n \tname of Shango, four times, points his sabre to the four \n \tdirections of the compass. There is an immediate","\t\t\t(to Betsy, cheerfully) \n \t\tSome of this native nonsense. The \n \t\tHoungan has his prescription and \n \t\tDr. Maxwell and I have ours. \n \n \t\t\t\tBETSY \n \t\tYou've never said anything about \n \t\tvoodoo before, Mrs. Rand. \n \n \t\t\t\tMRS. RAND \n \t\tHaven't I? I suppose I take it for","\t\t\t\tWORSHIPPERS \n \t\tDamballa! Damballa! Damballa! \n \t\tDamballa! \n \n \tThe drums find a new rhythm. The Houngan retires to one \n \tcorner of the altar; the Sabreur to the other. Two young \n \tgirls, their beguine dresses slashed and torn, dance in from \n \teither side. This is a wild and an impassioned dance, a"],["\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\t\t\t\tMRS. RAND (cont'd) \n \t\tPaul! \n \n \tHolland pauses at the head of the stairs and turns to her. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tLet him go. Don't touch him, don't \n \t\ttry to stop him! \n \n \tBetsy has come down the porch behind Holland and she and Mrs.","\t\t\t\tMRS. RAND \n \t\t\t(disregarding his protest) \n \t\tThat night, I went to the Houmfort. \n \t\tI kept seeing Jessica's face -- \n \t\tsmiling -- smiling because two men \n \t\thated each other -- because she was \n \t\tbeautiful enough to take my family \n \t\tin her hands and break it apart. \n \t\tThe drums seemed to be beating in","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\tMrs. Rand looks at a page of rotogravure section. \n \n \t\t\t\tMRS. RAND \n \t\t\t(casually) \n \t\tThat's a long wait... \n \n \t\t\t\tHOLLAND \n \t\tI'm afraid not. Betsy's leaving \n \t\tus, Mother. \n \n \tMrs. Rand puts down the paper and looks at them, startled. \n","\t\tBetsy feels there is nothing she \n \t\tcan do for Jessica... \n \n \tPAGE MISSING \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \n </u> \n \tRand and Dr. Maxwell come through the gate and walk up the \n \tgarden path. As they do so, Mrs. Rand comes down the porch \n \tsteps. Betsy and Holland follow her. \n","\t\thave to come up here and talk to \n \t\tyou. I couldn't let you go back \n \t\twithout any word. I came to tell \n \t\tyou again -- Jessica cannot be \n \t\tcured. \n \n \t\t\t\tBETSY \n \t\tBut how did you get here? What \n \t\tare you doing here? \n \n \t\t\t\tMRS. RAND \n \t\tI asked you to let me explain. It's a","\t\t\t(starting forward around \n \t\t\tthe table) \n \t\tMrs. Rand. \n \n \t\t\t\tMRS. RAND \n \t\tWait. Don't draw any conclusions. \n \t\tLet me explain. \n \n \t\t\t\tBETSY \n \t\tBut, Mrs. Rand -- \n \n \t\t\t\tMRS. RAND \n \t\tI knew you'd come. And I knew I'd","\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \n </u> \n \tMrs. Rand, in a simple afternoon dress, is seated on the \n \tsofa. Before her is a coffee table with a silver tea \n \tservice. She is engaged in pouring tea. Betsy is beside her \n \thelping her. Rand, in working clothes, is in an armchair \n \tnear the sofa with a highball in his hand. Also seated, and","\t\tright. And I will have to urge him \n \t\tto use it. \n \n \t\t\t\tRAND \n \t\tI tell you he hasn't and he \n \t\twouldn't dare use it if he had. \n \n \t\t\t\tJEFFRIES \n \t\tWhy? \n \n \t\t\t\tRAND \n \t\tBecause he drove Jessica insane -- \n \t\tdeliberately -- coldly! \n","\t\t\t\tBETSY \n \t\t\t(reluctantly) \n \t\tMrs. Rand was at the Houmfort that \n \t\tnight. But there's nothing wrong \n \t\twith that. She's gone there for \n \t\tyears -- trying to take care of \n \t\tthose people, to help them. \n \n \t\t\t\tRAND \n \t\tWhat do you mean? \n \n \t\t\t\tHOLLAND","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\t\t\t\tMRS. RAND (cont'd) \n \t\tYou thought she loved you, didn't \n \t\tyou? She didn't. She didn't love \n \t\tanyone except herself -- her \n \t\treflection in the mirror, the look \n \t\tshe could bring into a man's eyes. \n \n \t\t\t\tRAND \n \t\tThat isn't true. You never \n \t\tunderstood her. \n","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\twalks to where Jessica stands. He pulls back the latch bar \n \tand throws the gates wide open. Jessica moves out into the \n \tdarkness. Rand follows her. \n \n \t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \n \n \tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \n \tinto the darkness. \n \n \t<u>INT. HOUMFORT -- NIGHT</u>","\tfacing Mrs. Rand and Betsy, is Dr. Maxwell and Commissioner \n \tJeffries. The latter is a dignified man of early middle-age. \n \tHe is dressed in a light business suit. At the window, at \n \tthe rear of the room, stands Holland, talking with a Priest. \n \tAs the scene opens, Mrs. Rand fills a teacup and holds it up \n \ttoward Holland. He comes toward her to pick up the cup, the","\tDr. Maxwell has been studying Mrs. Rand with a curious, \n \tintent expression. \n \n \t\t\t\tDR. MAXWELL \n \t\tAnd what happened then, Mrs. Rand? \n \n \t\t\t\tMRS. RAND \n \t\t\t(unsteadily) \n \t\tI hated myself. I kept saying to \n \t\tmyself over and over again that \n \t\tthese people had no power; they had","\t\tthere. I'll walk you back and stay \n \t\tover night. It'll be a nice change \n \t\tfor me. \n \n \tShe takes Betsy's arm and they start off. \n \n \tThe CAMERA DOLLIES WITH them as they cross the space under Ti \n \tJoseph's awning. \n \n \t\t\t\tBETSY \n \t\tThank you, Mrs. Rand. I think","\tClement is about to follow them when the door to Jessica's \n \tbedroom opens a few inches. Alma puts her head out \n \tcautiously. \n \n \t\t\t\tALMA \n \t\t\t(whispering) \n \t\tClement... \n \n \tClement goes over to her. \n \n \t\t\t\tALMA (cont'd) \n \t\tI'm going to stay with Miss Jessica"],["\tshe goes back to the window and peers through the cracks \n \tbetween the laths. \n \n \t<u>INT. A CORNER OF THE LIVING ROOM -- NIGHT</u> \n \n \tFrom where she stands, Betsy can see the big, square, \n \trosewood piano. A lamp had been lit beside it and the light \n \tfrom this lamp falls on the blonde hair and gleaming \n \tshoulders of the woman who had walked in the garden. Her","\tBetsy, questioning Betsy with upraised sugar tongs and cream \n \tpitcher before each move. \n \n \t\t\t\tALMA \n \t\t\t(while she's pouring the \n \t\t\tcoffee) \n \t\tMiss Jessica used to say this is \n \t\tthe only way for a lady to break \n \t\ther fast -- in bed, with a lacy \n \t\tcushion to bank her head up. If","\tBetsy, dressed in a trim negligee and slippers, is getting \n \tready for the night. She plumps up the cushion, tests the \n \tsoftness of the mattress and then, yawning, turns out the \n \tAladdin kerosene lamp which lights the room. Level rays of \n \tmoonlight filter through the rattan blinds into the room. \n \tBetsy crosses the room and peers out through the rattan \n \tstrips into the garden. \n","\tThe woman at once turns toward the living room, mounts the \n \tporch and enters through a door held open for her. \n \n \t<u>INT. BETSY'S ROOM -- NIGHT \n </u> \n \tBetsy turns back into the room. She has crossed over to the \n \tbed and is removing her negligee when the sound of hesitant \n \tnotes on the piano attract her attention. In her nightgown","\tby an old coachman in dirty white singlet, a top hat with a \n \tcockade on his graying hair, is making its way along a dusty \n \troad between fields of sugar cane. In the distance, the sea \n \tis visible and above it the great billowing white clouds of \n \tthe Caribbean. Betsy, seated on the back seat of the \n \tcarriage, is bending forward to listen to the old man. \n \n \t\t\t\tCOACHMAN","\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \n \tin a fur-collared coat and has a little round fur cap on her \n \thead. She looks very attractive and very happy. The door of \n \tthe office opens and Paul Holland comes out, muffling up his \n \tovercoat. Betsy takes a half step to meet him. He takes her \n \tarm with a well-used and familiar gesture. \n \n \t\t\t\tPAUL","\ta little Chippendale chair before it, and a maple rocker so \n \told it has turned a hard, brown color that softly reflects \n \tthe highlights in the room. On the wall is a little mirror \n \tin a carved Spanish frame. There are no pictures or other \n \tornaments. A woven grass rug lies on the floor. Betsy is \n \tseated before the dressing table, putting the last touches to \n \ther hair. She has changed her clothes and is wearing a","\tThey smile at each other. Betsy looks around the table and \n \tout toward the garden. \n \n \tFROM BETSY'S VIEWPOINT, as we see the garden. The CAMERA \n \tPANS AROUND to show one aspect of its beauty after another \n \tand finally COMES TO REST ON a lighted window. On the \n \tshutters can be seen the shadow of a man seated at a desk, \n \tobviously working. \n","\tBetsy looks up at him, astounded by his words. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tHer selfishness made her empty and \n \t\tdead. She was a possession, a \n \t\tbeautiful possession to own and \n \t\thold -- but I never had a moment's \n \t\tpeace or happiness with her. \n \n \tThey stand there, close together, looking at each other. ","\tface cannot be seen. Her fingers move strangely over the \n \tkeyboard, now and again striking a hesitant note, but making \n \tno music, only an occasional dissonance. \n \n \t<u>INT. BETSY'S ROOM -- NIGHT \n </u> \n \tBetsy, still watching through the slit in the jalousie, \n \tendeavors to get a better view of the living room. She","\t\t\t\tBETSY \n \t\tYou didn't drive her mad. \n \n \t\t\t\tHOLLAND \n \t\tDidn't I? I don't know. That's \n \t\tthe simple truth of it. I don't \n \t\tknow. \n \n \tBetsy shakes her head and moves closer to him. Her face, \n \tupturned to his, is filled with pity. \n","\tFrom her window Betsy can see Holland playing the piano. \n \n \t<u>INT. BETSY'S BEDROOM -- NIGHT \n </u> \n \tBetsy stands watching him. Then suddenly, as if compelled, \n \tshe leaves the window, opens the jalousied door and goes \n \tquickly out into the garden. \n \n \t<u>INT. LIVING ROOM -- NIGHT \n </u>","\tservice has been set out on a long mahogany table. As she \n \tcomes forward, Betsy sees a handsome young man waiting for \n \ther. This is Wesley Rand. The table by which he stands is \n \tset for two and lit by candelabra in great glass hurricane \n \tlamps. The table is laid with white linen, and the \n \tcandlelight gleams on silver and cut-glass arranged in the","\tBetsy is puzzled and a little alarmed by Holland's strange \n \tutterances and his queer behavior. Over this shot of Betsy \n \tlooking off at him, we hear her as narrator. \n \n \t\t\t\tBETSY \n \t\t\t(narrating) \n \t\tIt was strange to have him break in \n \t\ton my thoughts that way. There was \n \t\tcruelty and hardness in his voice. ","</u> \n \tBetsy leaves the window, crosses to the bed and lies down. \n \tThen, sighing, she makes herself comfortable on the pillow, \n \tsettling herself for sleep. Outside the nightjars whistle \n \tsoftly, the cicadas twitter and the Hammer tree frogs make \n \tdrowsy, somnolent little croaks: it is a tropic lullaby of \n \tbird, batrachian and insect sound. The faint, groping notes","\ther. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(embarrassed; trying to \n \t\t\texplain) \n \t\tMrs. Holland -- I didn't mean to \n \t\tget you up -- \n \n \tThe white woman keeps walking toward her with the same \n \tentrance tread. Betsy takes a step forward to meet her. The \n \ttwo women come together in such a way that the white-clad","\tAs Betsy also turns, in great relief, to see who is coming, \n \tthe Calypso singer moves quickly and silently out of the \n \tscene. A middle-aged white woman, handsome and neatly \n \tdressed in a suit with a Norfolk jacket, appears in the \n \tentrance of the cafe. She glances briefly in the direction \n \twhich the Calypso singer has taken and then at Betsy and \n \tRand. She smiles in a friendly way at Betsy.","\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \n </u> \n \tMrs. Rand, in a simple afternoon dress, is seated on the \n \tsofa. Before her is a coffee table with a silver tea \n \tservice. She is engaged in pouring tea. Betsy is beside her \n \thelping her. Rand, in working clothes, is in an armchair \n \tnear the sofa with a highball in his hand. Also seated, and","\t\tRand -- mother to both of us and \n \t\tmuch too good for either of us. \n \t\tToo wise, in fact, to live under \n \t\tthe same roof. She prefers the \n \t\tvillage dispensary. \n \n \t\t\t\tBETSY \n \t\t\t(interested and a little \n \t\t\tsurprised) \n \t\tIs she a doctor? \n \n \t\t\t\tRAND","\tThere is a little pause. Then Betsy looks at Holland, her \n \teyes glistening with tears. Betsy turns away slightly, \n \tclosing her eyes for a moment to steady herself. Holland \n \tputs his hands on her shoulders and turns her back to face \n \thim. \n \n \t\t\t\tHOLLAND \n \t\t\t(gently) \n \t\tDon't take it to heart, Betsy. \n"],["\t\tThere -- in the master's chair, \n \t\tsits the master -- my half-brother \n \t\tPaul Holland. But you've already \n \t\tmet him. \n \n \t\t\t\tBETSY \n \t\tYes -- on the boat. \n \n \t\t\t\tRAND \n \t\tAnd that chair -- \n \t\t\t(indicates the chair drawn \n \t\t\tback against the wall) \n \t\tis the particular property of Mrs.","\t\t\t\tRAND \n \t\tWhy? Everybody else knows it. \n \t\tPaul saw to that. Sometimes I \n \t\tthink he planned the whole thing \n \t\tfrom the beginning -- just to watch \n \t\tme squirm. \n \n \t\t\t\tBETSY \n \t\t\t(quietly) \n \t\tThat doesn't sound like him. \n \n \t\t\t\tRAND","\t\tYou mean to say Paul can send her \n \t\taway -- that he can hand her over \n \t\tto strangers -- who'll shut her up \n \t\t- maybe mistreat her? He hasn't \n \t\tthat right! \n \n \t\t\t\tMRS. RAND \n \t\t\t(trying to calm him) \n \t\tWesley! \n \n \t\t\t\tDR. MAXWELL \n \t\tI am afraid, Wesley, he has that","\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \n \tin a fur-collared coat and has a little round fur cap on her \n \thead. She looks very attractive and very happy. The door of \n \tthe office opens and Paul Holland comes out, muffling up his \n \tovercoat. Betsy takes a half step to meet him. He takes her \n \tarm with a well-used and familiar gesture. \n \n \t\t\t\tPAUL","\t\tmuch. \n \n \t\t\t\tRAND \n \t\t\t(pouring another drink) \n \t\tAh, yes, our Paul, strong and \n \t\tsilent and very sad -- quite the \n \t\tByronic character. Perhaps I ought \n \t\tto cultivate it. \n \n \tThe drum sounds again. \n \n \t\t\t\tBETSY \n \t\t\t(smiling and pointing off)","\t\tFoolish? Tell them how foolish it \n \t\tis, Paul -- tell them! \n \n \t\t\t\tHOLLAND \n \t\t\t(very calmly but with a \n \t\t\tlittle uncertainty) \n \t\tMy guilt in this matter, if any, \n \t\tWesley, is not the subject of this \n \t\tdiscussion. \n \n \t\t\t\tRAND \n \t\tBut it is, Paul! Because that's","\t\tI have no defense. So far as I \n \t\tknow -- it is true. \n \n \t\t\t\tBETSY \n \t\tYou can't believe that. You don't \n \t\tknow what viciousness it would take \n \t\tto drive a person mad. You're not \n \t\tvicious or cruel, Paul. \n \n \t\t\t\tHOLLAND \n \t\tHow do you know I'm not? I was","\t\tthe patient still lives. I've been \n \t\timagining too, Paul. You didn't \n \t\tthink of that, did you? I saw \n \t\tJessica coming across the garden, I \n \t\theard her voice. \n \n \tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \n \tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE","\t\towner. \n \n \t\t\t\tBETSY \n \t\tMr. Holland? \n \n \t\t\t\tRAND \n \t\tYes, the redoubtable Paul. He has \n \t\tthe plantation, and I, as you must \n \t\thave noticed, have all the charm. \n \n \t\t\t\tBETSY \n \t\tI don't know. He spoke to me last \n \t\tnight on the boat. I liked him very","\tchanges her position and looks out again through the blinds. \n \n \t<u>INT. ANOTHER CORNER OF THE LIVING ROOM -- NIGHT</u> \n \n \tAs seen from Betsy's NEW ANGLE. Paul Holland is seated in a \n \tlow armchair. His eyes are fixed on the woman at the piano. \n \tShe continues to strike odd notes on the piano. \n \n \t<u>INT. BETSY'S ROOM -- NIGHT","\t\t\t\tMRS. RAND (cont'd) \n \t\tPaul! \n \n \tHolland pauses at the head of the stairs and turns to her. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tLet him go. Don't touch him, don't \n \t\ttry to stop him! \n \n \tBetsy has come down the porch behind Holland and she and Mrs.","\t\tI turned you away. \n \n \t\t\t\tBETSY \n \t\tDon't, Paul -- don't doubt yourself \n \t\t-- don't make me doubt you. \n \n \t\t\t\tHOLLAND \n \t\tI remember words I said to Jessica \n \t\t- words mixed like to poison -- to \n \t\thurt her, to madden her. \n \n \t\t\t\tBETSY \n \t\t\t(desperately)","\t\tOne of these days he'll start on \n \t\tyou, the way he did on her. \n \t\t\t(imitating) \n \t\t\"You think life's beautiful, don't \n \t\tyou, Jessica? You think you're \n \t\tbeautiful, don't you, Jessica?\" \n \t\t\t(bitterly) \n \t\tWhat he could do to that word \n \t\t\"beautiful.\" That's Paul's great","\tThe CAMERA DRAWS BACK to SHOW a tall, masculine figure \n \tleaning against the foremast, behind Betsy. This is Paul \n \tHolland. As we see him, we hear his voice. \n \n \t\t\t\tHOLLAND \n \t\tIt is not beautiful. \n \n \t\t\t\tBETSY \n \t\t\t(surprised but smiling) \n \t\tYou read my thoughts, Mr. Holland. \n","\t\tsweet mocking voice, \"Paul, \n \t\tdarling...\" The whole thing \n \t\tbeginning all over again... \n \n \t\t\t\tBETSY \n \t\t\t(dully) \n \t\tAnd instead, I came -- bringing \n \t\tyou nothing. \n \n \t\t\t\tHOLLAND \n \t\t\t(slowly looking down at \n \t\t\ther) \n \t\tInstead -- you come, with sympathy,","\tPriest walking with him. As they walk, Holland speaks: \n \n \t\t\t\tHOLLAND \n \t\tBut I assure you, Father Walters, \n \t\tMiss Connell had no idea of the \n \t\tconsequences when she went there. \n \n \t\t\t\tDR. MAXWELL \n \t\tPaul, we're not trying to blame \n \t\tMiss Connell. It isn't a question","\t\t\t\tHOLLAND \n \t\tA woman crying? No one's been \n \t\tcrying here. \n \n \t\t\t\tCLEMENT \n \t\tMr. Paul -- yes, there was crying \n \t\ttonight. It was Alma. Her sister \n \t\twas brought a'birthing. \n \n \t\t\t\tHOLLAND \n \t\t\t(with a slight smile) \n \t\tThank you, Clement. \n","\t\tIt was a sad time at Fort Holland. \n \t\tMother Rand was completely broken \n \t\tby the tragedy. But she's a woman of \n \t\tcourage. She's begun to build up her \n \t\tlife again at St. Sebastian -- It's a \n \t\tgood life and a full one. As for \n \t\tPaul and me -- it wasn't a simple \n \t\tproblem for either of us. \n","\t\t\t\tWILKENS \n \t\tI'm afraid I'm not able to tell you \n \t\tmuch. Only that the patient is a young \n \t\twoman -- the wife of a Mr. Paul \n \t\tHolland with whom we do \n \t\tconsiderable business. \n \n \t\t\t\tBETSY \n \t\tThat will mean another interview, \n \t\twon't it? \n \n \t\t\t\tWILKENS","\t\trevealed to other women -- maybe in \n \t\ttheir sweethearts' arms -- I don't \n \t\tknow. To me it came that night \n \t\tafter Paul Holland almost thrust me \n \t\tfrom the room, and certainly thrust \n \t\tme from his life. I said to myself, \n \t\t\"I love him.\" And even as I said \n \t\tit, I knew he still loved his wife. \n \t\tThen because I loved him, I felt I"],["\t\tcruel to Jessica. When I got to \n \t\tknow her -- when I found out how \n \t\tempty and ungenerous she was, there \n \t\twas something about her -- \n \t\tsomething smooth and false -- that \n \t\tmade we want to hurt her. \n \n \t\t\t\tBETSY \n \t\tI can understand that. Everyone \n \t\tfeels that way about someone. \n \n \t\t\t\tHOLLAND","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\tthen, searchingly, into her face. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou wouldn't understand that kind \n \t\tof love. You never knew Jessica as \n \t\tshe was. Beautiful, restless, \n \t\twillful -- living in a world with \n \t\troom for nothing but her own image \n \t\tand her own desires. \n \n \tBetsy gently draws her hand away. She watches his face, lost","\t\tBetsy, and a generous heart. \n \t\tDon't forget that. Don't call it \n \t\tnothing. \n \n \tBetsy turns wearily and returns to the sick room. Holland is \n \tabout to follow her when he hears a low chuckle and turns to \n \tsee who it is. \n \n \t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\tBetsy tries to turn away from him. He grips her shoulders \n \ttightly. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tI thought I was looking at a woman \n \t\twho loved me and had compassion for \n \t\tme. Yet you made that trip to the \n \t\tHoumfort to bring Jessica back to \n \t\tme -- \n \n \t\t\t\tBETSY \n \t\tYes. \n","\thanging immobile, close to her slim body. She is blonde and \n \tas far as the light will reveal, she seems beautiful. She \n \tmakes the circuit of the garden, pacing slowly along the \n \tpaths. Betsy watches her. Then, from the living room, a \n \tman's voice calls out to her. \n \n \t\t\t\tHOLLAND'S VOICE \n \t\tJessica. \n","\t\t\t\tHOLLAND \n \t\tThe Houmfort -- they're trying to \n \t\tget her back there. \n \n \tBetsy and Holland look at each other. Then Betsy takes \n \tJessica's arm. \n \n \t\t\t\tBETSY \n \t\tCome with me, Jessica. \n \n \tObedient again, Jessica allows Betsy to turn her around and","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\t\t\t\tBETSY \n \t\tI imagined this so differently... \n \n \tHolland takes his hand from her shoulders. \n \n \t\t\t\tHOLLAND \n \t\tI've been waiting here for hours, \n \t\ttrying to imagine Jessica well \n \t\tagain -- wondering what I'd feel. \n \t\tI could see Jessica as she used to \n \t\tbe, I could hear her say in that","\tBetsy, questioning Betsy with upraised sugar tongs and cream \n \tpitcher before each move. \n \n \t\t\t\tALMA \n \t\t\t(while she's pouring the \n \t\t\tcoffee) \n \t\tMiss Jessica used to say this is \n \t\tthe only way for a lady to break \n \t\ther fast -- in bed, with a lacy \n \t\tcushion to bank her head up. If","\t\tBetsy feels there is nothing she \n \t\tcan do for Jessica... \n \n \tPAGE MISSING \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \n </u> \n \tRand and Dr. Maxwell come through the gate and walk up the \n \tgarden path. As they do so, Mrs. Rand comes down the porch \n \tsteps. Betsy and Holland follow her. \n","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\tHolland pulls her close to him, looks down into her eyes. \n \n \t\t\t\tHOLLAND \n \t\tYou think I love Jessica and want \n \t\ther back. It is like you to think \n \t\tthat -- clean, decent thinking. \n \n \t\t\t\tBETSY \n \t\t\t(simply) \n \t\tShe was beautiful. \n \n \t\t\t\tHOLLAND \n \t\tI hated her. \n","\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\tplaces it at the bedside. She puts a knife and fork on the \n \tplate. Betsy sets down her coffee cup and picks up the \n \tplate. \n \n \t\t\t\tBETSY \n \t\tWhat's this? \n \n \t\t\t\tALMA \n \t\tA puff-up, I call it. But Miss \n \t\tJessica always says \"brioche.\" \n \n \t\t\t\tBETSY","\tgoes toward the door leading into the tower. At the foot of \n \tJessica's bed, she stops to grab up Jessica's white negligee, \n \tthrowing it around her she continues to the door and opens it \n \tslowly and cautiously. \n \n \t<u>INT. THE GROUND FLOOR OF THE TOWER -- NIGHT \n </u> \n \tBetsy steps into the lower tower room. The thick blackness"],["\t\tWesley's difficulty brought us \n \t\ttogether. \n \n \tBetsy takes the older woman's hand and they shake hands. \n \n \t\t\t\tBETSY \n \t\tBelieve me, Mrs. Rand, he doesn't \n \t\tdo this often. This is the first \n \t\ttime I've seen him -- \n \n \t\t\t\tMRS. RAND \n \t\tNonsense, child! I know Wesley's","\tservice has been set out on a long mahogany table. As she \n \tcomes forward, Betsy sees a handsome young man waiting for \n \ther. This is Wesley Rand. The table by which he stands is \n \tset for two and lit by candelabra in great glass hurricane \n \tlamps. The table is laid with white linen, and the \n \tcandlelight gleams on silver and cut-glass arranged in the","\t\tthe patient still lives. I've been \n \t\timagining too, Paul. You didn't \n \t\tthink of that, did you? I saw \n \t\tJessica coming across the garden, I \n \t\theard her voice. \n \n \tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \n \tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE","\tHe looks into her eyes and sees the finality of her refusal \n \tthere. His hand drops from her arm and he turns away. \n \n \t\t\t\tBETSY \n \t\t\t(with great pity) \n \t\tHer heart beats, Wes. She \n \t\tbreathes. That's life -- I once \n \t\ttook an oath to guard life. \n \n \tRand straightens up and takes a deep breath. \n","\t\tYou mean to say Paul can send her \n \t\taway -- that he can hand her over \n \t\tto strangers -- who'll shut her up \n \t\t- maybe mistreat her? He hasn't \n \t\tthat right! \n \n \t\t\t\tMRS. RAND \n \t\t\t(trying to calm him) \n \t\tWesley! \n \n \t\t\t\tDR. MAXWELL \n \t\tI am afraid, Wesley, he has that","\t\t\t(sincerely) \n \t\tWesley can be very entertaining. \n \n \t\t\t\tBETSY \n \t\t\t(encouraged by his tone) \n \t\tYes, he can. But I've been \n \t\twondering -- you know if you could \n \t\tleave the whisky decanter off the \n \t\ttable -- \n \n \t\t\t\tHOLLAND \n \t\tIt's always stood there, Miss","\t\t\t\tBETSY \n \t\tWes. Wesley -- it's time we were \n \t\tstarting home. \n \n \tRand makes some meaningless mumble of words. \n \n \t\t\t\tCALYPSO SINGER \n \t\t<i>The wife and the brother, they want to go, \n \t\tBut the Holland man, he tell them \"no.\"</i> \n \n \tAs Betsy stares nervously into the shadows beyond the street","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tlamp, she sees the figure of the Calypso singer, moving \n \tslowly towards her as he sings. \n \n \t\t\t\tCALYPSO SINGER (cont'd) \n \t\t<i>The wife fall down and the evil came \n \t\tAnd it burned her mind in the fever flame.</i> \n \n \tBetsy shakes Rand urgently. \n \n \t\t\t\tBETSY \n \t\tPlease, Wes -- we've got to get","\tof the windows. In his face and his posture are complete \n \tdejection, utter misery. \n \n \t\t\t\tRAND \n \t\tBetsy, can I talk to you a minute? \n \n \t\t\t\tBETSY \n \t\t\t(with quiet sympathy) \n \t\tOf course, Wes. \n \n \tShe waits, inquiringly. Rand takes a few steps into the room \n \tand turns to stare through the door, across the garden to","\t\tyou're every bit as nice as Wes \n \t\tsays you are. \n \n \t\t\t\tMRS. RAND \n \t\tSo -- he says I'm nice. He's a \n \t\tnice boy, too, Miss Connell, a very \n \t\tnice boy. But I'm worried about \n \t\this drinking. \n \n \tShe pauses in her speech, stops for a moment at the very edge","\t\t\t\tBETSY \n \t\tStill, I feel you should remove the \n \t\tdecanter. Wes is not an alcoholic \n \t\tyet, Mr. Holland. But as a nurse I can \n \t\ttell you that it won't be long before he is. \n \n \t\t\t\tHOLLAND \n \t\t\t(coldly) \n \t\tI'm afraid the decanter will have \n \t\tto stay where it is. I engaged","\tHolland still keeps his silence, although the muscles in his \n \tjaw twitch. \n \n \t\t\t\tRAND (cont'd) \n \t\tWhat are you trying to do, impress \n \t\ther? \n \n \t\t\t\tHOLLAND \n \t\tLet's drop it now, Wes. We can \n \t\ttalk about it later if you want. \n \n \tRand glowers at him and makes no immediate answer. A great","\tHe starts to rise. Betsy restrains him. The Calypso singer \n \truns off a few feet, makes his little polite bow again, and \n \tthe vanishes. Rand stands practically shaking with rage. \n \tBetsy forces him into a chair. \n \n \t\t\t\tBETSY \n \t\tDon't let it bother you so, Wes. \n \n \t\t\t\tRAND \n \t\tDid you hear what he sang? \n","\t\tgo to bed. \n \n \t\t\t\tRAND \n \t\t\t(suddenly) \n \t\tShe's dead. The dead ought to be \n \t\tburied. \n \n \t\t\t\tBETSY \n \t\t\t(gently) \n \t\tBut she's not dead, Wes. \n \n \t\t\t\tRAND \n \t\t\t(violently) \n \t\tYou know what she is! That's death","\t\tyou're not responsible -- that \n \t\tevery damnable bit of it doesn't \n \t\trest squarely on your shoulders! \n \n \t\t\t\tMRS. RAND \n \t\tYou're wrong, Wesley. The guilt is \n \t\tmine -- all of it. \n \n \t\t\t\tRAND \n \t\t\t(bitterly) \n \t\tAre you going to lie for him, \n \t\tMother? \n","\t\tFoolish? Tell them how foolish it \n \t\tis, Paul -- tell them! \n \n \t\t\t\tHOLLAND \n \t\t\t(very calmly but with a \n \t\t\tlittle uncertainty) \n \t\tMy guilt in this matter, if any, \n \t\tWesley, is not the subject of this \n \t\tdiscussion. \n \n \t\t\t\tRAND \n \t\tBut it is, Paul! Because that's","\t\t\t\tBETSY \n \t\t\t(evidently continuing what \n \t\t\tshe has been saying) \n \t\tThat's carrying free speech a \n \t\tlittle too far! I wouldn't have \n \t\tlistened, Wes, if I had realized -- \n \n \tThe Calypso singer comes in and stands humbly beside the \n \ttable. \n \n \t\t\t\tCALYPSO SINGER \n \t\t\t(with a little bow in the","\t\tto St. Thomas. \n \n \t\t\t\tRAND \n \t\tTo the asylum? \n \n \t\t\t\tJEFFRIES \n \t\tI believe there's a kinder name for \n \t\tit, Wesley. At St. Thomas, it's called the \n \t\tInstitute for Mental Therapy. \n \n \t\t\t\tRAND \n \t\t\t(getting up)"],["\t\tMiss Jessica. But the Houngan \n \t\tcured her. \n \n \t\t\t\tBETSY \n \t\tAre you trying to tell me that the \n \t\tHoungan -- the voodoo priest -- \n \t\tcould cure Mrs. Holland? \n \n \t\t\t\tALMA \n \t\tYes, Miss Betsy. I mean that. The \n \t\tHoungan will speak to the rada","\tA hand reaches out from the darkness and takes Betsy's hand \n \tand draws her in. The Houngan follows Betsy into the temple. \n \tThe door shuts behind him. Jessica remains outside, standing \n \tbefore the door. \n \n \t<u>INT. INNER HOUMFORT - NIGHT \n </u> \n \tA match flares and a hand brings it forward to light an oil \n \tlamp which flares brightly, revealing a little room of","\tJessica's hand in hers, Betsy takes her place at the door. \n \tShe puts her forehead against the crudely painted forehead of \n \tthe god. She talks to the door. \n \n \t\t\t\tBETSY \n \t\tDamballa! This woman is sick. \n \n \tThe door swings open slowly. The feeble light of the outer \n \tHoumfort does not penetrate the darkness of the inner temple.","\tJessica by the hand, Betsy takes her place at one end of the \n \tsemicircle around the altar. Her arrival has in no way \n \tinterrupted the ceremonies. The Houngan continues to chant \n \tbefore the altar, the rada drums beat and the crowd sings the \n \tchorus of the Shango song at the proper intervals. It is all \n \tvery decorous and decidedly religious in tone. No sooner has","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tthe first portion of their meal and Clement is taking off the \n \tsoup plates. Somewhere off in the hills there is the \n \tululating sounds of a great sea conch being blown. \n \n \t\t\t\tBETSY \n \t\tYou don't seem very disturbed by \n \t\tit. I've always thought Voodoo was \n \t\tsomething to be scared of: the \n \t\tdrums sounded in the hills and \n \t\teverybody was frightened. \n","\t\t\t(to Betsy, cheerfully) \n \t\tSome of this native nonsense. The \n \t\tHoungan has his prescription and \n \t\tDr. Maxwell and I have ours. \n \n \t\t\t\tBETSY \n \t\tYou've never said anything about \n \t\tvoodoo before, Mrs. Rand. \n \n \t\t\t\tMRS. RAND \n \t\tHaven't I? I suppose I take it for","\tANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy \n \truns out from the doorway, takes hold of Jessica's arm and \n \tstarts running with her. There is a movement in the crowd as \n \tif they were about to follow her. From the doorway of the \n \tinner Houmfort, the Houngan calls out: \n \n \t\t\t\tHOUNGAN \n \t\tTrouble. Bad trouble. Let her go.","\tPAGES ARE MISSING AT THIS POINT AS BETSY AND \n \tJESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE \n \tFIELDS TO THE HOUMFORT \n \n \t<u>EXT. THE HOUMFORT - NIGHT \n </u> \n \tLONG SHOT. The camera is behind Betsy and Jessica as they go \n \ttoward the Houmfort through the sugar cane. We see this","\t\tlong story. And not an easy one -- \n \n \t<u>EXT. THE HOUMFORT - NIGHT \n </u> \n \tJessica stands patiently where Betsy had left her. The \n \tSabreur and two Mam-Lois stand near her looking at her and \n \ttalking. We cannot hear what they say. The drumming and the \n \tsong of joy for the coming of Damballa continue over the","\tBetsy taken her place with the others than the Shango ritual \n \tapproaches its climax. The Sabreur, a colored man dressed in \n \twhite shirt and trousers, with a neat dark tie knotted under \n \this collar, comes in, bearing a sabre in his right hand, \n \tholding it in stately, almost processional manner. He \n \tadvances to the altar, strikes it three times and at this \n \tsignal two colored women dressed in white beguine dresses","\t\t\t\tHOLLAND \n \t\tThe Houmfort -- they're trying to \n \t\tget her back there. \n \n \tBetsy and Holland look at each other. Then Betsy takes \n \tJessica's arm. \n \n \t\t\t\tBETSY \n \t\tCome with me, Jessica. \n \n \tObedient again, Jessica allows Betsy to turn her around and","\tdoor. Betsy leading Jessica by the hand takes her place with \n \tthe rest. She is third in the line of suppliants. She can \n \tsee the whole procedure. The suppliant places his forehead \n \tagainst the forehead of the god painted on the door, and \n \tspeaks. The first suppliant is a weary-looking field hand \n \twho shuffles to the door and speaks in such a low tone that","\t\tTi-Peter, how do you ever expect to \n \t\tget to Heaven with one foot in the \n \t\tvoodoo Houmfort and the other in \n \t\tthe Baptist church? \n \n \tThe little black boy looks at her with rolling eyes but does \n \tnot answer. She gives him a playful pat on the behind, \n \tstarting him on his way to the door. \n \n \t\t\t\tMRS. RAND (CONT'D)","\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\this shoulders and turns him around three times, Evidently \n \tthis is absolute guarantee of an enormous income tax to be \n \tpaid at St. Sebastian. The woman and her son retire happily, \n \tpleased and grinning. Finally, exhausted, the girl possessed \n \tof the god, Shango, sinks to her knees and then falls \n \tfainting to the floor. Two colored men come in, carry her \n \taway. A great cry rises from the voodoo worshippers. \n","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>"],["\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\tbottles. Before this altar stands the Houngan, the high \n \tpriest of the voodoo ceremonies, a small, stoop-shouldered \n \tman in a worn, white coat and trousers with ragged cuffs. \n \tSeveral mild-looking negroes in white trousers and shirts sit \n \tin kitchen chairs on one side of the altar with rada drums \n \tbetween their knees. Grouped around this altar in a loose","\t\tMiss Jessica. But the Houngan \n \t\tcured her. \n \n \t\t\t\tBETSY \n \t\tAre you trying to tell me that the \n \t\tHoungan -- the voodoo priest -- \n \t\tcould cure Mrs. Holland? \n \n \t\t\t\tALMA \n \t\tYes, Miss Betsy. I mean that. The \n \t\tHoungan will speak to the rada","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>","\this shoulders and turns him around three times, Evidently \n \tthis is absolute guarantee of an enormous income tax to be \n \tpaid at St. Sebastian. The woman and her son retire happily, \n \tpleased and grinning. Finally, exhausted, the girl possessed \n \tof the god, Shango, sinks to her knees and then falls \n \tfainting to the floor. Two colored men come in, carry her \n \taway. A great cry rises from the voodoo worshippers. \n","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tthe ceremony has taken place. Instantly the drumming and the \n \tsinging stops. A young colored girl jumps up from her seat \n \tamong the worshippers and begins shivering and quaking, \n \tcrying out wordlessly. There is a cry from the people. \n \n \t\t\t\tTHE PEOPLE \n \t\tPut the god in her! Put the god in \n \t\ther! \n \n \tThe Houngan prances forward, followed by the Sabreur. The","\tA hand reaches out from the darkness and takes Betsy's hand \n \tand draws her in. The Houngan follows Betsy into the temple. \n \tThe door shuts behind him. Jessica remains outside, standing \n \tbefore the door. \n \n \t<u>INT. INNER HOUMFORT - NIGHT \n </u> \n \tA match flares and a hand brings it forward to light an oil \n \tlamp which flares brightly, revealing a little room of","\tThere is a great ecstatic shout from the voodoo worshippers. \n \n \t\t\t\tVOODOO WORSHIPPERS \n \t\t\t(shouting) \n \t\tDamballa! Damballa! \n \n \tThe Sabreur dances forward, sword in his left hand and a \n \tlittle plate with rice cakes, in his right. He kneels down \n \tand places the plate near the door jamb. A line forms at the","\tvoodoo temple as they go toward it. It is a rickety \n \tstructure of poles and laths, roofed over with a thin thatch \n \tof sugar cane and straw. It forms a sort of rude pergola. \n \tIn the center of this structure is a small, cubicle hut, made \n \tof rough boards but neatly whitewashed. From the rafters of \n \tthe main structure hang crude chandeliers of tin which give","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n","\t\tTi-Peter, how do you ever expect to \n \t\tget to Heaven with one foot in the \n \t\tvoodoo Houmfort and the other in \n \t\tthe Baptist church? \n \n \tThe little black boy looks at her with rolling eyes but does \n \tnot answer. She gives him a playful pat on the behind, \n \tstarting him on his way to the door. \n \n \t\t\t\tMRS. RAND (CONT'D)","\tthe first portion of their meal and Clement is taking off the \n \tsoup plates. Somewhere off in the hills there is the \n \tululating sounds of a great sea conch being blown. \n \n \t\t\t\tBETSY \n \t\tYou don't seem very disturbed by \n \t\tit. I've always thought Voodoo was \n \t\tsomething to be scared of: the \n \t\tdrums sounded in the hills and \n \t\teverybody was frightened. \n","\t\tmy head. The chanting -- the \n \t\tlights -- everything blurred \n \t\ttogether. And then I heard a \n \t\tvoice, speaking in a sudden \n \t\tsilence. My voice. I was \n \t\tpossessed. I said that the woman \n \t\tat Fort Holland was evil and that \n \t\tthe Houngan must maker her a \n \t\tZombie. \n","\twhitewashed boards, bare except for a table on which stands a \n \tsmall iron tripod from which an iron pot is suspended. \n \tAlthough there is no fire under the pot, the steam rises from \n \tthis receptacle and water boils and bubbles in it. \n \tIt is the Houngan who has lit the lamp and, on the other side \n \tof the table is Mrs. Rand. Her face is serious and unsmiling. \n \n \t\t\t\tBETSY","\t\t\t\tWORSHIPPERS \n \t\tDamballa! Damballa! Damballa! \n \t\tDamballa! \n \n \tThe drums find a new rhythm. The Houngan retires to one \n \tcorner of the altar; the Sabreur to the other. Two young \n \tgirls, their beguine dresses slashed and torn, dance in from \n \teither side. This is a wild and an impassioned dance, a","\tHoungan holds a little saucer in his hand with some dark \n \tliquid at the bottom of it. He dips four fingers into this \n \tliquid while the girl quivers and writhes before him in \n \treligious ecstasy. He marks her forehead with four strange \n \tmarks, one with each finger. The Sabreur, crying out the \n \tname of Shango, four times, points his sabre to the four \n \tdirections of the compass. There is an immediate","\tthe Sabreur, with the drummer crouched behind them. The \n \tSabreur takes the doll from Carre-Four's hand and holds it a \n \tfoot or so away from him. The great black hand reaches for \n \tit. Again the Sabreur takes the doll away and dances off \n \twith mincing steps to a distance of a few yards. Carre-Four \n \tlumbers after him, his hand extended. Again, the Sabreur","\t\t\t\tRAND \n \t\tI know. I shouldn't have asked it. \n \n \tHe starts slowly to the open door. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>EXT. HOUMFORT -- NIGHT \n </u> \n \tThe Houngan and the Sabreur are working over the doll again. \n \tIt begins to move. \n \n \t<u>EXT. GARDEN -- NIGHT"],["\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \n \tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\". \n \n \t\t\t\tMRS. RAND (CONT'D) \n \t\tBetsy! Get her away -- back to the \n \t\tFort! Do as I say -- they won't \n \t\thurt you. \n","\tthe point of his saber in the ground and draws from his \n \tbodkin, a long needle. With one swift movement, he stabs \n \tthis through the doll's back. \n \n \t<u>EXT. GARDEN -- NIGHT \n </u> \n \tAs seen from Rand's ANGLE. He rises slowly, drains the \n \tliquor in his glass, walks forward to where Jessica stands at","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\t<u>INT. SLIT IN WALL OF TOWER -- NIGHT \n </u> \n \tSingle file, the bats sweep out one by one through the \n \tloophole high up in the wall of the tower. Betsy's scream \n \tcontinues to echo. \n \n \t<u>INT. TOWER -- SECOND FLOOR -- NIGHT \n </u> \n \tJessica still continues to walk toward Betsy. Betsy retreats","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\tpulling movements. The conch is being blown with a more \n \tinsistent and compelling note. Still, the doll-figure \n \trefuses to move. The Sabreur stops. The conches are \n \tsuddenly silenced. \n \n \t<u>EXT. GARDEN GATE -- NIGHT \n </u> \n \tIn this sudden silence, Holland and Jessica look at each \n \tother across the motionless figure of Jessica. \n","\tThe kettle of water, without a fire, is still boiling. The \n \tCAMERA MOVES AROUND the room to show that it is empty. Then \n \tMOVES UP ON a small shelf before which a candle is burning. \n \tOn this shelf, a few inches above the candle flame, stands \n \tthe cheap little doll dressed like Jessica, with the needle \n \tin its back. Suddenly, the doll falls forward on its face. \n","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\tto walk forward. He tries to hold her. It is apparent he \n \tcannot do so without the use of considerable force. \n \n \t\t\t\tBETSY \n \t\tJessica! Jessica! \n \n \tShe pays no attention but continues to move forward toward \n \tthe gate. Betsy, realizing that is something outside of her \n \tprevious experiences with the woman, has the presence of mind \n \tto run forward and slam shut the great wrought-iron gate. ","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\tClement is about to follow them when the door to Jessica's \n \tbedroom opens a few inches. Alma puts her head out \n \tcautiously. \n \n \t\t\t\tALMA \n \t\t\t(whispering) \n \t\tClement... \n \n \tClement goes over to her. \n \n \t\t\t\tALMA (cont'd) \n \t\tI'm going to stay with Miss Jessica","\twalks to where Jessica stands. He pulls back the latch bar \n \tand throws the gates wide open. Jessica moves out into the \n \tdarkness. Rand follows her. \n \n \t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \n \n \tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \n \tinto the darkness. \n \n \t<u>INT. HOUMFORT -- NIGHT</u>","\t\t\t(jumping to his feet) \n \t\tYou were so gentlemanly when you \n \t\tdrove Jessica insane -- so polite \n \t\twhen you made her into that! \n \n \tHe subsides in his chair, shaken, entirely out of control. \n \tHe doesn't look at Holland, nor at Betsy but at Jessica. \n \tThey sit there for a moment in complete silence. Then \n \tHolland, obviously holding in his temper, rises and says:","\thanging immobile, close to her slim body. She is blonde and \n \tas far as the light will reveal, she seems beautiful. She \n \tmakes the circuit of the garden, pacing slowly along the \n \tpaths. Betsy watches her. Then, from the living room, a \n \tman's voice calls out to her. \n \n \t\t\t\tHOLLAND'S VOICE \n \t\tJessica. \n","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tJessica walks up against the gate and stands there, unable to \n \tmove any further. They stand and look at her perplexed. \n \n \t<u>EXT. HOUMFORT -- NIGHT \n </u> \n \tThe doll has stopped moving. The Sabreur is exerting all his \n \tforce. We can see the sweat soaking his white shirt. The \n \tothers are chanting, louder now, swaying in rhythm with his"],["\t\tof blame. It's a question of what \n \t\twe are to do with Jessica. The \n \t\tcommissioner is very concerned. \n \n \t\t\t\tJEFFRIES \n \t\tIt has become a serious problem. \n \t\tThere's so much gossip, rumor and \n \t\tagitation about the whole thing. \n \n \t\t\t\tHOLLAND \n \t\tI know. We've felt it at the mill. ","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\thanging immobile, close to her slim body. She is blonde and \n \tas far as the light will reveal, she seems beautiful. She \n \tmakes the circuit of the garden, pacing slowly along the \n \tpaths. Betsy watches her. Then, from the living room, a \n \tman's voice calls out to her. \n \n \t\t\t\tHOLLAND'S VOICE \n \t\tJessica. \n","\tClement is about to follow them when the door to Jessica's \n \tbedroom opens a few inches. Alma puts her head out \n \tcautiously. \n \n \t\t\t\tALMA \n \t\t\t(whispering) \n \t\tClement... \n \n \tClement goes over to her. \n \n \t\t\t\tALMA (cont'd) \n \t\tI'm going to stay with Miss Jessica","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","\t<u>INT. JESSICA'S BEDROOM - DAY \n </u> \n \tIt is a beautiful woman's bedroom, feminine but with no \n \tsuggestion of the bagnic; elegant rather than seductive, and \n \treflecting a playful yet sophisticated taste. The furniture \n \tis Biedermeier. There is a large bed, a trim chaise lounge, \n \ta little slipper chair and in one corner of the room, that","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues","\t\tBetsy, and a generous heart. \n \t\tDon't forget that. Don't call it \n \t\tnothing. \n \n \tBetsy turns wearily and returns to the sick room. Holland is \n \tabout to follow her when he hears a low chuckle and turns to \n \tsee who it is. \n \n \t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>","\t\t\t\tHOLLAND \n \t\tThe Houmfort -- they're trying to \n \t\tget her back there. \n \n \tBetsy and Holland look at each other. Then Betsy takes \n \tJessica's arm. \n \n \t\t\t\tBETSY \n \t\tCome with me, Jessica. \n \n \tObedient again, Jessica allows Betsy to turn her around and","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\t\tbeen drinking too much lately. I \n \t\tknow a great deal more about what \n \t\tgoes on at Fort Holland than you'd \n \t\tthink. I know all about you -- \n \t\tthat you're a nice girl, competent \n \t\tand kind to Jessica. The Fort \n \t\tneeds a girl like you. \n \t\t\t(breaking her mood) \n \t\tBut now we've got to get you back","\t\tNo. You're quite wrong. Right \n \t\there's the seat of the trouble. \n \t\tMrs. Holland has become an object \n \t\tof speculation and religious \n \t\tinterest to these people. It's \n \t\trevived all their old superstitions \n \t\t-- Zombies -- and that sort of \n \t\tnonsense. \n \n \t\t\t\tMRS. RAND","\tat the next window. Again, he tries the bars and peers into \n \tthe room. Again, he vanishes in the darkness. We hear a \n \tfaint sound from the tower. Betsy wakens. Her eyes go \n \tquickly to the bed, where the outline of Jessica's figure \n \treassures her. There is another muffled, dragging sound from \n \tthe tower. Betsy sits up, listens intently. She gets up and","\t\tcruel to Jessica. When I got to \n \t\tknow her -- when I found out how \n \t\tempty and ungenerous she was, there \n \t\twas something about her -- \n \t\tsomething smooth and false -- that \n \t\tmade we want to hurt her. \n \n \t\t\t\tBETSY \n \t\tI can understand that. Everyone \n \t\tfeels that way about someone. \n \n \t\t\t\tHOLLAND"],["\t\tWesley's difficulty brought us \n \t\ttogether. \n \n \tBetsy takes the older woman's hand and they shake hands. \n \n \t\t\t\tBETSY \n \t\tBelieve me, Mrs. Rand, he doesn't \n \t\tdo this often. This is the first \n \t\ttime I've seen him -- \n \n \t\t\t\tMRS. RAND \n \t\tNonsense, child! I know Wesley's","\tHe looks into her eyes and sees the finality of her refusal \n \tthere. His hand drops from her arm and he turns away. \n \n \t\t\t\tBETSY \n \t\t\t(with great pity) \n \t\tHer heart beats, Wes. She \n \t\tbreathes. That's life -- I once \n \t\ttook an oath to guard life. \n \n \tRand straightens up and takes a deep breath. \n","\t\t\t(sincerely) \n \t\tWesley can be very entertaining. \n \n \t\t\t\tBETSY \n \t\t\t(encouraged by his tone) \n \t\tYes, he can. But I've been \n \t\twondering -- you know if you could \n \t\tleave the whisky decanter off the \n \t\ttable -- \n \n \t\t\t\tHOLLAND \n \t\tIt's always stood there, Miss","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\t\tthe patient still lives. I've been \n \t\timagining too, Paul. You didn't \n \t\tthink of that, did you? I saw \n \t\tJessica coming across the garden, I \n \t\theard her voice. \n \n \tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \n \tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE","\t\tYou mean to say Paul can send her \n \t\taway -- that he can hand her over \n \t\tto strangers -- who'll shut her up \n \t\t- maybe mistreat her? He hasn't \n \t\tthat right! \n \n \t\t\t\tMRS. RAND \n \t\t\t(trying to calm him) \n \t\tWesley! \n \n \t\t\t\tDR. MAXWELL \n \t\tI am afraid, Wesley, he has that","\tof the windows. In his face and his posture are complete \n \tdejection, utter misery. \n \n \t\t\t\tRAND \n \t\tBetsy, can I talk to you a minute? \n \n \t\t\t\tBETSY \n \t\t\t(with quiet sympathy) \n \t\tOf course, Wes. \n \n \tShe waits, inquiringly. Rand takes a few steps into the room \n \tand turns to stare through the door, across the garden to","\t\tgo to bed. \n \n \t\t\t\tRAND \n \t\t\t(suddenly) \n \t\tShe's dead. The dead ought to be \n \t\tburied. \n \n \t\t\t\tBETSY \n \t\t\t(gently) \n \t\tBut she's not dead, Wes. \n \n \t\t\t\tRAND \n \t\t\t(violently) \n \t\tYou know what she is! That's death","\t\tyou're every bit as nice as Wes \n \t\tsays you are. \n \n \t\t\t\tMRS. RAND \n \t\tSo -- he says I'm nice. He's a \n \t\tnice boy, too, Miss Connell, a very \n \t\tnice boy. But I'm worried about \n \t\this drinking. \n \n \tShe pauses in her speech, stops for a moment at the very edge","\t\t-- no mind, no senses -- no love, \n \t\tno hate, no feeling -- nothing! \n \n \t\t\t\tBETSY \n \t\tPlease, Wes, do as I ask. You must \n \t\trest, you must sleep. \n \n \tRand turns his hand and lets the tablets fall to the floor. \n \n \t\t\t\tRAND \n \t\t\t(dully) \n \t\tShe should have rest.","\t\tFoolish? Tell them how foolish it \n \t\tis, Paul -- tell them! \n \n \t\t\t\tHOLLAND \n \t\t\t(very calmly but with a \n \t\t\tlittle uncertainty) \n \t\tMy guilt in this matter, if any, \n \t\tWesley, is not the subject of this \n \t\tdiscussion. \n \n \t\t\t\tRAND \n \t\tBut it is, Paul! Because that's","\t\tyou're not responsible -- that \n \t\tevery damnable bit of it doesn't \n \t\trest squarely on your shoulders! \n \n \t\t\t\tMRS. RAND \n \t\tYou're wrong, Wesley. The guilt is \n \t\tmine -- all of it. \n \n \t\t\t\tRAND \n \t\t\t(bitterly) \n \t\tAre you going to lie for him, \n \t\tMother? \n","\tHolland still keeps his silence, although the muscles in his \n \tjaw twitch. \n \n \t\t\t\tRAND (cont'd) \n \t\tWhat are you trying to do, impress \n \t\ther? \n \n \t\t\t\tHOLLAND \n \t\tLet's drop it now, Wes. We can \n \t\ttalk about it later if you want. \n \n \tRand glowers at him and makes no immediate answer. A great","\tlamp, she sees the figure of the Calypso singer, moving \n \tslowly towards her as he sings. \n \n \t\t\t\tCALYPSO SINGER (cont'd) \n \t\t<i>The wife fall down and the evil came \n \t\tAnd it burned her mind in the fever flame.</i> \n \n \tBetsy shakes Rand urgently. \n \n \t\t\t\tBETSY \n \t\tPlease, Wes -- we've got to get","\t\t\t\tBETSY \n \t\tWes. Wesley -- it's time we were \n \t\tstarting home. \n \n \tRand makes some meaningless mumble of words. \n \n \t\t\t\tCALYPSO SINGER \n \t\t<i>The wife and the brother, they want to go, \n \t\tBut the Holland man, he tell them \"no.\"</i> \n \n \tAs Betsy stares nervously into the shadows beyond the street","\t\t\t\tBETSY \n \t\tStill, I feel you should remove the \n \t\tdecanter. Wes is not an alcoholic \n \t\tyet, Mr. Holland. But as a nurse I can \n \t\ttell you that it won't be long before he is. \n \n \t\t\t\tHOLLAND \n \t\t\t(coldly) \n \t\tI'm afraid the decanter will have \n \t\tto stay where it is. I engaged","\tHe starts to rise. Betsy restrains him. The Calypso singer \n \truns off a few feet, makes his little polite bow again, and \n \tthe vanishes. Rand stands practically shaking with rage. \n \tBetsy forces him into a chair. \n \n \t\t\t\tBETSY \n \t\tDon't let it bother you so, Wes. \n \n \t\t\t\tRAND \n \t\tDid you hear what he sang? \n","\tservice has been set out on a long mahogany table. As she \n \tcomes forward, Betsy sees a handsome young man waiting for \n \ther. This is Wesley Rand. The table by which he stands is \n \tset for two and lit by candelabra in great glass hurricane \n \tlamps. The table is laid with white linen, and the \n \tcandlelight gleams on silver and cut-glass arranged in the","\t\t\t(jumping to his feet) \n \t\tYou were so gentlemanly when you \n \t\tdrove Jessica insane -- so polite \n \t\twhen you made her into that! \n \n \tHe subsides in his chair, shaken, entirely out of control. \n \tHe doesn't look at Holland, nor at Betsy but at Jessica. \n \tThey sit there for a moment in complete silence. Then \n \tHolland, obviously holding in his temper, rises and says:"],["\tlike cerements. The fisherman looks for a moment at the body \n \tand then calls off to one of the other fishermen. \n \n \tLONG SHOT -- flounder fishermen, their lights all converging \n \ton a central light. \n \n \t<u>EXT. BEACH -- NIGHT \n </u> \n \tMED. CLOSE SHOT. A group of flounder fishermen come out onto \n \tthe land. They are carrying the bodies of Jessica and Rand. ","\tThey start in the direction of Fort Holland. \n \n \t<u>EXT. GATES AT FORT HOLLAND -- NIGHT \n </u> \n \tThe fishermen come in bearing their tragic burdens. Rand's \n \tbody is carried on the shoulders of four fishermen. Behind \n \twalks Carre-Four and in his gigantic arms is the body of \n \tJessica; her wet hair and garments dripping from the great","\ta famous painting by Boecklin, called \"And the Sea Gave Up \n \tits Dead\" which should somewhat influence the composition of \n \tthis scene.) \n \n \tMED. CLOSE SHOT -- Rand. He walks forward to secure the \n \treturning body. This time, he picks it up in his arms and \n \tstarts wading forward. \n \n \tRand is walking forward with the body in his arms. The sea","\tbody of Jessica so that we see it in the semi-transparency of \n \tthe wave. \n \n \tMED. CLOSE SHOT of Rand. The body comes floating to his \n \tfeet. \n \n \tRand carries the body a little further into the surf so that \n \tthe waves when they come in flow past his knees. Again, the \n \toutsurge takes the body away. \n \n \tA returning wave brings Jessica's body back again. (There is","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\t<u>EXT. SEASHORE -- DAY FOR NIGHT \n </u> \n \tRand carrying Jessica's dead body in his arm, comes down to \n \tthe sand. \n \n \tThe surf. Rand reverently places the body in the lapping \n \twater of the surf. The backward drag of an outgoing wave \n \tdraws it silently away from him. He watches it go. \n \n \tA returning wave, tall and forward curving, upthrusts the","\tarms of the still-living Zombie. The upheld torches and \n \tspears of the fishermen give a weird, processional feeling to \n \tthe group. \n \n \t<u>EXT. DINING TERRACE -- NIGHT \n </u> \n \tHolland, Betsy and Mrs. Rand stand watching the fishermen \n \tbringing in the bodies of the dead. Across the garden from \n \tthe fountain stands the little group of house servants also","\tBetsy stands looking into the dark cistern. The wind still \n \tblows and the conches are sounding from the hills. But the \n \tnoise of the water flowing over the shoulders of St. \n \tSebastian can be heard above these other sounds. The iron \n \tarrows in his breast glisten. \n \n \t\t\t\tBETSY \n \t\t\t(narrating) \n \t\tI don't know how their own love is","\tis up to his hips. The outgoing surge tugs at him. He \n \tstruggles to regain his footing, misses and is drawn out to \n \tsea. \n \n \t<u>EXT. SEA -- NIGHT -- (PROCESS) \n </u> \n \tThe stars seem to have fallen to the surface of the sea. We \n \tsee lights here and there, only a few feet from the water, \n \tflaring and sparkling. \n","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\tIt is a hot, windy night. The bushes in the garden move \n \tviolently with the gusts of wind. Even protected as they are \n \tby the great glass hurricane lamps, the candle flames that \n \tlight the table are agitated and stir restlessly. Tonight \n \tthere are four people at dinner, Holland, Rand, Betsy, in a \n \tsimple print dress, and Jessica, in a lovely evening gown \n \tthat leaves her shoulders and arms bare. They have finished","\t\tconscience has been tormenting you. \n \t\tThe rest is coincidence. There is \n \t\tno such thing as a Zombie. The \n \t\tdead do not come back to life. \n \t\tDeath is final. \n \n \tFrom the hills comes the sound of a single conch, loud and \n \tthin. \n \n \tThe CAMERA PANS from the group around Mrs. Rand to the tower","\t\tEverything good dies here -- even \n \t\tthe stars. \n \n \tHe leaves his position by the mast and walks aft. \n \n \tThe group of negroes at the mainmast. They have stopped \n \tsinging and they sit about the charcoal brazier. They are \n \teating, tearing at the meat with cruel, greedy, animal \n \tgestures. Holland walks past them on his way aft. \n","\tDr. Maxwell on the wall as they work over their patient. \n \tWe hear the murmur of their voices although we cannot hear \n \twhat they are saying. In the doorway itself, leaning against \n \tthe wall looking toward the room expectantly, anxiously, is \n \tHolland, half hidden in the shadows of the arch. The shadows \n \ton the wall straighten up. We see Betsy in shadow drawing \n \ther hand wearily across her forehead. Still in shadow, she","\t\tgleam from millions of tiny dead \n \t\tbodies. It's the glitter of \n \t\tputrescence. There's no beauty \n \t\there -- it's death and decay. \n \n \t\t\t\tBETSY \n \t\tYou can't really believe that. \n \n \tA star falls. They both follow its flight with their eyes. \n \n \t\t\t\tHOLLAND \n \t\t\t(pointing to it)","\tAs the credits FADE, the two human figures advancing along \n \tthe road are more clearly discernible. Although they are not \n \tclose enough to distinguish their faces, it can be seen that \n \tone of them is an enormously tall, cadaverous negro, clothed \n \tonly by ragged, tight-fitting trousers and that the other is \n \tnurse, dressed in crisp white uniform and cap, with a dark \n \tcloak over her shoulders. \n \n","\tchug-chug of a one-cylinder Diesel. \n \n \t<u>EXT. SCHOONER -- WHEEL -- NIGHT \n </u> \n \tTwo men stand by the wheel of the schooner, their faces lit \n \tby the light from the binnacle. Behind them the wake of the \n \tboat creams out, white and phosphorescent. One of the men is \n \tobviously the skipper of the boat, dressed in sloppy white","\ther slippers and negligee and leaves the room. \n \n \t<u>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT \n </u> \n \tBetsy crosses in front of the fountain and goes to the small \n \tpostern door of heavy, iron-bound oaks which leads into the \n \truin. The sound of weeping continues. She tries the door. \n \tIt opens and she goes in, leaving it open behind her. \n","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n"],["\tquietly and cautiously. She starts across the garden toward \n \ther room. From the shadows, Holland steps out barring her \n \tway. \n \n \t\t\t\tHOLLAND \n \t\tWhere have you been, Miss Connell? \n \n \tThere is a pause. Holland stands looking at her, taking in \n \ther bedraggled appearance. \n \n \t\t\t\tBETSY \n \t\t\t(wearily)","\tBetsy. \n \n \t\t\t\tHOLLAND \n \t\tI heard about your little \n \t\tmisadventure yesterday, Miss \n \t\tConnell. \n \t\t\t(with a smile) \n \t\tOn your first \"day off,\" too. \n \n \t\t\t\tBETSY \n \t\tWell, I had a good time up to a \n \t\tpoint. \n \n \t\t\t\tHOLLAND","\t\tConnell. I can remember it in my \n \t\tgrandfather's time and my father's. \n \t\tI'm afraid it will have to remain. \n \n \t\t\t\tBETSY \n \t\tBut for Wes -- it must be a \n \t\ttemptation to him. \n \n \t\t\t\tHOLLAND \n \t\tI've no sympathy with people who \n \t\tcan't resist temptation. \n","\t\t\tBetsy) \n \t\tis Miss Connell -- who is \n \t\tbeautiful. \n \n \t\t\t\tBETSY \n \t\tThank you. But who sits there? \n \t\t\t(indicating a chair at her \n \t\t\tleft) \n \n \t\t\t\tRAND \n \t\tMy brother's wife. \n \n \tThere is a little pause. Rand stands for a very brief","\t\tyou'd only seen her, Miss Connell. \n \t\tShe looked so pretty. \n \n \t\t\t\tBETSY \n \t\tShe must have been beautiful. What \n \t\thappened to her, Alma? \n \n \t\t\t\tALMA \n \t\tShe was very sick and then she went \n \t\tmindless, Miss. \n \n \t\t\t\tBETSY \n \t\t\t(reassuringly)","\t\t\t\tTI-JOSEPH \n \t\tHey, boy! Bring up that mule -- \n \t\tthat white mule, boy. \n \n \tMrs. Rand turns to Betsy. \n \n \t\t\t\tMRS. RAND \n \t\tI really intended going out to the \n \t\tFort and meeting you long before \n \t\tthis, Miss Connell. I'm Mrs. \n \t\tRand -- Wesley's mother. \n","\t\tbeautiful --- \n \n \t\t\t\tHOLLAND \n \t\t\t(coldly) \n \t\tMany people thought her beautiful. \n \n \tBetsy is about to pass on when he asks abruptly: \n \n \t\t\t\tHOLLAND (CONT'D) \n \t\tTell me, Miss Connell. Do you \n \t\tconsider yourself pretty? \n \n \tBetsy is a little taken aback by this, but she recovers","\tlantern light fading off in the distance, as he walks down \n \tthe path. \n \n \t\t\t\tHOLLAND (CONT'D) \n \t\tI've told you, Miss Connell, this \n \t\tis a sad place. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>INT. BETSY'S BEDROOM - DAY \n </u>","\t\tirregular, Miss Connell. I don't \n \t\tquite know how to put it. \n \n \tWilkens straightens himself determinedly and puts down the \n \tpaper. \n \n \t\t\t\tWILKENS (cont'd) \n \t\tDo you believe in witchcraft? \n \n \tBetsy bursts into laughter and we go to our first sight of \n \ther. She is young, bright, alert and looks extremely","\t\tdrought. \n \n \tBetsy comes across the garden with a tray of medicine bottles \n \tin her hands and several linen sheets folded over her arm. \n \tShe meets the two men at the path intersection. \n \n \t\t\t\tHOLLAND \n \t\tGood morning, Miss Connell. \n \n \t\t\t\tBETSY \n \t\tGood morning. \n \n \tHe waves Bayard on and stops for a moment to speak with","\t\tyou'll be out of the mess. \n \n \t\t\t\tRAND \n \t\tBut she isn't. She's been \n \t\tsubpoenaed. \n \n \tHolland turns to the Doctor, his face stricken. \n \n \t\t\t\tDR. MAXWELL \n \t\tMiss Connell's testimony will be \n \t\tvery important. \n \n \t\t\t\tBETSY \n \t\t\t(quietly)","\t\tcase. \n \n \t\t\t\tHOLLAND \n \t\tA mental case? \n \n \t\t\t\tBETSY \n \t\tI'm sorry... \n \n \t\t\t\tHOLLAND \n \t\t\t(again the impersonal \n \t\t\temployer) \n \t\tWhy should you be? My wife is a \n \t\tmental case. Please keep that in \n \t\tmind, Miss Connell -- particularly","\t\tyou, Miss Connell, to take care of \n \t\tmy wife, not my brother. \n \n \tThey look at each other for a moment, then Betsy turns and \n \twalks off without a word. Holland turns to rejoin Bayard at \n \tthe gate. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>EXT. TERRACE -- DINING TABLE -- NIGHT \n </u>","\tby an old coachman in dirty white singlet, a top hat with a \n \tcockade on his graying hair, is making its way along a dusty \n \troad between fields of sugar cane. In the distance, the sea \n \tis visible and above it the great billowing white clouds of \n \tthe Caribbean. Betsy, seated on the back seat of the \n \tcarriage, is bending forward to listen to the old man. \n \n \t\t\t\tCOACHMAN","\tRand puts down the bottle and straightens up. Holland stands \n \twatching him. \n \n \t\t\t\tRAND (CONT'D) \n \t\t\t(to Holland) \n \t\tI was just going to the mill. \n \t\t\t(nods to Betsy) \n \t\tGood night, Miss Connell. \n \n \tBetsy nods and smiles to him. Rand starts toward the gate. \n \n \t\t\t\tHOLLAND","\t\t\t\tHOLLAND \n \t\tMiss Connell, I think it would be \n \t\tbest if I had Clement bring the \n \t\trest of your dinner to your room. \n \n \tHe turns and goes into the living room. Betsy also starts to \n \trise. Rand still stares at Jessica. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>INT. BETSY'S BEDROOM -- NIGHT","\tsimple, linen dress. There is a discreet rap on the \n \tjalousied door which separates the room from the garden. \n \tBetsy crosses the room and opens the door. A colored man in \n \ta butler's white jacket stands there. This is Clement. \n \n \t\t\t\tCLEMENT \n \t\tMiss Connell -- it's dinner. \n \n \t\t\t\tBETSY \n \t\tThank you, Clement. \n","\t\tThank you. \n \n \tHe picks up his bag and walks toward the door. Betsy walks \n \twith him. At the door, he half turns and says: \n \n \t\t\t\tDR. MAXWELL \n \t\tI'll be by in a day or so, Miss \n \t\tConnell, and see how you are \n \t\tgetting on. \n \n \tBetsy nods and then turns back into the room. She walks up","\tslowly and a little aimlessly down one of the village \n \tstreets. \n \n \t\t\t\tRAND'S VOICE \n \t\tBetsy! \n \n \tBetsy turns, as she hears her name, and sees Rand, mounted on \n \ta white saddle mule. (The mule is one of those delicate, \n \tsingle footed saddle animals which they breed in Central \n \tAmerica and the West Indies, very smart-looking and with good","\t\t\t\tHOLLAND (cont'd) \n \t\tShe's decided to go on the next \n \t\tboat. \n \n \t\t\t\tMRS. RAND \n \t\tWhy, Betsy -- we can't lose you. \n \t\tYou mean too much to us here. \n \n \t\t\t\tBETSY \n \t\tThat's sweet of you, Mrs. Rand. \n \n \t\t\t\tHOLLAND"],["\t\tNo, this is quite final. You see, \n \t\tMr. Holland is a sugar planter. He \n \t\tlives in St. Sebastian Island in \n \t\tthe West Indies. \n \n \t\t\t\tBETSY \n \t\tThe West Indies? \n \n \t\t\t\tWILKENS \n \t\t\t(he's been expecting this) \n \t\tA year's contract -- a trip with","\t<u>EXT. GARDEN -- FORT HOLLAND -- DAY \n </u> \n \tHolland is walking down the path from the office toward the \n \tgate. He is carrying a piece of sugar cane in his hand and \n \tis followed by a negro laborer in working clothes, who has \n \tseveral other pieces of cane in his arms. They are talking \n \tas they walk. \n \n \t\t\t\tHOLLAND","\t\towner. \n \n \t\t\t\tBETSY \n \t\tMr. Holland? \n \n \t\t\t\tRAND \n \t\tYes, the redoubtable Paul. He has \n \t\tthe plantation, and I, as you must \n \t\thave noticed, have all the charm. \n \n \t\t\t\tBETSY \n \t\tI don't know. He spoke to me last \n \t\tnight on the boat. I liked him very","\tone end is a raised portion with a low railing surrounding \n \tit. Here Holland has his office. \n \n \tThere is a trestle table with a straight chair behind it, \n \ttypewriter on a stand, and a small wooden filing cabinet with \n \tan old-fashioned letter-press on top of it. There is a \n \tsurveyor's map of the plantation on one wall, and on the \n \tother a Geodetic Survey chart of the island of St. Sebastian. ","\t\tThere -- in the master's chair, \n \t\tsits the master -- my half-brother \n \t\tPaul Holland. But you've already \n \t\tmet him. \n \n \t\t\t\tBETSY \n \t\tYes -- on the boat. \n \n \t\t\t\tRAND \n \t\tAnd that chair -- \n \t\t\t(indicates the chair drawn \n \t\t\tback against the wall) \n \t\tis the particular property of Mrs.","\tPAGES ARE MISSING AT THIS POINT AS BETSY AND \n \tJESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE \n \tFIELDS TO THE HOUMFORT \n \n \t<u>EXT. THE HOUMFORT - NIGHT \n </u> \n \tLONG SHOT. The camera is behind Betsy and Jessica as they go \n \ttoward the Houmfort through the sugar cane. We see this","\t\t\t(over his shoulder as they \n \t\t\twalk) \n \t\tNo. It isn't a drought, Bayard. \n \t\tThe rains are just a little late, \n \t\tthat's all. \n \n \t\t\t\tBAYARD \n \t\tI've seen the drought before, Mr. \n \t\tHolland. The cane's too dry -- it's \n \t\tdangerous that way -- it's the","\t\twhen some of the foolish people of \n \t\tthis island start talking to you \n \t\tabout Zombies. \n \n \tPaul rises and walks around the desk. Betsy also stands. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou will find slave superstition a \n \t\tcontagious thing. Some people let \n \t\tit get the better of them. \n \t\t\t(breaks off and looks at","\t\tTimes gone, Fort Holland was a \n \t\tfort...now, no longer. The \n \t\tHolland's are a most old family, \n \t\tmiss. They brought the colored \n \t\tpeople to the island-- the colored \n \t\tfolks and Ti-Misery. \n \n \t\t\t\tBETSY \n \t\tTi-Misery? What's that? \n \n \t\t\t\tCOACHMAN","\tHolland makes no answer. The conches blow wildly in the \n \thills and a flurry of wind sweeps the garden. \n \n \t\t\t\tRAND (cont'd) \n \t\tAn economy move, I suppose. Or, \n \t\tperhaps, Paul, you decided on a \n \t\tfiner moral standard for our happy \n \t\tlittle household, now that Miss \n \t\tConnell is with us. \n","\t\t\t\tHOLLAND \n \t\tA woman crying? No one's been \n \t\tcrying here. \n \n \t\t\t\tCLEMENT \n \t\tMr. Paul -- yes, there was crying \n \t\ttonight. It was Alma. Her sister \n \t\twas brought a'birthing. \n \n \t\t\t\tHOLLAND \n \t\t\t(with a slight smile) \n \t\tThank you, Clement. \n","\t\tI don't think he can even sit in \n \t\tthe saddle. \n \n \t\t\t\tMRS. RAND \n \t\tDon't worry about a sugar planter. \n \t\tGive him a mule and he'll ride to \n \t\this own funeral. \n \n \tTi-Joseph gets Rand to his feet and helps him stagger around \n \tthe corner. From around the corner we can hear Ti-Joseph \n \tbellowing.","\tin remembering. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tShe promised so much -- warmth and \n \t\tsweetness...she promised -- \n \n \tIn the hills the conches blow wildly, echoing and answering \n \teach other from every direction. For a brief moment, the \n \tnoise is so loud Holland could not speak if he wanted to and \n \tthen, when he can, and does, his voice has changed entirely. ","\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \n \tin a fur-collared coat and has a little round fur cap on her \n \thead. She looks very attractive and very happy. The door of \n \tthe office opens and Paul Holland comes out, muffling up his \n \tovercoat. Betsy takes a half step to meet him. He takes her \n \tarm with a well-used and familiar gesture. \n \n \t\t\t\tPAUL","\t\t\t\tRAND (cont'd) \n \t\tThat's a work drum at the sugar \n \t\tmill. St. Sebastian's version of \n \t\tthe factory whistle. \n \n \tHe finishes the little bit of liquor left in his brandy glass \n \tand gets up. \n \n \t\t\t\tRAND (CONT'D) \n \t\tAs a matter of fact, it means the \n \t\tsugar syrup is ready to be poured","\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\tThis beast comes to a somnolent stop without the coachman so \n \tmuch as touching the reins. As the man climbs down and \n \tstarts to take the luggage out of the carriage, Betsy looks \n \tthrough the wrought-iron gate into the garden. \n \n \tFort Holland is a one-story house built around the garden, \n \twith low covered porches to give shade and breezeway. At the","\tthe stalks. Her panic released, Betsy runs up the steps, \n \tdown the shadowy porch to the door of Holland's bedroom. \n \n \t\t\t\tBETSY \n \t\t\t(in a very low, choked \n \t\t\tcry) \n \t\tPaul...Paul... \n \n \tShe flings herself against the door, turns the handle, and \n \truns into the room, closes the door behind her. Into the","\tThe CAMERA DRAWS BACK to SHOW a tall, masculine figure \n \tleaning against the foremast, behind Betsy. This is Paul \n \tHolland. As we see him, we hear his voice. \n \n \t\t\t\tHOLLAND \n \t\tIt is not beautiful. \n \n \t\t\t\tBETSY \n \t\t\t(surprised but smiling) \n \t\tYou read my thoughts, Mr. Holland. \n","\t\t\t\tHOLLAND \n \t\t\t(in passing) \n \t\tYou're beginning to learn. \n \n \tBetsy looks after him as he walks away into the village. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>EXT. ROAD TO FORT HOLLAND -- DAY -- (PROCESS)</u> \n \n \tAn umbrella-topped surrey, drawn by a gaunt mule and piloted"],["\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\t\t\t\tBETSY \n \t\tI imagined this so differently... \n \n \tHolland takes his hand from her shoulders. \n \n \t\t\t\tHOLLAND \n \t\tI've been waiting here for hours, \n \t\ttrying to imagine Jessica well \n \t\tagain -- wondering what I'd feel. \n \t\tI could see Jessica as she used to \n \t\tbe, I could hear her say in that","\t\t\t\tHOLLAND \n \t\tTechnical responsibility, real \n \t\tresponsibility -- what difference \n \t\tdoes it make? \n \t\t\t(turns back to face them) \n \t\t Jessica lives -- or she dies. \n \t\tThat's what we're talking about! \n \n \tBetsy turns and looks across the room to where Jessica sits \n \tmotionless before the mirror. \n \n \t\t\t\tBETSY","\t\tBetsy feels there is nothing she \n \t\tcan do for Jessica... \n \n \tPAGE MISSING \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \n </u> \n \tRand and Dr. Maxwell come through the gate and walk up the \n \tgarden path. As they do so, Mrs. Rand comes down the porch \n \tsteps. Betsy and Holland follow her. \n","\thanging immobile, close to her slim body. She is blonde and \n \tas far as the light will reveal, she seems beautiful. She \n \tmakes the circuit of the garden, pacing slowly along the \n \tpaths. Betsy watches her. Then, from the living room, a \n \tman's voice calls out to her. \n \n \t\t\t\tHOLLAND'S VOICE \n \t\tJessica. \n","\tthen, searchingly, into her face. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou wouldn't understand that kind \n \t\tof love. You never knew Jessica as \n \t\tshe was. Beautiful, restless, \n \t\twillful -- living in a world with \n \t\troom for nothing but her own image \n \t\tand her own desires. \n \n \tBetsy gently draws her hand away. She watches his face, lost","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\t\t\t\tHOLLAND \n \t\tThe Houmfort -- they're trying to \n \t\tget her back there. \n \n \tBetsy and Holland look at each other. Then Betsy takes \n \tJessica's arm. \n \n \t\t\t\tBETSY \n \t\tCome with me, Jessica. \n \n \tObedient again, Jessica allows Betsy to turn her around and","\t\tNo. It's not just how I felt \n \t\ttoward Jessica. I've been cruel to \n \t\teven you. \n \n \tBesty, smiling, shakes her head. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tThe first night I saw you -- you \n \t\twere looking at the sea. You were \n \t\tenchanted -- and I had to break \n \t\tthat enchantment. Do you","\tJessica's room. \n \n \t\t\t\tRAND \n \t\tDoes she suffer? Does she know \n \t\twhat she is? \n \n \t\t\t\tBETSY \n \t\tI don't know. \n \t\t\t(trying to ease the truth) \n \t\tI once asked Dr. Maxwell the same \n \t\tquestion. He said he thought she \n \t\twas like a sleepwalker who would \n \t\tnever waken.","\t\tcruel to Jessica. When I got to \n \t\tknow her -- when I found out how \n \t\tempty and ungenerous she was, there \n \t\twas something about her -- \n \t\tsomething smooth and false -- that \n \t\tmade we want to hurt her. \n \n \t\t\t\tBETSY \n \t\tI can understand that. Everyone \n \t\tfeels that way about someone. \n \n \t\t\t\tHOLLAND","\t\t\t\tHOLLAND (CONT'D) \n \t\tTake Mrs. Holland to her room. \n \n \t\t\t\tALMA \n \t\t\t(taking Jessica's arm) \n \t\tCome, Miss Jessica, come with Alma. \n \n \t\t\t\tBETSY \n \t\t\t(attempting to get a grip \n \t\t\ton herself. Terribly \n \t\t\tashamed) \n \t\tI heard someone crying -- a woman --","\t\t\t(jumping to his feet) \n \t\tYou were so gentlemanly when you \n \t\tdrove Jessica insane -- so polite \n \t\twhen you made her into that! \n \n \tHe subsides in his chair, shaken, entirely out of control. \n \tHe doesn't look at Holland, nor at Betsy but at Jessica. \n \tThey sit there for a moment in complete silence. Then \n \tHolland, obviously holding in his temper, rises and says:","\t\tInvestigation of what? \n \n \t\t\t\tDR. MAXWELL \n \t\tOf the nature of Mrs. Holland's \n \t\tillness. And, of course, the \n \t\tevents which led up to it. \n \n \t\t\t\tHOLLAND \n \t\tIn other words, I'm on trial. \n \n \t\t\t\tDR. MAXWELL \n \t\tI did everything I could to","\tHolland pulls her close to him, looks down into her eyes. \n \n \t\t\t\tHOLLAND \n \t\tYou think I love Jessica and want \n \t\ther back. It is like you to think \n \t\tthat -- clean, decent thinking. \n \n \t\t\t\tBETSY \n \t\t\t(simply) \n \t\tShe was beautiful. \n \n \t\t\t\tHOLLAND \n \t\tI hated her. \n","\tpulling movements. The conch is being blown with a more \n \tinsistent and compelling note. Still, the doll-figure \n \trefuses to move. The Sabreur stops. The conches are \n \tsuddenly silenced. \n \n \t<u>EXT. GARDEN GATE -- NIGHT \n </u> \n \tIn this sudden silence, Holland and Jessica look at each \n \tother across the motionless figure of Jessica. \n","\tBetsy seats herself. Dr. Maxwell takes a cigarette case from \n \this pocket. He takes a cigarette, holds it up. \n \n \t\t\t\tDR. MAXWELL (cont'd) \n \t\tTo put it simply: Mrs. Holland had \n \t\tone of those high fevers often found \n \t\twith our tropical maladies. We might \n \t\tsay that portions of the spinal cord \n \t\tand certain lobes of the mind were","\t\tof blame. It's a question of what \n \t\twe are to do with Jessica. The \n \t\tcommissioner is very concerned. \n \n \t\t\t\tJEFFRIES \n \t\tIt has become a serious problem. \n \t\tThere's so much gossip, rumor and \n \t\tagitation about the whole thing. \n \n \t\t\t\tHOLLAND \n \t\tI know. We've felt it at the mill. ","\tBetsy tries to turn away from him. He grips her shoulders \n \ttightly. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tI thought I was looking at a woman \n \t\twho loved me and had compassion for \n \t\tme. Yet you made that trip to the \n \t\tHoumfort to bring Jessica back to \n \t\tme -- \n \n \t\t\t\tBETSY \n \t\tYes. \n","\tIn the daylight her emaciated, pale face and great, empty \n \teyes are pitiful but no longer frightening. \n \n \t\t\t\tDR. MAXWELL \n \t\tI'm afraid it won't be easy for me \n \t\tto explain Mrs. Holland's illness, \n \t\tMiss Connell. We have our own \n \t\tdiseases here. But, if you'll sit \n \t\tdown -- \n \t\t\t(indicates a chair)"],["\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \n \tin a fur-collared coat and has a little round fur cap on her \n \thead. She looks very attractive and very happy. The door of \n \tthe office opens and Paul Holland comes out, muffling up his \n \tovercoat. Betsy takes a half step to meet him. He takes her \n \tarm with a well-used and familiar gesture. \n \n \t\t\t\tPAUL","\tFrom her window Betsy can see Holland playing the piano. \n \n \t<u>INT. BETSY'S BEDROOM -- NIGHT \n </u> \n \tBetsy stands watching him. Then suddenly, as if compelled, \n \tshe leaves the window, opens the jalousied door and goes \n \tquickly out into the garden. \n \n \t<u>INT. LIVING ROOM -- NIGHT \n </u>","\tchanges her position and looks out again through the blinds. \n \n \t<u>INT. ANOTHER CORNER OF THE LIVING ROOM -- NIGHT</u> \n \n \tAs seen from Betsy's NEW ANGLE. Paul Holland is seated in a \n \tlow armchair. His eyes are fixed on the woman at the piano. \n \tShe continues to strike odd notes on the piano. \n \n \t<u>INT. BETSY'S ROOM -- NIGHT","\t\t\t\tMRS. RAND (cont'd) \n \t\tPaul! \n \n \tHolland pauses at the head of the stairs and turns to her. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tLet him go. Don't touch him, don't \n \t\ttry to stop him! \n \n \tBetsy has come down the porch behind Holland and she and Mrs.","\tthe stalks. Her panic released, Betsy runs up the steps, \n \tdown the shadowy porch to the door of Holland's bedroom. \n \n \t\t\t\tBETSY \n \t\t\t(in a very low, choked \n \t\t\tcry) \n \t\tPaul...Paul... \n \n \tShe flings herself against the door, turns the handle, and \n \truns into the room, closes the door behind her. Into the","\tBetsy looks up at him, astounded by his words. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tHer selfishness made her empty and \n \t\tdead. She was a possession, a \n \t\tbeautiful possession to own and \n \t\thold -- but I never had a moment's \n \t\tpeace or happiness with her. \n \n \tThey stand there, close together, looking at each other. ","\tthen, searchingly, into her face. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou wouldn't understand that kind \n \t\tof love. You never knew Jessica as \n \t\tshe was. Beautiful, restless, \n \t\twillful -- living in a world with \n \t\troom for nothing but her own image \n \t\tand her own desires. \n \n \tBetsy gently draws her hand away. She watches his face, lost","\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\tBetsy tries to turn away from him. He grips her shoulders \n \ttightly. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tI thought I was looking at a woman \n \t\twho loved me and had compassion for \n \t\tme. Yet you made that trip to the \n \t\tHoumfort to bring Jessica back to \n \t\tme -- \n \n \t\t\t\tBETSY \n \t\tYes. \n","\tquietly and cautiously. She starts across the garden toward \n \ther room. From the shadows, Holland steps out barring her \n \tway. \n \n \t\t\t\tHOLLAND \n \t\tWhere have you been, Miss Connell? \n \n \tThere is a pause. Holland stands looking at her, taking in \n \ther bedraggled appearance. \n \n \t\t\t\tBETSY \n \t\t\t(wearily)","\t\towner. \n \n \t\t\t\tBETSY \n \t\tMr. Holland? \n \n \t\t\t\tRAND \n \t\tYes, the redoubtable Paul. He has \n \t\tthe plantation, and I, as you must \n \t\thave noticed, have all the charm. \n \n \t\t\t\tBETSY \n \t\tI don't know. He spoke to me last \n \t\tnight on the boat. I liked him very","\tBetsy is puzzled and a little alarmed by Holland's strange \n \tutterances and his queer behavior. Over this shot of Betsy \n \tlooking off at him, we hear her as narrator. \n \n \t\t\t\tBETSY \n \t\t\t(narrating) \n \t\tIt was strange to have him break in \n \t\ton my thoughts that way. There was \n \t\tcruelty and hardness in his voice. ","\tSuddenly Holland puts her arms around her. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tBetsy -- \n \n \tShe lifts her face, with a smile of complete love and trust. \n \tHolland studies her face longingly, but does not kiss her. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tI should never have brought you \n \t\there. \n","\tHolland is still playing. The sound of the door opening is \n \theard. It startles him and he turns toward the sound. He \n \tsees Betsy and rises to face her as she steps into the room. \n \n \t\t\t\tBETSY \n \t\tI heard you playing. \n \n \t\t\t\tHOLLAND \n \t\t\t(trying to hide behind \n \t\t\tbrittleness) \n \t\tI often do.","\therself. \n \n \t\t\t\tBETSY \n \t\tI suppose so. Yes. \n \n \t\t\t\tHOLLAND \n \t\tAnd charming? \n \n \t\t\t\tBETSY \n \t\tI've never given it much thought. \n \n \t\t\t\tHOLLAND \n \t\tDon't. It will save you a great \n \t\tdeal of trouble and other people a","\tBetsy. \n \n \t\t\t\tHOLLAND \n \t\tI heard about your little \n \t\tmisadventure yesterday, Miss \n \t\tConnell. \n \t\t\t(with a smile) \n \t\tOn your first \"day off,\" too. \n \n \t\t\t\tBETSY \n \t\tWell, I had a good time up to a \n \t\tpoint. \n \n \t\t\t\tHOLLAND","\t\t\t\tBETSY \n \t\tI imagined this so differently... \n \n \tHolland takes his hand from her shoulders. \n \n \t\t\t\tHOLLAND \n \t\tI've been waiting here for hours, \n \t\ttrying to imagine Jessica well \n \t\tagain -- wondering what I'd feel. \n \t\tI could see Jessica as she used to \n \t\tbe, I could hear her say in that","\t\t\t\tBETSY \n \t\tThere's no happiness for me \n \t\tanywhere else -- \n \n \tHolland shakes his head slowly, hopelessly. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(pleading) \n \t\tPaul, I don't want you to be alone, \n \t\tunhappy -- \n \n \tHolland lets his arms drop from about her shoulders. \n","\tcomes into Holland's face. With a quick gesture, he presses \n \tBetsy back and steps in front of her. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\t\t(a little uncertainly) \n \t\tGet out of here -- \n \n \tCarre-Four is almost upon them. His shoulders press forward \n \tas he reaches out. \n \n \t\t\t\tMRS. RAND","\tThere is a little pause. Then Betsy looks at Holland, her \n \teyes glistening with tears. Betsy turns away slightly, \n \tclosing her eyes for a moment to steady herself. Holland \n \tputs his hands on her shoulders and turns her back to face \n \thim. \n \n \t\t\t\tHOLLAND \n \t\t\t(gently) \n \t\tDon't take it to heart, Betsy. \n"],["\t\t\t\tBETSY \n \t\t\t(narrating) \n \t\tI walked with a zombie. \n \t\t\t(laughs a little, self \n \t\t\tconsciously) \n \t\tIt does seem an odd thing to say. \n \t\tHad anyone said that to me a year \n \t\tago, I'm not at all sure I would \n \t\thave known what a Zombie was. I \n \t\tmight have had some notion -- that","\t\tNo. You're quite wrong. Right \n \t\there's the seat of the trouble. \n \t\tMrs. Holland has become an object \n \t\tof speculation and religious \n \t\tinterest to these people. It's \n \t\trevived all their old superstitions \n \t\t-- Zombies -- and that sort of \n \t\tnonsense. \n \n \t\t\t\tMRS. RAND","\t\twhen some of the foolish people of \n \t\tthis island start talking to you \n \t\tabout Zombies. \n \n \tPaul rises and walks around the desk. Betsy also stands. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou will find slave superstition a \n \t\tcontagious thing. Some people let \n \t\tit get the better of them. \n \t\t\t(breaks off and looks at","\t\thands -- whom the other peasants \n \t\tcall Zombies. I am sure they \n \t\tsuffer from a similar destruction \n \t\tof spinal nerves as the result of \n \t\thigh fever. \n \n \tHe crosses the room and clasps shut the black leather bag in \n \twhich he carries his medicine kit. Betsy rises and walks \n \tover to him. \n \n \t\t\t\tBETSY","\t\tthey were strange and frightening, \n \t\tand perhaps a little funny. But I \n \t\thave walked with a Zombie \n \n \tAs she speaks, the two figures advancing on the road come \n \tcloser. \n \n \t\t\t\tBETSY'S VOICE \n \t\t\t(narrating) \n \t\tIt all began in such an ordinary \n \t\tway -- \n \n \tAs she says this the long road and the advancing figures","\tarms of the still-living Zombie. The upheld torches and \n \tspears of the fishermen give a weird, processional feeling to \n \tthe group. \n \n \t<u>EXT. DINING TERRACE -- NIGHT \n </u> \n \tHolland, Betsy and Mrs. Rand stand watching the fishermen \n \tbringing in the bodies of the dead. Across the garden from \n \tthe fountain stands the little group of house servants also","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\t\tconscience has been tormenting you. \n \t\tThe rest is coincidence. There is \n \t\tno such thing as a Zombie. The \n \t\tdead do not come back to life. \n \t\tDeath is final. \n \n \tFrom the hills comes the sound of a single conch, loud and \n \tthin. \n \n \tThe CAMERA PANS from the group around Mrs. Rand to the tower","\tthe first portion of their meal and Clement is taking off the \n \tsoup plates. Somewhere off in the hills there is the \n \tululating sounds of a great sea conch being blown. \n \n \t\t\t\tBETSY \n \t\tYou don't seem very disturbed by \n \t\tit. I've always thought Voodoo was \n \t\tsomething to be scared of: the \n \t\tdrums sounded in the hills and \n \t\teverybody was frightened. \n","\tothers walking idly. Betsy, followed by a black sailor with \n \ther suitcases, comes down the gangway. Parallel to this \n \tgangway is another. \n \n \tUp the second gangway, in file, black stevedores with bundles \n \tof sugar cane and small bales of sisal hemp on their heads, \n \tgo up to the boat. \n \n \tOn the dock, Betsy makes her way through a group of clamorous","</u> \n \tHolland, Clement and Alma come up the stairs. Clement's \n \tlantern, held high, illuminates the room, disclosing Jessica \n \tstill walking and Betsy cowering away from her. \n \n \t\t\t\tHOLLAND \n \t\tJessica! \n \n \tThe woman stops and turns slowly toward him. He speaks \n \thurriedly to Alma. \n","\tslightly. Betsy looks across the empty, defenseless space \n \tbetween herself and the porch steps. Steeling herself, she \n \tmoves into it, walking with the slowness of nightmare fear, \n \tlooking from side to side with the slightest possible move of \n \ther head. At the foot of the steps, she turns to look back \n \tat the bamboo. A distorted shadow slithers out from under","\tof the place is faintly lit by the open door into Jessica's \n \twindowed bedroom. She stands at the foot of the circling \n \tstone stairs, straining to see into the darkness above. \n \tOverhead, there is a sudden commotion of wings and shrilling \n \t- something has disturbed the bats. Very slowly and \n \thesitantly, Betsy moves up a few steps. \n","\t\tmy head. The chanting -- the \n \t\tlights -- everything blurred \n \t\ttogether. And then I heard a \n \t\tvoice, speaking in a sudden \n \t\tsilence. My voice. I was \n \t\tpossessed. I said that the woman \n \t\tat Fort Holland was evil and that \n \t\tthe Houngan must maker her a \n \t\tZombie. \n","\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \n \tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\". \n \n \t\t\t\tMRS. RAND (CONT'D) \n \t\tBetsy! Get her away -- back to the \n \t\tFort! Do as I say -- they won't \n \t\thurt you. \n","\tsemicircle are the worshippers, a group of mild-mannered, \n \tpoorly-but-neatly-dressed negroes. They seem to have made an \n \teffort to dress in their best and their best is very poor \n \tindeed. As Betsy approaches, she can see familiar faces. \n \tAs she comes up they turn and look at her. They are not \n \thostile nor greatly surprised; just mildly curious. Leading","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\tThe room is in darkness. In the faint light from the barred \n \twindows, we see Betsy sleeping on the chaise lounge. A \n \tshadow moves across her face. Through the window, we see the \n \tgreat, cadaverous figure of Carre-Four. His hand closes \n \taround the bars, his face presses against them. Then he lets \n \tgo of the bars and slips out of sight. His figure reappears","\tBetsy is puzzled and a little alarmed by Holland's strange \n \tutterances and his queer behavior. Over this shot of Betsy \n \tlooking off at him, we hear her as narrator. \n \n \t\t\t\tBETSY \n \t\t\t(narrating) \n \t\tIt was strange to have him break in \n \t\ton my thoughts that way. There was \n \t\tcruelty and hardness in his voice. ","\t\t\t\tALMA \n \t\tThey even cure nonsense, Miss \n \t\tBetsy. Mama Rose was mindless. I \n \t\twas at the Houmfort when the \n \t\tHoungan brought her mind back. \n \n \t\t\t\tBETSY \n \t\tYou mean Mama Rose was like Mrs. \n \t\tHolland? \n \n \t\t\t\tALMA \n \t\tNo. She was mindless but not like"],["\t\tMiss Jessica. But the Houngan \n \t\tcured her. \n \n \t\t\t\tBETSY \n \t\tAre you trying to tell me that the \n \t\tHoungan -- the voodoo priest -- \n \t\tcould cure Mrs. Holland? \n \n \t\t\t\tALMA \n \t\tYes, Miss Betsy. I mean that. The \n \t\tHoungan will speak to the rada","\tA hand reaches out from the darkness and takes Betsy's hand \n \tand draws her in. The Houngan follows Betsy into the temple. \n \tThe door shuts behind him. Jessica remains outside, standing \n \tbefore the door. \n \n \t<u>INT. INNER HOUMFORT - NIGHT \n </u> \n \tA match flares and a hand brings it forward to light an oil \n \tlamp which flares brightly, revealing a little room of","\tJessica's hand in hers, Betsy takes her place at the door. \n \tShe puts her forehead against the crudely painted forehead of \n \tthe god. She talks to the door. \n \n \t\t\t\tBETSY \n \t\tDamballa! This woman is sick. \n \n \tThe door swings open slowly. The feeble light of the outer \n \tHoumfort does not penetrate the darkness of the inner temple.","\tJessica by the hand, Betsy takes her place at one end of the \n \tsemicircle around the altar. Her arrival has in no way \n \tinterrupted the ceremonies. The Houngan continues to chant \n \tbefore the altar, the rada drums beat and the crowd sings the \n \tchorus of the Shango song at the proper intervals. It is all \n \tvery decorous and decidedly religious in tone. No sooner has","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\tbottles. Before this altar stands the Houngan, the high \n \tpriest of the voodoo ceremonies, a small, stoop-shouldered \n \tman in a worn, white coat and trousers with ragged cuffs. \n \tSeveral mild-looking negroes in white trousers and shirts sit \n \tin kitchen chairs on one side of the altar with rada drums \n \tbetween their knees. Grouped around this altar in a loose","\t\t\t(to Betsy, cheerfully) \n \t\tSome of this native nonsense. The \n \t\tHoungan has his prescription and \n \t\tDr. Maxwell and I have ours. \n \n \t\t\t\tBETSY \n \t\tYou've never said anything about \n \t\tvoodoo before, Mrs. Rand. \n \n \t\t\t\tMRS. RAND \n \t\tHaven't I? I suppose I take it for","\tthe first portion of their meal and Clement is taking off the \n \tsoup plates. Somewhere off in the hills there is the \n \tululating sounds of a great sea conch being blown. \n \n \t\t\t\tBETSY \n \t\tYou don't seem very disturbed by \n \t\tit. I've always thought Voodoo was \n \t\tsomething to be scared of: the \n \t\tdrums sounded in the hills and \n \t\teverybody was frightened. \n","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>","\tBetsy taken her place with the others than the Shango ritual \n \tapproaches its climax. The Sabreur, a colored man dressed in \n \twhite shirt and trousers, with a neat dark tie knotted under \n \this collar, comes in, bearing a sabre in his right hand, \n \tholding it in stately, almost processional manner. He \n \tadvances to the altar, strikes it three times and at this \n \tsignal two colored women dressed in white beguine dresses","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\twhitewashed boards, bare except for a table on which stands a \n \tsmall iron tripod from which an iron pot is suspended. \n \tAlthough there is no fire under the pot, the steam rises from \n \tthis receptacle and water boils and bubbles in it. \n \tIt is the Houngan who has lit the lamp and, on the other side \n \tof the table is Mrs. Rand. Her face is serious and unsmiling. \n \n \t\t\t\tBETSY","\t\t\t\tALMA \n \t\tThey even cure nonsense, Miss \n \t\tBetsy. Mama Rose was mindless. I \n \t\twas at the Houmfort when the \n \t\tHoungan brought her mind back. \n \n \t\t\t\tBETSY \n \t\tYou mean Mama Rose was like Mrs. \n \t\tHolland? \n \n \t\t\t\tALMA \n \t\tNo. She was mindless but not like","\this shoulders and turns him around three times, Evidently \n \tthis is absolute guarantee of an enormous income tax to be \n \tpaid at St. Sebastian. The woman and her son retire happily, \n \tpleased and grinning. Finally, exhausted, the girl possessed \n \tof the god, Shango, sinks to her knees and then falls \n \tfainting to the floor. Two colored men come in, carry her \n \taway. A great cry rises from the voodoo worshippers. \n","\t\tlong story. And not an easy one -- \n \n \t<u>EXT. THE HOUMFORT - NIGHT \n </u> \n \tJessica stands patiently where Betsy had left her. The \n \tSabreur and two Mam-Lois stand near her looking at her and \n \ttalking. We cannot hear what they say. The drumming and the \n \tsong of joy for the coming of Damballa continue over the","\t\tmy head. The chanting -- the \n \t\tlights -- everything blurred \n \t\ttogether. And then I heard a \n \t\tvoice, speaking in a sudden \n \t\tsilence. My voice. I was \n \t\tpossessed. I said that the woman \n \t\tat Fort Holland was evil and that \n \t\tthe Houngan must maker her a \n \t\tZombie. \n","\t\t\t\tWORSHIPPERS \n \t\tDamballa! Damballa! Damballa! \n \t\tDamballa! \n \n \tThe drums find a new rhythm. The Houngan retires to one \n \tcorner of the altar; the Sabreur to the other. Two young \n \tgirls, their beguine dresses slashed and torn, dance in from \n \teither side. This is a wild and an impassioned dance, a","\t\tdrums and the drums will speak to \n \t\tShango and Damballa. \n \n \tThe CAMERA MOVES IN to a CLOSE TWO SHOT of both women's \n \tfaces, Betsy looking thoughtfully at Alma and Alma returning \n \tthe gaze with equal intensity. \n \n \t\t\t\tALMA (CONT'D) \n \t\t\t(softly) \n \t\tBetter doctors -- \n","\tHoungan holds a little saucer in his hand with some dark \n \tliquid at the bottom of it. He dips four fingers into this \n \tliquid while the girl quivers and writhes before him in \n \treligious ecstasy. He marks her forehead with four strange \n \tmarks, one with each finger. The Sabreur, crying out the \n \tname of Shango, four times, points his sabre to the four \n \tdirections of the compass. There is an immediate"],["\tthe Sabreur, with the drummer crouched behind them. The \n \tSabreur takes the doll from Carre-Four's hand and holds it a \n \tfoot or so away from him. The great black hand reaches for \n \tit. Again the Sabreur takes the doll away and dances off \n \twith mincing steps to a distance of a few yards. Carre-Four \n \tlumbers after him, his hand extended. Again, the Sabreur","\tJessica walks up against the gate and stands there, unable to \n \tmove any further. They stand and look at her perplexed. \n \n \t<u>EXT. HOUMFORT -- NIGHT \n </u> \n \tThe doll has stopped moving. The Sabreur is exerting all his \n \tforce. We can see the sweat soaking his white shirt. The \n \tothers are chanting, louder now, swaying in rhythm with his","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\tpulling movements. The conch is being blown with a more \n \tinsistent and compelling note. Still, the doll-figure \n \trefuses to move. The Sabreur stops. The conches are \n \tsuddenly silenced. \n \n \t<u>EXT. GARDEN GATE -- NIGHT \n </u> \n \tIn this sudden silence, Holland and Jessica look at each \n \tother across the motionless figure of Jessica. \n","\tthe point of his saber in the ground and draws from his \n \tbodkin, a long needle. With one swift movement, he stabs \n \tthis through the doll's back. \n \n \t<u>EXT. GARDEN -- NIGHT \n </u> \n \tAs seen from Rand's ANGLE. He rises slowly, drains the \n \tliquor in his glass, walks forward to where Jessica stands at","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n","\tThe CAMERA PANS ALONG the thread to show us that the other \n \tend of the thread, some twenty feet long, is held by a negro, \n \tcrouched near the altar. Halfway between this man and the \n \tdoll, the Sabreur, his sword stuck in the mound before him, \n \tstraddles the thread, his hands clasped around the thread but \n \tnot touching it. Carre-Four stands watching. \n","\tscene. Suddenly, as if he had arrived at some decision, the \n \tSabreur, holding his sword stiffly in front of him, starts \n \ttoward Jessica with little mincing steps. \n \n \t<u>INT. INNER HOUMFORT -- NIGHT \n </u> \n \tMrs. Rand, as if continuing with something she has been \n \ttalking about for a long time -- \n \n \t\t\t\tMRS. RAND","\tThe kettle of water, without a fire, is still boiling. The \n \tCAMERA MOVES AROUND the room to show that it is empty. Then \n \tMOVES UP ON a small shelf before which a candle is burning. \n \tOn this shelf, a few inches above the candle flame, stands \n \tthe cheap little doll dressed like Jessica, with the needle \n \tin its back. Suddenly, the doll falls forward on its face. \n","\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \n \tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\". \n \n \t\t\t\tMRS. RAND (CONT'D) \n \t\tBetsy! Get her away -- back to the \n \t\tFort! Do as I say -- they won't \n \t\thurt you. \n","\tBetsy taken her place with the others than the Shango ritual \n \tapproaches its climax. The Sabreur, a colored man dressed in \n \twhite shirt and trousers, with a neat dark tie knotted under \n \this collar, comes in, bearing a sabre in his right hand, \n \tholding it in stately, almost processional manner. He \n \tadvances to the altar, strikes it three times and at this \n \tsignal two colored women dressed in white beguine dresses","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tlets him take the doll. \n \n \tCLOSE SHOT of Carre-Four's hand with the doll upon it. From \n \tunderneath, the smaller hand of the Sabreur comes in and \n \tcloses the great black fingers over the little white doll. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>INT. MRS. HOLLAND'S BEDROOM -- NIGHT \n </u>","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>","\t<u>INT. INNER HOUMFORT -- DAY</u> \n \n \tAlthough it is broad daylight, the Inner Houmfort is lit with \n \ta rush light which burns weakly. The ceremonial pot of \n \tboiling water has been removed from the table and, in its \n \tplace, squatting cross-legged like a tailor, sits the \n \tSabreur. With one hand he holds upright a small, cheaply-made","\t\tright. And I will have to urge him \n \t\tto use it. \n \n \t\t\t\tRAND \n \t\tI tell you he hasn't and he \n \t\twouldn't dare use it if he had. \n \n \t\t\t\tJEFFRIES \n \t\tWhy? \n \n \t\t\t\tRAND \n \t\tBecause he drove Jessica insane -- \n \t\tdeliberately -- coldly! \n","\tsilhouette against the darkening sky. A single rada drum is \n \tbeing beaten in light, quick rhythm. Someone sets fire to a \n \theaped-up bonfire of dry leaves. The flames blazing up \n \tilluminate the scene more clearly, so that we can see a small \n \tgroup of voodoo adepts squatting on their heels in a ring \n \taround the bonfire. Near the bonfire stand Carre-Four and","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\twalks to where Jessica stands. He pulls back the latch bar \n \tand throws the gates wide open. Jessica moves out into the \n \tdarkness. Rand follows her. \n \n \t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \n \n \tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \n \tinto the darkness. \n \n \t<u>INT. HOUMFORT -- NIGHT</u>"],["\tthe point of his saber in the ground and draws from his \n \tbodkin, a long needle. With one swift movement, he stabs \n \tthis through the doll's back. \n \n \t<u>EXT. GARDEN -- NIGHT \n </u> \n \tAs seen from Rand's ANGLE. He rises slowly, drains the \n \tliquor in his glass, walks forward to where Jessica stands at","\tJessica walks up against the gate and stands there, unable to \n \tmove any further. They stand and look at her perplexed. \n \n \t<u>EXT. HOUMFORT -- NIGHT \n </u> \n \tThe doll has stopped moving. The Sabreur is exerting all his \n \tforce. We can see the sweat soaking his white shirt. The \n \tothers are chanting, louder now, swaying in rhythm with his","\tThe kettle of water, without a fire, is still boiling. The \n \tCAMERA MOVES AROUND the room to show that it is empty. Then \n \tMOVES UP ON a small shelf before which a candle is burning. \n \tOn this shelf, a few inches above the candle flame, stands \n \tthe cheap little doll dressed like Jessica, with the needle \n \tin its back. Suddenly, the doll falls forward on its face. \n","\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \n \tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \"ZOMBIE\". \n \n \t\t\t\tMRS. RAND (CONT'D) \n \t\tBetsy! Get her away -- back to the \n \t\tFort! Do as I say -- they won't \n \t\thurt you. \n","\t\tthe patient still lives. I've been \n \t\timagining too, Paul. You didn't \n \t\tthink of that, did you? I saw \n \t\tJessica coming across the garden, I \n \t\theard her voice. \n \n \tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \n \tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tpulling movements. The conch is being blown with a more \n \tinsistent and compelling note. Still, the doll-figure \n \trefuses to move. The Sabreur stops. The conches are \n \tsuddenly silenced. \n \n \t<u>EXT. GARDEN GATE -- NIGHT \n </u> \n \tIn this sudden silence, Holland and Jessica look at each \n \tother across the motionless figure of Jessica. \n","\tBetsy taken her place with the others than the Shango ritual \n \tapproaches its climax. The Sabreur, a colored man dressed in \n \twhite shirt and trousers, with a neat dark tie knotted under \n \this collar, comes in, bearing a sabre in his right hand, \n \tholding it in stately, almost processional manner. He \n \tadvances to the altar, strikes it three times and at this \n \tsignal two colored women dressed in white beguine dresses","\tfive-and-ten-cent store doll which represents Jessica. From \n \tbeneath this hand, another smaller black hand comes in and \n \tcloses the great fingers around the doll. \n \n \tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \n \tThe light is fading. The posts of the Houmfort and the \n \tfigures of several voodoo worshippers are outlined in","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\tscene. Suddenly, as if he had arrived at some decision, the \n \tSabreur, holding his sword stiffly in front of him, starts \n \ttoward Jessica with little mincing steps. \n \n \t<u>INT. INNER HOUMFORT -- NIGHT \n </u> \n \tMrs. Rand, as if continuing with something she has been \n \ttalking about for a long time -- \n \n \t\t\t\tMRS. RAND","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\tThe CAMERA PANS ALONG the thread to show us that the other \n \tend of the thread, some twenty feet long, is held by a negro, \n \tcrouched near the altar. Halfway between this man and the \n \tdoll, the Sabreur, his sword stuck in the mound before him, \n \tstraddles the thread, his hands clasped around the thread but \n \tnot touching it. Carre-Four stands watching. \n","\tthe Sabreur, with the drummer crouched behind them. The \n \tSabreur takes the doll from Carre-Four's hand and holds it a \n \tfoot or so away from him. The great black hand reaches for \n \tit. Again the Sabreur takes the doll away and dances off \n \twith mincing steps to a distance of a few yards. Carre-Four \n \tlumbers after him, his hand extended. Again, the Sabreur","\tSabreur and the wild chanting of the voodoo adepts. Nothing \n \tcan make it move again. There is a whispered consultation \n \tbetween the Sabreur and the Houngan. The Houngan lifts his \n \thand and the drums begin to beat a light rapid rhythm. \n \n \tThe Sabreur dances toward the doll, making a menacing move \n \twith his saber. When he reaches the little image, he puts","\tdanced in the voodoo ceremony is kneeling before the table. \n \tIt is her hands which have dressed the doll. There are about \n \tfive people in the room, including the three drummers. The \n \tSabreur makes magical passes over the doll. \n \n \t\t\t\t\t\t\tFADE OUT \n \n \tFADE IN \n \n \t<u>EXT. GATES OF FORT HOLLAND -- DAY \n </u>","\tlets him take the doll. \n \n \tCLOSE SHOT of Carre-Four's hand with the doll upon it. From \n \tunderneath, the smaller hand of the Sabreur comes in and \n \tcloses the great black fingers over the little white doll. \n \n \t\t\t\t\t\t\tDISSOLVE \n \n \t<u>INT. MRS. HOLLAND'S BEDROOM -- NIGHT \n </u>","\tA hand reaches out from the darkness and takes Betsy's hand \n \tand draws her in. The Houngan follows Betsy into the temple. \n \tThe door shuts behind him. Jessica remains outside, standing \n \tbefore the door. \n \n \t<u>INT. INNER HOUMFORT - NIGHT \n </u> \n \tA match flares and a hand brings it forward to light an oil \n \tlamp which flares brightly, revealing a little room of","\t\tright. And I will have to urge him \n \t\tto use it. \n \n \t\t\t\tRAND \n \t\tI tell you he hasn't and he \n \t\twouldn't dare use it if he had. \n \n \t\t\t\tJEFFRIES \n \t\tWhy? \n \n \t\t\t\tRAND \n \t\tBecause he drove Jessica insane -- \n \t\tdeliberately -- coldly! \n","\tThe conch is blowing its strange, magnetic call and the \n \tnegroes are chanting as they watch the Sabreur and the doll. \n \tThe Sabreur makes motions as if he were pulling on the thread \n \tbut still does no touch it. He makes these motions over and \n \tover again. The doll moves slowly. Then suddenly stops. \n \tThe Sabreur's most frantic efforts fail to move it. \n \n \tOMITTED \n"],["\t<u>EXT. SEASHORE -- DAY FOR NIGHT \n </u> \n \tRand carrying Jessica's dead body in his arm, comes down to \n \tthe sand. \n \n \tThe surf. Rand reverently places the body in the lapping \n \twater of the surf. The backward drag of an outgoing wave \n \tdraws it silently away from him. He watches it go. \n \n \tA returning wave, tall and forward curving, upthrusts the","\tbody of Jessica so that we see it in the semi-transparency of \n \tthe wave. \n \n \tMED. CLOSE SHOT of Rand. The body comes floating to his \n \tfeet. \n \n \tRand carries the body a little further into the surf so that \n \tthe waves when they come in flow past his knees. Again, the \n \toutsurge takes the body away. \n \n \tA returning wave brings Jessica's body back again. (There is","\tThey start in the direction of Fort Holland. \n \n \t<u>EXT. GATES AT FORT HOLLAND -- NIGHT \n </u> \n \tThe fishermen come in bearing their tragic burdens. Rand's \n \tbody is carried on the shoulders of four fishermen. Behind \n \twalks Carre-Four and in his gigantic arms is the body of \n \tJessica; her wet hair and garments dripping from the great","\t\tthe patient still lives. I've been \n \t\timagining too, Paul. You didn't \n \t\tthink of that, did you? I saw \n \t\tJessica coming across the garden, I \n \t\theard her voice. \n \n \tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \n \tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE","\t\tpretended to be possessed by their \n \t\tgods... \n \n \tThey stare at her, dumbfounded. \n \n \t\t\t\tMRS. RAND (cont'd) \n \t\tBut what I did to Jessica was worse \n \t\tthan that. It was when she going \n \t\taway with Wesley. There was that \n \t\thorrible scene. \n \n \tShe turns to Rand. \n","\tstealthily forward, spear poised, torch held low. \n \tSomething on the surface of the water near-by attracts his \n \tattention and he lifts up his torch, the periphery of the \n \tlight widening as he holds it aloft. The widening light \n \treveals the dead body of Jessica afloat on the surface of the \n \twater, pallid and dreamlike, her wet, white garments clinging","\tlike cerements. The fisherman looks for a moment at the body \n \tand then calls off to one of the other fishermen. \n \n \tLONG SHOT -- flounder fishermen, their lights all converging \n \ton a central light. \n \n \t<u>EXT. BEACH -- NIGHT \n </u> \n \tMED. CLOSE SHOT. A group of flounder fishermen come out onto \n \tthe land. They are carrying the bodies of Jessica and Rand. ","\ta famous painting by Boecklin, called \"And the Sea Gave Up \n \tits Dead\" which should somewhat influence the composition of \n \tthis scene.) \n \n \tMED. CLOSE SHOT -- Rand. He walks forward to secure the \n \treturning body. This time, he picks it up in his arms and \n \tstarts wading forward. \n \n \tRand is walking forward with the body in his arms. The sea","\tThe crowd subsides. \n \n \tDISSOLVE \n \n \t<u>EXT. THE BANYAN TREE -- NIGHT \n </u> \n \tBetsy and Jessica pass quickly under the dead goat, on their \n \tway home. \n \n \t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \n </u> \n \tBetsy comes out of the tower door, closing it behind her very","\twoman stops directly in the shaft of moonlight. \n \n \tCLOSEUP of Jessica. This is the face of the dead; bloodless, \n \tcold-lidded, eyes open and unseeing, washed white with the \n \tpallor of the moonlight, framed in lank, lifeless tresses of \n \tblonde hair. \n \n \t\t\t\tBETSY (cont'd) \n \t\t\t(a frightened questioning","\tBetsy shakes her head. \n \n \t\t\t\tBETSY \n \t\tNo, Wes. \n \n \t\t\t\tRAND \n \t\tJessica was never any good for \n \t\tPaul. You will be, you are. And \n \t\tMother -- seeing Jessica day after \n \t\tday -- never able to escape, never \n \t\table to forget. Please, Betsy -- \n \t\tit's only merciful. \n","\tHe looks into her eyes and sees the finality of her refusal \n \tthere. His hand drops from her arm and he turns away. \n \n \t\t\t\tBETSY \n \t\t\t(with great pity) \n \t\tHer heart beats, Wes. She \n \t\tbreathes. That's life -- I once \n \t\ttook an oath to guard life. \n \n \tRand straightens up and takes a deep breath. \n","\twalks to where Jessica stands. He pulls back the latch bar \n \tand throws the gates wide open. Jessica moves out into the \n \tdarkness. Rand follows her. \n \n \t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \n \n \tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \n \tinto the darkness. \n \n \t<u>INT. HOUMFORT -- NIGHT</u>","\tthen, searchingly, into her face. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tYou wouldn't understand that kind \n \t\tof love. You never knew Jessica as \n \t\tshe was. Beautiful, restless, \n \t\twillful -- living in a world with \n \t\troom for nothing but her own image \n \t\tand her own desires. \n \n \tBetsy gently draws her hand away. She watches his face, lost","\tThe kettle of water, without a fire, is still boiling. The \n \tCAMERA MOVES AROUND the room to show that it is empty. Then \n \tMOVES UP ON a small shelf before which a candle is burning. \n \tOn this shelf, a few inches above the candle flame, stands \n \tthe cheap little doll dressed like Jessica, with the needle \n \tin its back. Suddenly, the doll falls forward on its face. \n","\t\t\t\tHOLLAND (cont'd) \n \t\tBefore Jessica was taken ill, there \n \t\twas a scene. An ugly scene. I \n \t\ttold her I wouldn't let her go, \n \t\tthat I'd hold her by force if \n \t\tnecessary. \n \n \tBetsy puts her hand on his arm, in an instinctive gesture of \n \tsympathy and comfort. Holland looks down at her hand and","\t\t\twhisper over the closeup) \n \t\tMrs. Holland -- ? \n \n \tWithout expression, Jessica moves toward her. \n \n \tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \n \tBetsy, who takes a step back. They are out of the moonlight \n \tnow, but the pale face of the woman seems to glow in the \n \tdarkness. She keeps advancing toward Betsy. Betsy screams --","\t\tNo. It's not just how I felt \n \t\ttoward Jessica. I've been cruel to \n \t\teven you. \n \n \tBesty, smiling, shakes her head. \n \n \t\t\t\tHOLLAND (cont'd) \n \t\tThe first night I saw you -- you \n \t\twere looking at the sea. You were \n \t\tenchanted -- and I had to break \n \t\tthat enchantment. Do you","\tto walk forward. He tries to hold her. It is apparent he \n \tcannot do so without the use of considerable force. \n \n \t\t\t\tBETSY \n \t\tJessica! Jessica! \n \n \tShe pays no attention but continues to move forward toward \n \tthe gate. Betsy, realizing that is something outside of her \n \tprevious experiences with the woman, has the presence of mind \n \tto run forward and slam shut the great wrought-iron gate. ","\t<u>EXT. THE GARDEN -- NIGHT \n </u> \n \tANOTHER ANGLE -- Jessica comes slowly past the fountain. \n \n \t\t\t\tRAND'S VOICE \n \t\tJessica! \n \n \tShe does not seem to hear but continues walking toward the \n \tgate. We hear the sound of running feet. Holland and Betsy \n \trun up to Jessica. Holland takes her arm, but she continues"]],"string":"[\n [\n \"\\t\\tmuch. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(pouring another drink) \\n \\t\\tAh, yes, our Paul, strong and \\n \\t\\tsilent and very sad -- quite the \\n \\t\\tByronic character. Perhaps I ought \\n \\t\\tto cultivate it. \\n \\n \\tThe drum sounds again. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(smiling and pointing off)\",\n \"\\t\\tyou're every bit as nice as Wes \\n \\t\\tsays you are. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tSo -- he says I'm nice. He's a \\n \\t\\tnice boy, too, Miss Connell, a very \\n \\t\\tnice boy. But I'm worried about \\n \\t\\this drinking. \\n \\n \\tShe pauses in her speech, stops for a moment at the very edge\",\n \"\\t\\tbeen drinking too much lately. I \\n \\t\\tknow a great deal more about what \\n \\t\\tgoes on at Fort Holland than you'd \\n \\t\\tthink. I know all about you -- \\n \\t\\tthat you're a nice girl, competent \\n \\t\\tand kind to Jessica. The Fort \\n \\t\\tneeds a girl like you. \\n \\t\\t\\t(breaking her mood) \\n \\t\\tBut now we've got to get you back\",\n \"\\t\\tYou mean to say Paul can send her \\n \\t\\taway -- that he can hand her over \\n \\t\\tto strangers -- who'll shut her up \\n \\t\\t- maybe mistreat her? He hasn't \\n \\t\\tthat right! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(trying to calm him) \\n \\t\\tWesley! \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI am afraid, Wesley, he has that\",\n \"\\tof Ti-Joseph's domain and takes Betsy's arm. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tYou could do me a great favor. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(eagerly) \\n \\t\\tI'd love to. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tUse your influence with Paul. Ask \\n \\t\\thim to take that whiskey decanter\",\n \"\\t\\tOne of these days he'll start on \\n \\t\\tyou, the way he did on her. \\n \\t\\t\\t(imitating) \\n \\t\\t\\\"You think life's beautiful, don't \\n \\t\\tyou, Jessica? You think you're \\n \\t\\tbeautiful, don't you, Jessica?\\\" \\n \\t\\t\\t(bitterly) \\n \\t\\tWhat he could do to that word \\n \\t\\t\\\"beautiful.\\\" That's Paul's great\",\n \"\\tBetsy is spared the embarrassment of replying when Ti-Joseph \\n \\tbrings the drink that Rand ordered. Rand gulps thirstily at \\n \\tit, then looks at Betsy, half-defiantly, half-mockingly. \\n \\n \\t\\t\\t\\tRAND (cont'd) \\n \\t\\tShocked? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(sincerely) \\n \\t\\tI wish I hadn't heard -- \\n\",\n \"\\t\\tI turned you away. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDon't, Paul -- don't doubt yourself \\n \\t\\t-- don't make me doubt you. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI remember words I said to Jessica \\n \\t\\t- words mixed like to poison -- to \\n \\t\\thurt her, to madden her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(desperately)\",\n \"\\twas singing when Rand interrupted him. \\n \\n \\tThe CAMERA PANS OVER to show Rand and Betsy still sitting in \\n \\tTi-Joseph's sidewalk cafe. Rand has slumped down in his \\n \\tchair, thoroughly drunk. Ti-Joseph stands, arms folded, \\n \\tleaning in the darker shadows of the wall. Betsy looks off \\n \\tin the direction of the singing, a little anxiously. \\n\",\n \"\\t\\t\\t(sincerely) \\n \\t\\tWesley can be very entertaining. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(encouraged by his tone) \\n \\t\\tYes, he can. But I've been \\n \\t\\twondering -- you know if you could \\n \\t\\tleave the whisky decanter off the \\n \\t\\ttable -- \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIt's always stood there, Miss\",\n \"\\t\\t\\t\\tRAND \\n \\t\\tWhy? Everybody else knows it. \\n \\t\\tPaul saw to that. Sometimes I \\n \\t\\tthink he planned the whole thing \\n \\t\\tfrom the beginning -- just to watch \\n \\t\\tme squirm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(quietly) \\n \\t\\tThat doesn't sound like him. \\n \\n \\t\\t\\t\\tRAND\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tPaul! \\n \\n \\tHolland pauses at the head of the stairs and turns to her. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tLet him go. Don't touch him, don't \\n \\t\\ttry to stop him! \\n \\n \\tBetsy has come down the porch behind Holland and she and Mrs.\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tStill, I feel you should remove the \\n \\t\\tdecanter. Wes is not an alcoholic \\n \\t\\tyet, Mr. Holland. But as a nurse I can \\n \\t\\ttell you that it won't be long before he is. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(coldly) \\n \\t\\tI'm afraid the decanter will have \\n \\t\\tto stay where it is. I engaged\",\n \"\\t\\tPerhaps you ought to get on to the \\n \\t\\tmill. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(leisurely sips at his \\n \\t\\t\\tdrink) \\n \\t\\tIt'll wait. \\n \\n \\tThe work drum sounds for the third time. Rand who has \\n \\tfinished his drink, reaches for the bottle again. At this \\n \\tmoment the jalousies behind them open and Holland comes out. \",\n \"\\tPriest walking with him. As they walk, Holland speaks: \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tBut I assure you, Father Walters, \\n \\t\\tMiss Connell had no idea of the \\n \\t\\tconsequences when she went there. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tPaul, we're not trying to blame \\n \\t\\tMiss Connell. It isn't a question\",\n \"\\t\\toff. You'll have to excuse me. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tOf course. It's been nice of you \\n \\t\\tto spend this much time with me. \\n \\n \\tRand picks up the brandy bottle. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(pouring himself a drink) \\n \\t\\tDon't worry. I wasn't missed. The \\n \\t\\tonly important man here is the\",\n \"\\tgust of wind blows across the garden. The candle flames \\n \\tlevel out in one direction and then the other. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut I want to talk now. Why have \\n \\t\\tyou decided to take the whiskey off \\n \\t\\tthe table? What's behind it? What \\n \\t\\tnice, sadistic little plot is \\n \\t\\tbrewing this time, Paul? \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t<u>ROOM -- DAY \\n </u> \\n \\tA few feet from Holland, leaning against the wall, is Rand. \\n \\tHe has evidently been there some time. He is not drunk, but \\n \\tit is obvious he has been drinking. Holland walks down the \\n \\tshort corridor toward him. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tVery sad, very sweet. The noble \\n \\t\\thusband and the noble nurse \\n \\t\\tcomforting each other -- because\",\n \"\\t\\tThere -- in the master's chair, \\n \\t\\tsits the master -- my half-brother \\n \\t\\tPaul Holland. But you've already \\n \\t\\tmet him. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes -- on the boat. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tAnd that chair -- \\n \\t\\t\\t(indicates the chair drawn \\n \\t\\t\\tback against the wall) \\n \\t\\tis the particular property of Mrs.\",\n \"\\t\\tFoolish? Tell them how foolish it \\n \\t\\tis, Paul -- tell them! \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(very calmly but with a \\n \\t\\t\\tlittle uncertainty) \\n \\t\\tMy guilt in this matter, if any, \\n \\t\\tWesley, is not the subject of this \\n \\t\\tdiscussion. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut it is, Paul! Because that's\"\n ],\n [\n \"\\tPriest walking with him. As they walk, Holland speaks: \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tBut I assure you, Father Walters, \\n \\t\\tMiss Connell had no idea of the \\n \\t\\tconsequences when she went there. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tPaul, we're not trying to blame \\n \\t\\tMiss Connell. It isn't a question\",\n \"\\tThe CAMERA PANS ALONG the thread to show us that the other \\n \\tend of the thread, some twenty feet long, is held by a negro, \\n \\tcrouched near the altar. Halfway between this man and the \\n \\tdoll, the Sabreur, his sword stuck in the mound before him, \\n \\tstraddles the thread, his hands clasped around the thread but \\n \\tnot touching it. Carre-Four stands watching. \\n\",\n \"\\tfacing Mrs. Rand and Betsy, is Dr. Maxwell and Commissioner \\n \\tJeffries. The latter is a dignified man of early middle-age. \\n \\tHe is dressed in a light business suit. At the window, at \\n \\tthe rear of the room, stands Holland, talking with a Priest. \\n \\tAs the scene opens, Mrs. Rand fills a teacup and holds it up \\n \\ttoward Holland. He comes toward her to pick up the cup, the\",\n \"\\tthe ceremony has taken place. Instantly the drumming and the \\n \\tsinging stops. A young colored girl jumps up from her seat \\n \\tamong the worshippers and begins shivering and quaking, \\n \\tcrying out wordlessly. There is a cry from the people. \\n \\n \\t\\t\\t\\tTHE PEOPLE \\n \\t\\tPut the god in her! Put the god in \\n \\t\\ther! \\n \\n \\tThe Houngan prances forward, followed by the Sabreur. The\",\n \"\\this shoulders and turns him around three times, Evidently \\n \\tthis is absolute guarantee of an enormous income tax to be \\n \\tpaid at St. Sebastian. The woman and her son retire happily, \\n \\tpleased and grinning. Finally, exhausted, the girl possessed \\n \\tof the god, Shango, sinks to her knees and then falls \\n \\tfainting to the floor. Two colored men come in, carry her \\n \\taway. A great cry rises from the voodoo worshippers. \\n\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\",\n \"\\tdoor. Betsy leading Jessica by the hand takes her place with \\n \\tthe rest. She is third in the line of suppliants. She can \\n \\tsee the whole procedure. The suppliant places his forehead \\n \\tagainst the forehead of the god painted on the door, and \\n \\tspeaks. The first suppliant is a weary-looking field hand \\n \\twho shuffles to the door and speaks in such a low tone that\",\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\timmediately. He looks frightened and guilty. Ti-Joseph \\n \\tturns and goes around the corner to his cafe. The Calypso \\n \\tsinger addresses one of the people in the little group before \\n \\thim. \\n \\n \\t\\t\\t\\tCALYPSO SINGER (cont'd) \\n \\t\\tTi-Malice trip up my tongue -- What \\n \\t\\tdo you wish trouble on me for -- \\n \\t\\tYou saw Mister Rand go in there. \",\n \"\\tbottles. Before this altar stands the Houngan, the high \\n \\tpriest of the voodoo ceremonies, a small, stoop-shouldered \\n \\tman in a worn, white coat and trousers with ragged cuffs. \\n \\tSeveral mild-looking negroes in white trousers and shirts sit \\n \\tin kitchen chairs on one side of the altar with rada drums \\n \\tbetween their knees. Grouped around this altar in a loose\",\n \"\\ther slippers and negligee and leaves the room. \\n \\n \\t<u>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT \\n </u> \\n \\tBetsy crosses in front of the fountain and goes to the small \\n \\tpostern door of heavy, iron-bound oaks which leads into the \\n \\truin. The sound of weeping continues. She tries the door. \\n \\tIt opens and she goes in, leaving it open behind her. \\n\",\n \"\\t\\tMiss Jessica. But the Houngan \\n \\t\\tcured her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tAre you trying to tell me that the \\n \\t\\tHoungan -- the voodoo priest -- \\n \\t\\tcould cure Mrs. Holland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tYes, Miss Betsy. I mean that. The \\n \\t\\tHoungan will speak to the rada\",\n \"\\t\\tTi-Peter, how do you ever expect to \\n \\t\\tget to Heaven with one foot in the \\n \\t\\tvoodoo Houmfort and the other in \\n \\t\\tthe Baptist church? \\n \\n \\tThe little black boy looks at her with rolling eyes but does \\n \\tnot answer. She gives him a playful pat on the behind, \\n \\tstarting him on his way to the door. \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D)\",\n \"\\twaiting. Then suddenly, from behind the closed and curiously \\n \\tpainted door of the inner Houmfort, a voice speaks. A voice \\n \\tthat is light, pleasant and authoritative. \\n \\n \\t\\t\\t\\tVOICE \\n \\t\\t\\t(muffled by the door) \\n \\t\\tWhere are my people? Let them \\n \\t\\tbring me the rice cakes -- let them \\n \\t\\tdance and be happy -- \\n\",\n \"\\tHe stands aside and lets her step through, goes ahead of her \\n \\tand precedes her down the garden path. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy and Clement pass the fountain. The figure of St. \\n \\tSebastian gleams wetly in the rays of the candlelight. On \\n \\tthe covered porch in front of the living room, a dinner\",\n \"\\t\\tA man, miss -- an old man who lives \\n \\t\\tin the garden at Fort Holland - \\n \\t\\twith arrows stuck in him and a \\n \\t\\tsorrowful, weeping look on his \\n \\t\\tblack face. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(incredulous) \\n \\t\\tAlive? \\n \\n \\t\\t\\t\\tCOACHMAN \\n \\t\\t\\t(laughing, softly)\",\n \"\\t\\t\\t(quiet, with great \\n \\t\\t\\tauthority) \\n \\t\\tCarre-Four! \\n \\n \\tThe single word freezes Carre-Four into immobility. \\n \\tAstounded, Betsy and Holland turn to see Mrs. Rand at the far \\n \\tend of the porch -- her face and hair pale above a dark, coat \\n \\tlike robe. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd)\",\n \"\\twhitewashed boards, bare except for a table on which stands a \\n \\tsmall iron tripod from which an iron pot is suspended. \\n \\tAlthough there is no fire under the pot, the steam rises from \\n \\tthis receptacle and water boils and bubbles in it. \\n \\tIt is the Houngan who has lit the lamp and, on the other side \\n \\tof the table is Mrs. Rand. Her face is serious and unsmiling. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\tJessica's hand in hers, Betsy takes her place at the door. \\n \\tShe puts her forehead against the crudely painted forehead of \\n \\tthe god. She talks to the door. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDamballa! This woman is sick. \\n \\n \\tThe door swings open slowly. The feeble light of the outer \\n \\tHoumfort does not penetrate the darkness of the inner temple.\",\n \"\\tthe Sabreur, with the drummer crouched behind them. The \\n \\tSabreur takes the doll from Carre-Four's hand and holds it a \\n \\tfoot or so away from him. The great black hand reaches for \\n \\tit. Again the Sabreur takes the doll away and dances off \\n \\twith mincing steps to a distance of a few yards. Carre-Four \\n \\tlumbers after him, his hand extended. Again, the Sabreur\"\n ],\n [\n \"\\t\\tBetsy feels there is nothing she \\n \\t\\tcan do for Jessica... \\n \\n \\tPAGE MISSING \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \\n </u> \\n \\tRand and Dr. Maxwell come through the gate and walk up the \\n \\tgarden path. As they do so, Mrs. Rand comes down the porch \\n \\tsteps. Betsy and Holland follow her. \\n\",\n \"\\t\\thave to come up here and talk to \\n \\t\\tyou. I couldn't let you go back \\n \\t\\twithout any word. I came to tell \\n \\t\\tyou again -- Jessica cannot be \\n \\t\\tcured. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBut how did you get here? What \\n \\t\\tare you doing here? \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tI asked you to let me explain. It's a\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tMrs. Rand looks at a page of rotogravure section. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(casually) \\n \\t\\tThat's a long wait... \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI'm afraid not. Betsy's leaving \\n \\t\\tus, Mother. \\n \\n \\tMrs. Rand puts down the paper and looks at them, startled. \\n\",\n \"\\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \\n </u> \\n \\tMrs. Rand, in a simple afternoon dress, is seated on the \\n \\tsofa. Before her is a coffee table with a silver tea \\n \\tservice. She is engaged in pouring tea. Betsy is beside her \\n \\thelping her. Rand, in working clothes, is in an armchair \\n \\tnear the sofa with a highball in his hand. Also seated, and\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tPaul! \\n \\n \\tHolland pauses at the head of the stairs and turns to her. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tLet him go. Don't touch him, don't \\n \\t\\ttry to stop him! \\n \\n \\tBetsy has come down the porch behind Holland and she and Mrs.\",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"\\t\\tBetsy, and a generous heart. \\n \\t\\tDon't forget that. Don't call it \\n \\t\\tnothing. \\n \\n \\tBetsy turns wearily and returns to the sick room. Holland is \\n \\tabout to follow her when he hears a low chuckle and turns to \\n \\tsee who it is. \\n \\n \\t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>\",\n \"\\t\\t\\t\\tMRS. RAND \\n \\t\\tBetsy, tell them about the \\n \\t\\tHoumfort. Tell them what you saw \\n \\t\\tthere. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(protestingly) \\n \\t\\tMrs. Rand... \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tYou must, Betsy. They'll have to \\n \\t\\tbelieve you. \\n\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(reluctantly) \\n \\t\\tMrs. Rand was at the Houmfort that \\n \\t\\tnight. But there's nothing wrong \\n \\t\\twith that. She's gone there for \\n \\t\\tyears -- trying to take care of \\n \\t\\tthose people, to help them. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tWhat do you mean? \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\t\\t\\t(starting forward around \\n \\t\\t\\tthe table) \\n \\t\\tMrs. Rand. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tWait. Don't draw any conclusions. \\n \\t\\tLet me explain. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBut, Mrs. Rand -- \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tI knew you'd come. And I knew I'd\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(indignantly) \\n \\t\\tOf course not! \\n \\n \\tHolland waits --- looking at her a little quizzically. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\tBut frankly, it was something of a \\n \\t\\tshock to see my patient that way, \\n \\t\\tfor the first time. No one had \\n \\t\\ttold me Mrs. Holland was a mental\",\n \"\\t\\tBut I'm Miss Jessica's nurse, Alma. \\n \\t\\tYou don't have to do that for me. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tI know, miss. But I like to do it. \\n \\t\\tI like to tend for Miss Jessica and \\n \\t\\tI want to tend for you. You settle \\n \\t\\tright back, now, and I'll mix you \\n \\t\\tyour coffee. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\t\\t\\t(quiet, with great \\n \\t\\t\\tauthority) \\n \\t\\tCarre-Four! \\n \\n \\tThe single word freezes Carre-Four into immobility. \\n \\tAstounded, Betsy and Holland turn to see Mrs. Rand at the far \\n \\tend of the porch -- her face and hair pale above a dark, coat \\n \\tlike robe. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd)\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(dismayed) \\n \\t\\tOh, Mrs. Rand -- \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(interrupting) \\n \\t\\tCome, come, don't tell me how sorry \\n \\t\\tyou are that I should meet you this \\n \\t\\tway. \\n \\t\\t\\t(puts out her hand) \\n \\t\\tI'm even a little glad that\"\n ],\n [\n \"\\t\\t\\thand on his arm) \\n \\t\\tWait. I want to listen. \\n \\n \\tWe hear the guitar music without singing, as the Calypso \\n \\tsinger plays a few measures to bridge the first and second \\n \\tverses. Ti-Joseph comes up to the table with Rand's drink. \\n \\tRand makes a motion to him indicating the corner around which \\n \\tthe Calypso singer is standing. Ti-Joseph gets the idea and \\n \\tgoes off instantly.\",\n \"\\tthe Sabreur, with the drummer crouched behind them. The \\n \\tSabreur takes the doll from Carre-Four's hand and holds it a \\n \\tfoot or so away from him. The great black hand reaches for \\n \\tit. Again the Sabreur takes the doll away and dances off \\n \\twith mincing steps to a distance of a few yards. Carre-Four \\n \\tlumbers after him, his hand extended. Again, the Sabreur\",\n \"\\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \\n \\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \\\"ZOMBIE\\\". \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D) \\n \\t\\tBetsy! Get her away -- back to the \\n \\t\\tFort! Do as I say -- they won't \\n \\t\\thurt you. \\n\",\n \"\\timmediately. He looks frightened and guilty. Ti-Joseph \\n \\tturns and goes around the corner to his cafe. The Calypso \\n \\tsinger addresses one of the people in the little group before \\n \\thim. \\n \\n \\t\\t\\t\\tCALYPSO SINGER (cont'd) \\n \\t\\tTi-Malice trip up my tongue -- What \\n \\t\\tdo you wish trouble on me for -- \\n \\t\\tYou saw Mister Rand go in there. \",\n \"\\tarms of the still-living Zombie. The upheld torches and \\n \\tspears of the fishermen give a weird, processional feeling to \\n \\tthe group. \\n \\n \\t<u>EXT. DINING TERRACE -- NIGHT \\n </u> \\n \\tHolland, Betsy and Mrs. Rand stand watching the fishermen \\n \\tbringing in the bodies of the dead. Across the garden from \\n \\tthe fountain stands the little group of house servants also\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\",\n \"\\tthe gate. He looks at her for a long moment and then, as if \\n \\ta resolve had formed in his mind, goes to the statue of St. \\n \\tSebastian, takes hold of one of the iron arrows. He tugs at \\n \\tit, but it refuses to come free. He puts his foot up on the \\n \\twooden breast of the statue and gives a hard pull. The long, \\n \\tiron arrow comes out in his hand. With this in his hand, he\",\n \"\\tBetsy taken her place with the others than the Shango ritual \\n \\tapproaches its climax. The Sabreur, a colored man dressed in \\n \\twhite shirt and trousers, with a neat dark tie knotted under \\n \\this collar, comes in, bearing a sabre in his right hand, \\n \\tholding it in stately, almost processional manner. He \\n \\tadvances to the altar, strikes it three times and at this \\n \\tsignal two colored women dressed in white beguine dresses\",\n \"\\t\\thands -- whom the other peasants \\n \\t\\tcall Zombies. I am sure they \\n \\t\\tsuffer from a similar destruction \\n \\t\\tof spinal nerves as the result of \\n \\t\\thigh fever. \\n \\n \\tHe crosses the room and clasps shut the black leather bag in \\n \\twhich he carries his medicine kit. Betsy rises and walks \\n \\tover to him. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\ttwo bodies. One of the rada drummers comes up and crouches \\n \\tdown holding a small drum almost under the chins of the two \\n \\tgirls. \\n \\n \\tThe other drummers stop playing and he begins to beat a quick \\n \\tstaccato rhythm that grows faster and faster. In this \\n \\tplaying, as in the pose of the girls, there is tremendous \\n \\ttension. By now all cries have ceased. Everyone is silent,\",\n \"\\tcomes into Holland's face. With a quick gesture, he presses \\n \\tBetsy back and steps in front of her. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\t\\t(a little uncertainly) \\n \\t\\tGet out of here -- \\n \\n \\tCarre-Four is almost upon them. His shoulders press forward \\n \\tas he reaches out. \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\tThe CAMERA PANS ALONG the thread to show us that the other \\n \\tend of the thread, some twenty feet long, is held by a negro, \\n \\tcrouched near the altar. Halfway between this man and the \\n \\tdoll, the Sabreur, his sword stuck in the mound before him, \\n \\tstraddles the thread, his hands clasped around the thread but \\n \\tnot touching it. Carre-Four stands watching. \\n\",\n \"\\t\\tEverything good dies here -- even \\n \\t\\tthe stars. \\n \\n \\tHe leaves his position by the mast and walks aft. \\n \\n \\tThe group of negroes at the mainmast. They have stopped \\n \\tsinging and they sit about the charcoal brazier. They are \\n \\teating, tearing at the meat with cruel, greedy, animal \\n \\tgestures. Holland walks past them on his way aft. \\n\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\tsemicircle are the worshippers, a group of mild-mannered, \\n \\tpoorly-but-neatly-dressed negroes. They seem to have made an \\n \\teffort to dress in their best and their best is very poor \\n \\tindeed. As Betsy approaches, she can see familiar faces. \\n \\tAs she comes up they turn and look at her. They are not \\n \\thostile nor greatly surprised; just mildly curious. Leading\",\n \"\\t\\tA man, miss -- an old man who lives \\n \\t\\tin the garden at Fort Holland - \\n \\t\\twith arrows stuck in him and a \\n \\t\\tsorrowful, weeping look on his \\n \\t\\tblack face. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(incredulous) \\n \\t\\tAlive? \\n \\n \\t\\t\\t\\tCOACHMAN \\n \\t\\t\\t(laughing, softly)\",\n \"\\tlighting one of the crude kerosene street lamps of St. \\n \\tSebastian with a long taper on the end of the stick. When it \\n \\tfinally lights up he lowers the glass chimney with another \\n \\tstick he carries. \\n \\n \\tFrom the beach comes the sound of a guitar and a man singing. \\n \\tIt is very faint, at first, but as it comes closer we can \\n \\trecognize the voice of the Calypso singer and the melody he\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\t\\tconscience has been tormenting you. \\n \\t\\tThe rest is coincidence. There is \\n \\t\\tno such thing as a Zombie. The \\n \\t\\tdead do not come back to life. \\n \\t\\tDeath is final. \\n \\n \\tFrom the hills comes the sound of a single conch, loud and \\n \\tthin. \\n \\n \\tThe CAMERA PANS from the group around Mrs. Rand to the tower\",\n \"\\t\\tI don't think he can even sit in \\n \\t\\tthe saddle. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tDon't worry about a sugar planter. \\n \\t\\tGive him a mule and he'll ride to \\n \\t\\this own funeral. \\n \\n \\tTi-Joseph gets Rand to his feet and helps him stagger around \\n \\tthe corner. From around the corner we can hear Ti-Joseph \\n \\tbellowing.\"\n ],\n [\n \"\\t\\tof blame. It's a question of what \\n \\t\\twe are to do with Jessica. The \\n \\t\\tcommissioner is very concerned. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tIt has become a serious problem. \\n \\t\\tThere's so much gossip, rumor and \\n \\t\\tagitation about the whole thing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI know. We've felt it at the mill. \",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\tClement is about to follow them when the door to Jessica's \\n \\tbedroom opens a few inches. Alma puts her head out \\n \\tcautiously. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(whispering) \\n \\t\\tClement... \\n \\n \\tClement goes over to her. \\n \\n \\t\\t\\t\\tALMA (cont'd) \\n \\t\\tI'm going to stay with Miss Jessica\",\n \"\\thanging immobile, close to her slim body. She is blonde and \\n \\tas far as the light will reveal, she seems beautiful. She \\n \\tmakes the circuit of the garden, pacing slowly along the \\n \\tpaths. Betsy watches her. Then, from the living room, a \\n \\tman's voice calls out to her. \\n \\n \\t\\t\\t\\tHOLLAND'S VOICE \\n \\t\\tJessica. \\n\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\t\\tNo. You're quite wrong. Right \\n \\t\\there's the seat of the trouble. \\n \\t\\tMrs. Holland has become an object \\n \\t\\tof speculation and religious \\n \\t\\tinterest to these people. It's \\n \\t\\trevived all their old superstitions \\n \\t\\t-- Zombies -- and that sort of \\n \\t\\tnonsense. \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\t\\tcruel to Jessica. When I got to \\n \\t\\tknow her -- when I found out how \\n \\t\\tempty and ungenerous she was, there \\n \\t\\twas something about her -- \\n \\t\\tsomething smooth and false -- that \\n \\t\\tmade we want to hurt her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI can understand that. Everyone \\n \\t\\tfeels that way about someone. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tThe Houmfort -- they're trying to \\n \\t\\tget her back there. \\n \\n \\tBetsy and Holland look at each other. Then Betsy takes \\n \\tJessica's arm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tCome with me, Jessica. \\n \\n \\tObedient again, Jessica allows Betsy to turn her around and\",\n \"\\t\\tNo. It's not just how I felt \\n \\t\\ttoward Jessica. I've been cruel to \\n \\t\\teven you. \\n \\n \\tBesty, smiling, shakes her head. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tThe first night I saw you -- you \\n \\t\\twere looking at the sea. You were \\n \\t\\tenchanted -- and I had to break \\n \\t\\tthat enchantment. Do you\",\n \"\\t<u>INT. JESSICA'S BEDROOM - DAY \\n </u> \\n \\tIt is a beautiful woman's bedroom, feminine but with no \\n \\tsuggestion of the bagnic; elegant rather than seductive, and \\n \\treflecting a playful yet sophisticated taste. The furniture \\n \\tis Biedermeier. There is a large bed, a trim chaise lounge, \\n \\ta little slipper chair and in one corner of the room, that\",\n \"\\tat the next window. Again, he tries the bars and peers into \\n \\tthe room. Again, he vanishes in the darkness. We hear a \\n \\tfaint sound from the tower. Betsy wakens. Her eyes go \\n \\tquickly to the bed, where the outline of Jessica's figure \\n \\treassures her. There is another muffled, dragging sound from \\n \\tthe tower. Betsy sits up, listens intently. She gets up and\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\t\\tBetsy, and a generous heart. \\n \\t\\tDon't forget that. Don't call it \\n \\t\\tnothing. \\n \\n \\tBetsy turns wearily and returns to the sick room. Holland is \\n \\tabout to follow her when he hears a low chuckle and turns to \\n \\tsee who it is. \\n \\n \\t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>\"\n ],\n [\n \"\\t\\tmy head. The chanting -- the \\n \\t\\tlights -- everything blurred \\n \\t\\ttogether. And then I heard a \\n \\t\\tvoice, speaking in a sudden \\n \\t\\tsilence. My voice. I was \\n \\t\\tpossessed. I said that the woman \\n \\t\\tat Fort Holland was evil and that \\n \\t\\tthe Houngan must maker her a \\n \\t\\tZombie. \\n\",\n \"\\ttransformation in the girl. Her frenzy ceases. She seems to \\n \\tbe filled with a jubilant calm and dances into the cleared \\n \\tspace before the altar. Her words are no longer meaningless. \\n \\tThey have taken shape and form and, when she speaks, she \\n \\tspeaks with great resonance as if her voice came from \\n \\tsomewhere other than her own throat. She is possessed by the \\n \\tgod, Shango. \\n\",\n \"\\this shoulders and turns him around three times, Evidently \\n \\tthis is absolute guarantee of an enormous income tax to be \\n \\tpaid at St. Sebastian. The woman and her son retire happily, \\n \\tpleased and grinning. Finally, exhausted, the girl possessed \\n \\tof the god, Shango, sinks to her knees and then falls \\n \\tfainting to the floor. Two colored men come in, carry her \\n \\taway. A great cry rises from the voodoo worshippers. \\n\",\n \"\\tthe ceremony has taken place. Instantly the drumming and the \\n \\tsinging stops. A young colored girl jumps up from her seat \\n \\tamong the worshippers and begins shivering and quaking, \\n \\tcrying out wordlessly. There is a cry from the people. \\n \\n \\t\\t\\t\\tTHE PEOPLE \\n \\t\\tPut the god in her! Put the god in \\n \\t\\ther! \\n \\n \\tThe Houngan prances forward, followed by the Sabreur. The\",\n \"\\tOne by one, people from among the group of devotees dance \\n \\tinto the circle, go up to her and beg for favors. One woman \\n \\tleads a little boy up to her. We hear her words as she calls \\n \\tout to the possessed girl: \\n \\n \\t\\t\\t\\tWOMAN \\n \\t\\tMake him rich, Shango! Make him \\n \\t\\trich! \\n \\n \\tThe girl lays her fingers on the boy's eyes, and then takes\",\n \"\\t\\tMiss Jessica. But the Houngan \\n \\t\\tcured her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tAre you trying to tell me that the \\n \\t\\tHoungan -- the voodoo priest -- \\n \\t\\tcould cure Mrs. Holland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tYes, Miss Betsy. I mean that. The \\n \\t\\tHoungan will speak to the rada\",\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\tbottles. Before this altar stands the Houngan, the high \\n \\tpriest of the voodoo ceremonies, a small, stoop-shouldered \\n \\tman in a worn, white coat and trousers with ragged cuffs. \\n \\tSeveral mild-looking negroes in white trousers and shirts sit \\n \\tin kitchen chairs on one side of the altar with rada drums \\n \\tbetween their knees. Grouped around this altar in a loose\",\n \"\\tthe first portion of their meal and Clement is taking off the \\n \\tsoup plates. Somewhere off in the hills there is the \\n \\tululating sounds of a great sea conch being blown. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou don't seem very disturbed by \\n \\t\\tit. I've always thought Voodoo was \\n \\t\\tsomething to be scared of: the \\n \\t\\tdrums sounded in the hills and \\n \\t\\teverybody was frightened. \\n\",\n \"\\tJessica's hand in hers, Betsy takes her place at the door. \\n \\tShe puts her forehead against the crudely painted forehead of \\n \\tthe god. She talks to the door. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDamballa! This woman is sick. \\n \\n \\tThe door swings open slowly. The feeble light of the outer \\n \\tHoumfort does not penetrate the darkness of the inner temple.\",\n \"\\t\\tTi-Peter, how do you ever expect to \\n \\t\\tget to Heaven with one foot in the \\n \\t\\tvoodoo Houmfort and the other in \\n \\t\\tthe Baptist church? \\n \\n \\tThe little black boy looks at her with rolling eyes but does \\n \\tnot answer. She gives him a playful pat on the behind, \\n \\tstarting him on his way to the door. \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D)\",\n \"\\t\\tBut I had no thought of harming \\n \\t\\ther. It wasn't I... \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tYou were possessed. That is true -- \\n \\t\\tpossessed by your subconscious \\n \\t\\tmind. You were in the Houmfort, \\n \\t\\tsurrounded by their symbols. To \\n \\t\\tthem, nothing worse can happen to a \\n \\t\\tperson than to be made into a\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tJessica by the hand, Betsy takes her place at one end of the \\n \\tsemicircle around the altar. Her arrival has in no way \\n \\tinterrupted the ceremonies. The Houngan continues to chant \\n \\tbefore the altar, the rada drums beat and the crowd sings the \\n \\tchorus of the Shango song at the proper intervals. It is all \\n \\tvery decorous and decidedly religious in tone. No sooner has\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tHoungan holds a little saucer in his hand with some dark \\n \\tliquid at the bottom of it. He dips four fingers into this \\n \\tliquid while the girl quivers and writhes before him in \\n \\treligious ecstasy. He marks her forehead with four strange \\n \\tmarks, one with each finger. The Sabreur, crying out the \\n \\tname of Shango, four times, points his sabre to the four \\n \\tdirections of the compass. There is an immediate\",\n \"\\t\\t\\t(to Betsy, cheerfully) \\n \\t\\tSome of this native nonsense. The \\n \\t\\tHoungan has his prescription and \\n \\t\\tDr. Maxwell and I have ours. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou've never said anything about \\n \\t\\tvoodoo before, Mrs. Rand. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tHaven't I? I suppose I take it for\",\n \"\\t\\t\\t\\tWORSHIPPERS \\n \\t\\tDamballa! Damballa! Damballa! \\n \\t\\tDamballa! \\n \\n \\tThe drums find a new rhythm. The Houngan retires to one \\n \\tcorner of the altar; the Sabreur to the other. Two young \\n \\tgirls, their beguine dresses slashed and torn, dance in from \\n \\teither side. This is a wild and an impassioned dance, a\"\n ],\n [\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tPaul! \\n \\n \\tHolland pauses at the head of the stairs and turns to her. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tLet him go. Don't touch him, don't \\n \\t\\ttry to stop him! \\n \\n \\tBetsy has come down the porch behind Holland and she and Mrs.\",\n \"\\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(disregarding his protest) \\n \\t\\tThat night, I went to the Houmfort. \\n \\t\\tI kept seeing Jessica's face -- \\n \\t\\tsmiling -- smiling because two men \\n \\t\\thated each other -- because she was \\n \\t\\tbeautiful enough to take my family \\n \\t\\tin her hands and break it apart. \\n \\t\\tThe drums seemed to be beating in\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\tMrs. Rand looks at a page of rotogravure section. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(casually) \\n \\t\\tThat's a long wait... \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI'm afraid not. Betsy's leaving \\n \\t\\tus, Mother. \\n \\n \\tMrs. Rand puts down the paper and looks at them, startled. \\n\",\n \"\\t\\tBetsy feels there is nothing she \\n \\t\\tcan do for Jessica... \\n \\n \\tPAGE MISSING \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \\n </u> \\n \\tRand and Dr. Maxwell come through the gate and walk up the \\n \\tgarden path. As they do so, Mrs. Rand comes down the porch \\n \\tsteps. Betsy and Holland follow her. \\n\",\n \"\\t\\thave to come up here and talk to \\n \\t\\tyou. I couldn't let you go back \\n \\t\\twithout any word. I came to tell \\n \\t\\tyou again -- Jessica cannot be \\n \\t\\tcured. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBut how did you get here? What \\n \\t\\tare you doing here? \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tI asked you to let me explain. It's a\",\n \"\\t\\t\\t(starting forward around \\n \\t\\t\\tthe table) \\n \\t\\tMrs. Rand. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tWait. Don't draw any conclusions. \\n \\t\\tLet me explain. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBut, Mrs. Rand -- \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tI knew you'd come. And I knew I'd\",\n \"\\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \\n </u> \\n \\tMrs. Rand, in a simple afternoon dress, is seated on the \\n \\tsofa. Before her is a coffee table with a silver tea \\n \\tservice. She is engaged in pouring tea. Betsy is beside her \\n \\thelping her. Rand, in working clothes, is in an armchair \\n \\tnear the sofa with a highball in his hand. Also seated, and\",\n \"\\t\\tright. And I will have to urge him \\n \\t\\tto use it. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tI tell you he hasn't and he \\n \\t\\twouldn't dare use it if he had. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tWhy? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBecause he drove Jessica insane -- \\n \\t\\tdeliberately -- coldly! \\n\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(reluctantly) \\n \\t\\tMrs. Rand was at the Houmfort that \\n \\t\\tnight. But there's nothing wrong \\n \\t\\twith that. She's gone there for \\n \\t\\tyears -- trying to take care of \\n \\t\\tthose people, to help them. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tWhat do you mean? \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tYou thought she loved you, didn't \\n \\t\\tyou? She didn't. She didn't love \\n \\t\\tanyone except herself -- her \\n \\t\\treflection in the mirror, the look \\n \\t\\tshe could bring into a man's eyes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tThat isn't true. You never \\n \\t\\tunderstood her. \\n\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\twalks to where Jessica stands. He pulls back the latch bar \\n \\tand throws the gates wide open. Jessica moves out into the \\n \\tdarkness. Rand follows her. \\n \\n \\t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \\n \\n \\tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \\n \\tinto the darkness. \\n \\n \\t<u>INT. HOUMFORT -- NIGHT</u>\",\n \"\\tfacing Mrs. Rand and Betsy, is Dr. Maxwell and Commissioner \\n \\tJeffries. The latter is a dignified man of early middle-age. \\n \\tHe is dressed in a light business suit. At the window, at \\n \\tthe rear of the room, stands Holland, talking with a Priest. \\n \\tAs the scene opens, Mrs. Rand fills a teacup and holds it up \\n \\ttoward Holland. He comes toward her to pick up the cup, the\",\n \"\\tDr. Maxwell has been studying Mrs. Rand with a curious, \\n \\tintent expression. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tAnd what happened then, Mrs. Rand? \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(unsteadily) \\n \\t\\tI hated myself. I kept saying to \\n \\t\\tmyself over and over again that \\n \\t\\tthese people had no power; they had\",\n \"\\t\\tthere. I'll walk you back and stay \\n \\t\\tover night. It'll be a nice change \\n \\t\\tfor me. \\n \\n \\tShe takes Betsy's arm and they start off. \\n \\n \\tThe CAMERA DOLLIES WITH them as they cross the space under Ti \\n \\tJoseph's awning. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThank you, Mrs. Rand. I think\",\n \"\\tClement is about to follow them when the door to Jessica's \\n \\tbedroom opens a few inches. Alma puts her head out \\n \\tcautiously. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(whispering) \\n \\t\\tClement... \\n \\n \\tClement goes over to her. \\n \\n \\t\\t\\t\\tALMA (cont'd) \\n \\t\\tI'm going to stay with Miss Jessica\"\n ],\n [\n \"\\tshe goes back to the window and peers through the cracks \\n \\tbetween the laths. \\n \\n \\t<u>INT. A CORNER OF THE LIVING ROOM -- NIGHT</u> \\n \\n \\tFrom where she stands, Betsy can see the big, square, \\n \\trosewood piano. A lamp had been lit beside it and the light \\n \\tfrom this lamp falls on the blonde hair and gleaming \\n \\tshoulders of the woman who had walked in the garden. Her\",\n \"\\tBetsy, questioning Betsy with upraised sugar tongs and cream \\n \\tpitcher before each move. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(while she's pouring the \\n \\t\\t\\tcoffee) \\n \\t\\tMiss Jessica used to say this is \\n \\t\\tthe only way for a lady to break \\n \\t\\ther fast -- in bed, with a lacy \\n \\t\\tcushion to bank her head up. If\",\n \"\\tBetsy, dressed in a trim negligee and slippers, is getting \\n \\tready for the night. She plumps up the cushion, tests the \\n \\tsoftness of the mattress and then, yawning, turns out the \\n \\tAladdin kerosene lamp which lights the room. Level rays of \\n \\tmoonlight filter through the rattan blinds into the room. \\n \\tBetsy crosses the room and peers out through the rattan \\n \\tstrips into the garden. \\n\",\n \"\\tThe woman at once turns toward the living room, mounts the \\n \\tporch and enters through a door held open for her. \\n \\n \\t<u>INT. BETSY'S ROOM -- NIGHT \\n </u> \\n \\tBetsy turns back into the room. She has crossed over to the \\n \\tbed and is removing her negligee when the sound of hesitant \\n \\tnotes on the piano attract her attention. In her nightgown\",\n \"\\tby an old coachman in dirty white singlet, a top hat with a \\n \\tcockade on his graying hair, is making its way along a dusty \\n \\troad between fields of sugar cane. In the distance, the sea \\n \\tis visible and above it the great billowing white clouds of \\n \\tthe Caribbean. Betsy, seated on the back seat of the \\n \\tcarriage, is bending forward to listen to the old man. \\n \\n \\t\\t\\t\\tCOACHMAN\",\n \"\\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \\n \\tin a fur-collared coat and has a little round fur cap on her \\n \\thead. She looks very attractive and very happy. The door of \\n \\tthe office opens and Paul Holland comes out, muffling up his \\n \\tovercoat. Betsy takes a half step to meet him. He takes her \\n \\tarm with a well-used and familiar gesture. \\n \\n \\t\\t\\t\\tPAUL\",\n \"\\ta little Chippendale chair before it, and a maple rocker so \\n \\told it has turned a hard, brown color that softly reflects \\n \\tthe highlights in the room. On the wall is a little mirror \\n \\tin a carved Spanish frame. There are no pictures or other \\n \\tornaments. A woven grass rug lies on the floor. Betsy is \\n \\tseated before the dressing table, putting the last touches to \\n \\ther hair. She has changed her clothes and is wearing a\",\n \"\\tThey smile at each other. Betsy looks around the table and \\n \\tout toward the garden. \\n \\n \\tFROM BETSY'S VIEWPOINT, as we see the garden. The CAMERA \\n \\tPANS AROUND to show one aspect of its beauty after another \\n \\tand finally COMES TO REST ON a lighted window. On the \\n \\tshutters can be seen the shadow of a man seated at a desk, \\n \\tobviously working. \\n\",\n \"\\tBetsy looks up at him, astounded by his words. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tHer selfishness made her empty and \\n \\t\\tdead. She was a possession, a \\n \\t\\tbeautiful possession to own and \\n \\t\\thold -- but I never had a moment's \\n \\t\\tpeace or happiness with her. \\n \\n \\tThey stand there, close together, looking at each other. \",\n \"\\tface cannot be seen. Her fingers move strangely over the \\n \\tkeyboard, now and again striking a hesitant note, but making \\n \\tno music, only an occasional dissonance. \\n \\n \\t<u>INT. BETSY'S ROOM -- NIGHT \\n </u> \\n \\tBetsy, still watching through the slit in the jalousie, \\n \\tendeavors to get a better view of the living room. She\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tYou didn't drive her mad. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tDidn't I? I don't know. That's \\n \\t\\tthe simple truth of it. I don't \\n \\t\\tknow. \\n \\n \\tBetsy shakes her head and moves closer to him. Her face, \\n \\tupturned to his, is filled with pity. \\n\",\n \"\\tFrom her window Betsy can see Holland playing the piano. \\n \\n \\t<u>INT. BETSY'S BEDROOM -- NIGHT \\n </u> \\n \\tBetsy stands watching him. Then suddenly, as if compelled, \\n \\tshe leaves the window, opens the jalousied door and goes \\n \\tquickly out into the garden. \\n \\n \\t<u>INT. LIVING ROOM -- NIGHT \\n </u>\",\n \"\\tservice has been set out on a long mahogany table. As she \\n \\tcomes forward, Betsy sees a handsome young man waiting for \\n \\ther. This is Wesley Rand. The table by which he stands is \\n \\tset for two and lit by candelabra in great glass hurricane \\n \\tlamps. The table is laid with white linen, and the \\n \\tcandlelight gleams on silver and cut-glass arranged in the\",\n \"\\tBetsy is puzzled and a little alarmed by Holland's strange \\n \\tutterances and his queer behavior. Over this shot of Betsy \\n \\tlooking off at him, we hear her as narrator. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(narrating) \\n \\t\\tIt was strange to have him break in \\n \\t\\ton my thoughts that way. There was \\n \\t\\tcruelty and hardness in his voice. \",\n \"</u> \\n \\tBetsy leaves the window, crosses to the bed and lies down. \\n \\tThen, sighing, she makes herself comfortable on the pillow, \\n \\tsettling herself for sleep. Outside the nightjars whistle \\n \\tsoftly, the cicadas twitter and the Hammer tree frogs make \\n \\tdrowsy, somnolent little croaks: it is a tropic lullaby of \\n \\tbird, batrachian and insect sound. The faint, groping notes\",\n \"\\ther. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(embarrassed; trying to \\n \\t\\t\\texplain) \\n \\t\\tMrs. Holland -- I didn't mean to \\n \\t\\tget you up -- \\n \\n \\tThe white woman keeps walking toward her with the same \\n \\tentrance tread. Betsy takes a step forward to meet her. The \\n \\ttwo women come together in such a way that the white-clad\",\n \"\\tAs Betsy also turns, in great relief, to see who is coming, \\n \\tthe Calypso singer moves quickly and silently out of the \\n \\tscene. A middle-aged white woman, handsome and neatly \\n \\tdressed in a suit with a Norfolk jacket, appears in the \\n \\tentrance of the cafe. She glances briefly in the direction \\n \\twhich the Calypso singer has taken and then at Betsy and \\n \\tRand. She smiles in a friendly way at Betsy.\",\n \"\\t<u>INT. LIVING ROOM -- FORT HOLLAND -- DAY \\n </u> \\n \\tMrs. Rand, in a simple afternoon dress, is seated on the \\n \\tsofa. Before her is a coffee table with a silver tea \\n \\tservice. She is engaged in pouring tea. Betsy is beside her \\n \\thelping her. Rand, in working clothes, is in an armchair \\n \\tnear the sofa with a highball in his hand. Also seated, and\",\n \"\\t\\tRand -- mother to both of us and \\n \\t\\tmuch too good for either of us. \\n \\t\\tToo wise, in fact, to live under \\n \\t\\tthe same roof. She prefers the \\n \\t\\tvillage dispensary. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(interested and a little \\n \\t\\t\\tsurprised) \\n \\t\\tIs she a doctor? \\n \\n \\t\\t\\t\\tRAND\",\n \"\\tThere is a little pause. Then Betsy looks at Holland, her \\n \\teyes glistening with tears. Betsy turns away slightly, \\n \\tclosing her eyes for a moment to steady herself. Holland \\n \\tputs his hands on her shoulders and turns her back to face \\n \\thim. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(gently) \\n \\t\\tDon't take it to heart, Betsy. \\n\"\n ],\n [\n \"\\t\\tThere -- in the master's chair, \\n \\t\\tsits the master -- my half-brother \\n \\t\\tPaul Holland. But you've already \\n \\t\\tmet him. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes -- on the boat. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tAnd that chair -- \\n \\t\\t\\t(indicates the chair drawn \\n \\t\\t\\tback against the wall) \\n \\t\\tis the particular property of Mrs.\",\n \"\\t\\t\\t\\tRAND \\n \\t\\tWhy? Everybody else knows it. \\n \\t\\tPaul saw to that. Sometimes I \\n \\t\\tthink he planned the whole thing \\n \\t\\tfrom the beginning -- just to watch \\n \\t\\tme squirm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(quietly) \\n \\t\\tThat doesn't sound like him. \\n \\n \\t\\t\\t\\tRAND\",\n \"\\t\\tYou mean to say Paul can send her \\n \\t\\taway -- that he can hand her over \\n \\t\\tto strangers -- who'll shut her up \\n \\t\\t- maybe mistreat her? He hasn't \\n \\t\\tthat right! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(trying to calm him) \\n \\t\\tWesley! \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI am afraid, Wesley, he has that\",\n \"\\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \\n \\tin a fur-collared coat and has a little round fur cap on her \\n \\thead. She looks very attractive and very happy. The door of \\n \\tthe office opens and Paul Holland comes out, muffling up his \\n \\tovercoat. Betsy takes a half step to meet him. He takes her \\n \\tarm with a well-used and familiar gesture. \\n \\n \\t\\t\\t\\tPAUL\",\n \"\\t\\tmuch. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(pouring another drink) \\n \\t\\tAh, yes, our Paul, strong and \\n \\t\\tsilent and very sad -- quite the \\n \\t\\tByronic character. Perhaps I ought \\n \\t\\tto cultivate it. \\n \\n \\tThe drum sounds again. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(smiling and pointing off)\",\n \"\\t\\tFoolish? Tell them how foolish it \\n \\t\\tis, Paul -- tell them! \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(very calmly but with a \\n \\t\\t\\tlittle uncertainty) \\n \\t\\tMy guilt in this matter, if any, \\n \\t\\tWesley, is not the subject of this \\n \\t\\tdiscussion. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut it is, Paul! Because that's\",\n \"\\t\\tI have no defense. So far as I \\n \\t\\tknow -- it is true. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou can't believe that. You don't \\n \\t\\tknow what viciousness it would take \\n \\t\\tto drive a person mad. You're not \\n \\t\\tvicious or cruel, Paul. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tHow do you know I'm not? I was\",\n \"\\t\\tthe patient still lives. I've been \\n \\t\\timagining too, Paul. You didn't \\n \\t\\tthink of that, did you? I saw \\n \\t\\tJessica coming across the garden, I \\n \\t\\theard her voice. \\n \\n \\tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \\n \\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE\",\n \"\\t\\towner. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tMr. Holland? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tYes, the redoubtable Paul. He has \\n \\t\\tthe plantation, and I, as you must \\n \\t\\thave noticed, have all the charm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. He spoke to me last \\n \\t\\tnight on the boat. I liked him very\",\n \"\\tchanges her position and looks out again through the blinds. \\n \\n \\t<u>INT. ANOTHER CORNER OF THE LIVING ROOM -- NIGHT</u> \\n \\n \\tAs seen from Betsy's NEW ANGLE. Paul Holland is seated in a \\n \\tlow armchair. His eyes are fixed on the woman at the piano. \\n \\tShe continues to strike odd notes on the piano. \\n \\n \\t<u>INT. BETSY'S ROOM -- NIGHT\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tPaul! \\n \\n \\tHolland pauses at the head of the stairs and turns to her. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tLet him go. Don't touch him, don't \\n \\t\\ttry to stop him! \\n \\n \\tBetsy has come down the porch behind Holland and she and Mrs.\",\n \"\\t\\tI turned you away. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDon't, Paul -- don't doubt yourself \\n \\t\\t-- don't make me doubt you. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI remember words I said to Jessica \\n \\t\\t- words mixed like to poison -- to \\n \\t\\thurt her, to madden her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(desperately)\",\n \"\\t\\tOne of these days he'll start on \\n \\t\\tyou, the way he did on her. \\n \\t\\t\\t(imitating) \\n \\t\\t\\\"You think life's beautiful, don't \\n \\t\\tyou, Jessica? You think you're \\n \\t\\tbeautiful, don't you, Jessica?\\\" \\n \\t\\t\\t(bitterly) \\n \\t\\tWhat he could do to that word \\n \\t\\t\\\"beautiful.\\\" That's Paul's great\",\n \"\\tThe CAMERA DRAWS BACK to SHOW a tall, masculine figure \\n \\tleaning against the foremast, behind Betsy. This is Paul \\n \\tHolland. As we see him, we hear his voice. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIt is not beautiful. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(surprised but smiling) \\n \\t\\tYou read my thoughts, Mr. Holland. \\n\",\n \"\\t\\tsweet mocking voice, \\\"Paul, \\n \\t\\tdarling...\\\" The whole thing \\n \\t\\tbeginning all over again... \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(dully) \\n \\t\\tAnd instead, I came -- bringing \\n \\t\\tyou nothing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(slowly looking down at \\n \\t\\t\\ther) \\n \\t\\tInstead -- you come, with sympathy,\",\n \"\\tPriest walking with him. As they walk, Holland speaks: \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tBut I assure you, Father Walters, \\n \\t\\tMiss Connell had no idea of the \\n \\t\\tconsequences when she went there. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tPaul, we're not trying to blame \\n \\t\\tMiss Connell. It isn't a question\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tA woman crying? No one's been \\n \\t\\tcrying here. \\n \\n \\t\\t\\t\\tCLEMENT \\n \\t\\tMr. Paul -- yes, there was crying \\n \\t\\ttonight. It was Alma. Her sister \\n \\t\\twas brought a'birthing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(with a slight smile) \\n \\t\\tThank you, Clement. \\n\",\n \"\\t\\tIt was a sad time at Fort Holland. \\n \\t\\tMother Rand was completely broken \\n \\t\\tby the tragedy. But she's a woman of \\n \\t\\tcourage. She's begun to build up her \\n \\t\\tlife again at St. Sebastian -- It's a \\n \\t\\tgood life and a full one. As for \\n \\t\\tPaul and me -- it wasn't a simple \\n \\t\\tproblem for either of us. \\n\",\n \"\\t\\t\\t\\tWILKENS \\n \\t\\tI'm afraid I'm not able to tell you \\n \\t\\tmuch. Only that the patient is a young \\n \\t\\twoman -- the wife of a Mr. Paul \\n \\t\\tHolland with whom we do \\n \\t\\tconsiderable business. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThat will mean another interview, \\n \\t\\twon't it? \\n \\n \\t\\t\\t\\tWILKENS\",\n \"\\t\\trevealed to other women -- maybe in \\n \\t\\ttheir sweethearts' arms -- I don't \\n \\t\\tknow. To me it came that night \\n \\t\\tafter Paul Holland almost thrust me \\n \\t\\tfrom the room, and certainly thrust \\n \\t\\tme from his life. I said to myself, \\n \\t\\t\\\"I love him.\\\" And even as I said \\n \\t\\tit, I knew he still loved his wife. \\n \\t\\tThen because I loved him, I felt I\"\n ],\n [\n \"\\t\\tcruel to Jessica. When I got to \\n \\t\\tknow her -- when I found out how \\n \\t\\tempty and ungenerous she was, there \\n \\t\\twas something about her -- \\n \\t\\tsomething smooth and false -- that \\n \\t\\tmade we want to hurt her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI can understand that. Everyone \\n \\t\\tfeels that way about someone. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\tthen, searchingly, into her face. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou wouldn't understand that kind \\n \\t\\tof love. You never knew Jessica as \\n \\t\\tshe was. Beautiful, restless, \\n \\t\\twillful -- living in a world with \\n \\t\\troom for nothing but her own image \\n \\t\\tand her own desires. \\n \\n \\tBetsy gently draws her hand away. She watches his face, lost\",\n \"\\t\\tBetsy, and a generous heart. \\n \\t\\tDon't forget that. Don't call it \\n \\t\\tnothing. \\n \\n \\tBetsy turns wearily and returns to the sick room. Holland is \\n \\tabout to follow her when he hears a low chuckle and turns to \\n \\tsee who it is. \\n \\n \\t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>\",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\tBetsy tries to turn away from him. He grips her shoulders \\n \\ttightly. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tI thought I was looking at a woman \\n \\t\\twho loved me and had compassion for \\n \\t\\tme. Yet you made that trip to the \\n \\t\\tHoumfort to bring Jessica back to \\n \\t\\tme -- \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes. \\n\",\n \"\\thanging immobile, close to her slim body. She is blonde and \\n \\tas far as the light will reveal, she seems beautiful. She \\n \\tmakes the circuit of the garden, pacing slowly along the \\n \\tpaths. Betsy watches her. Then, from the living room, a \\n \\tman's voice calls out to her. \\n \\n \\t\\t\\t\\tHOLLAND'S VOICE \\n \\t\\tJessica. \\n\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tThe Houmfort -- they're trying to \\n \\t\\tget her back there. \\n \\n \\tBetsy and Holland look at each other. Then Betsy takes \\n \\tJessica's arm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tCome with me, Jessica. \\n \\n \\tObedient again, Jessica allows Betsy to turn her around and\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tI imagined this so differently... \\n \\n \\tHolland takes his hand from her shoulders. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI've been waiting here for hours, \\n \\t\\ttrying to imagine Jessica well \\n \\t\\tagain -- wondering what I'd feel. \\n \\t\\tI could see Jessica as she used to \\n \\t\\tbe, I could hear her say in that\",\n \"\\tBetsy, questioning Betsy with upraised sugar tongs and cream \\n \\tpitcher before each move. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(while she's pouring the \\n \\t\\t\\tcoffee) \\n \\t\\tMiss Jessica used to say this is \\n \\t\\tthe only way for a lady to break \\n \\t\\ther fast -- in bed, with a lacy \\n \\t\\tcushion to bank her head up. If\",\n \"\\t\\tBetsy feels there is nothing she \\n \\t\\tcan do for Jessica... \\n \\n \\tPAGE MISSING \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \\n </u> \\n \\tRand and Dr. Maxwell come through the gate and walk up the \\n \\tgarden path. As they do so, Mrs. Rand comes down the porch \\n \\tsteps. Betsy and Holland follow her. \\n\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\tHolland pulls her close to him, looks down into her eyes. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tYou think I love Jessica and want \\n \\t\\ther back. It is like you to think \\n \\t\\tthat -- clean, decent thinking. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(simply) \\n \\t\\tShe was beautiful. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI hated her. \\n\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\tplaces it at the bedside. She puts a knife and fork on the \\n \\tplate. Betsy sets down her coffee cup and picks up the \\n \\tplate. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tWhat's this? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tA puff-up, I call it. But Miss \\n \\t\\tJessica always says \\\"brioche.\\\" \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\tgoes toward the door leading into the tower. At the foot of \\n \\tJessica's bed, she stops to grab up Jessica's white negligee, \\n \\tthrowing it around her she continues to the door and opens it \\n \\tslowly and cautiously. \\n \\n \\t<u>INT. THE GROUND FLOOR OF THE TOWER -- NIGHT \\n </u> \\n \\tBetsy steps into the lower tower room. The thick blackness\"\n ],\n [\n \"\\t\\tWesley's difficulty brought us \\n \\t\\ttogether. \\n \\n \\tBetsy takes the older woman's hand and they shake hands. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBelieve me, Mrs. Rand, he doesn't \\n \\t\\tdo this often. This is the first \\n \\t\\ttime I've seen him -- \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tNonsense, child! I know Wesley's\",\n \"\\tservice has been set out on a long mahogany table. As she \\n \\tcomes forward, Betsy sees a handsome young man waiting for \\n \\ther. This is Wesley Rand. The table by which he stands is \\n \\tset for two and lit by candelabra in great glass hurricane \\n \\tlamps. The table is laid with white linen, and the \\n \\tcandlelight gleams on silver and cut-glass arranged in the\",\n \"\\t\\tthe patient still lives. I've been \\n \\t\\timagining too, Paul. You didn't \\n \\t\\tthink of that, did you? I saw \\n \\t\\tJessica coming across the garden, I \\n \\t\\theard her voice. \\n \\n \\tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \\n \\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE\",\n \"\\tHe looks into her eyes and sees the finality of her refusal \\n \\tthere. His hand drops from her arm and he turns away. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(with great pity) \\n \\t\\tHer heart beats, Wes. She \\n \\t\\tbreathes. That's life -- I once \\n \\t\\ttook an oath to guard life. \\n \\n \\tRand straightens up and takes a deep breath. \\n\",\n \"\\t\\tYou mean to say Paul can send her \\n \\t\\taway -- that he can hand her over \\n \\t\\tto strangers -- who'll shut her up \\n \\t\\t- maybe mistreat her? He hasn't \\n \\t\\tthat right! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(trying to calm him) \\n \\t\\tWesley! \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI am afraid, Wesley, he has that\",\n \"\\t\\t\\t(sincerely) \\n \\t\\tWesley can be very entertaining. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(encouraged by his tone) \\n \\t\\tYes, he can. But I've been \\n \\t\\twondering -- you know if you could \\n \\t\\tleave the whisky decanter off the \\n \\t\\ttable -- \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIt's always stood there, Miss\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tWes. Wesley -- it's time we were \\n \\t\\tstarting home. \\n \\n \\tRand makes some meaningless mumble of words. \\n \\n \\t\\t\\t\\tCALYPSO SINGER \\n \\t\\t<i>The wife and the brother, they want to go, \\n \\t\\tBut the Holland man, he tell them \\\"no.\\\"</i> \\n \\n \\tAs Betsy stares nervously into the shadows beyond the street\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tlamp, she sees the figure of the Calypso singer, moving \\n \\tslowly towards her as he sings. \\n \\n \\t\\t\\t\\tCALYPSO SINGER (cont'd) \\n \\t\\t<i>The wife fall down and the evil came \\n \\t\\tAnd it burned her mind in the fever flame.</i> \\n \\n \\tBetsy shakes Rand urgently. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tPlease, Wes -- we've got to get\",\n \"\\tof the windows. In his face and his posture are complete \\n \\tdejection, utter misery. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBetsy, can I talk to you a minute? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(with quiet sympathy) \\n \\t\\tOf course, Wes. \\n \\n \\tShe waits, inquiringly. Rand takes a few steps into the room \\n \\tand turns to stare through the door, across the garden to\",\n \"\\t\\tyou're every bit as nice as Wes \\n \\t\\tsays you are. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tSo -- he says I'm nice. He's a \\n \\t\\tnice boy, too, Miss Connell, a very \\n \\t\\tnice boy. But I'm worried about \\n \\t\\this drinking. \\n \\n \\tShe pauses in her speech, stops for a moment at the very edge\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tStill, I feel you should remove the \\n \\t\\tdecanter. Wes is not an alcoholic \\n \\t\\tyet, Mr. Holland. But as a nurse I can \\n \\t\\ttell you that it won't be long before he is. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(coldly) \\n \\t\\tI'm afraid the decanter will have \\n \\t\\tto stay where it is. I engaged\",\n \"\\tHolland still keeps his silence, although the muscles in his \\n \\tjaw twitch. \\n \\n \\t\\t\\t\\tRAND (cont'd) \\n \\t\\tWhat are you trying to do, impress \\n \\t\\ther? \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tLet's drop it now, Wes. We can \\n \\t\\ttalk about it later if you want. \\n \\n \\tRand glowers at him and makes no immediate answer. A great\",\n \"\\tHe starts to rise. Betsy restrains him. The Calypso singer \\n \\truns off a few feet, makes his little polite bow again, and \\n \\tthe vanishes. Rand stands practically shaking with rage. \\n \\tBetsy forces him into a chair. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDon't let it bother you so, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDid you hear what he sang? \\n\",\n \"\\t\\tgo to bed. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(suddenly) \\n \\t\\tShe's dead. The dead ought to be \\n \\t\\tburied. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(gently) \\n \\t\\tBut she's not dead, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(violently) \\n \\t\\tYou know what she is! That's death\",\n \"\\t\\tyou're not responsible -- that \\n \\t\\tevery damnable bit of it doesn't \\n \\t\\trest squarely on your shoulders! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tYou're wrong, Wesley. The guilt is \\n \\t\\tmine -- all of it. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(bitterly) \\n \\t\\tAre you going to lie for him, \\n \\t\\tMother? \\n\",\n \"\\t\\tFoolish? Tell them how foolish it \\n \\t\\tis, Paul -- tell them! \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(very calmly but with a \\n \\t\\t\\tlittle uncertainty) \\n \\t\\tMy guilt in this matter, if any, \\n \\t\\tWesley, is not the subject of this \\n \\t\\tdiscussion. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut it is, Paul! Because that's\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(evidently continuing what \\n \\t\\t\\tshe has been saying) \\n \\t\\tThat's carrying free speech a \\n \\t\\tlittle too far! I wouldn't have \\n \\t\\tlistened, Wes, if I had realized -- \\n \\n \\tThe Calypso singer comes in and stands humbly beside the \\n \\ttable. \\n \\n \\t\\t\\t\\tCALYPSO SINGER \\n \\t\\t\\t(with a little bow in the\",\n \"\\t\\tto St. Thomas. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tTo the asylum? \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tI believe there's a kinder name for \\n \\t\\tit, Wesley. At St. Thomas, it's called the \\n \\t\\tInstitute for Mental Therapy. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(getting up)\"\n ],\n [\n \"\\t\\tMiss Jessica. But the Houngan \\n \\t\\tcured her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tAre you trying to tell me that the \\n \\t\\tHoungan -- the voodoo priest -- \\n \\t\\tcould cure Mrs. Holland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tYes, Miss Betsy. I mean that. The \\n \\t\\tHoungan will speak to the rada\",\n \"\\tA hand reaches out from the darkness and takes Betsy's hand \\n \\tand draws her in. The Houngan follows Betsy into the temple. \\n \\tThe door shuts behind him. Jessica remains outside, standing \\n \\tbefore the door. \\n \\n \\t<u>INT. INNER HOUMFORT - NIGHT \\n </u> \\n \\tA match flares and a hand brings it forward to light an oil \\n \\tlamp which flares brightly, revealing a little room of\",\n \"\\tJessica's hand in hers, Betsy takes her place at the door. \\n \\tShe puts her forehead against the crudely painted forehead of \\n \\tthe god. She talks to the door. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDamballa! This woman is sick. \\n \\n \\tThe door swings open slowly. The feeble light of the outer \\n \\tHoumfort does not penetrate the darkness of the inner temple.\",\n \"\\tJessica by the hand, Betsy takes her place at one end of the \\n \\tsemicircle around the altar. Her arrival has in no way \\n \\tinterrupted the ceremonies. The Houngan continues to chant \\n \\tbefore the altar, the rada drums beat and the crowd sings the \\n \\tchorus of the Shango song at the proper intervals. It is all \\n \\tvery decorous and decidedly religious in tone. No sooner has\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tthe first portion of their meal and Clement is taking off the \\n \\tsoup plates. Somewhere off in the hills there is the \\n \\tululating sounds of a great sea conch being blown. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou don't seem very disturbed by \\n \\t\\tit. I've always thought Voodoo was \\n \\t\\tsomething to be scared of: the \\n \\t\\tdrums sounded in the hills and \\n \\t\\teverybody was frightened. \\n\",\n \"\\t\\t\\t(to Betsy, cheerfully) \\n \\t\\tSome of this native nonsense. The \\n \\t\\tHoungan has his prescription and \\n \\t\\tDr. Maxwell and I have ours. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou've never said anything about \\n \\t\\tvoodoo before, Mrs. Rand. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tHaven't I? I suppose I take it for\",\n \"\\tANOTHER ANGLE - SHOOTING TOWARD the inner Houmfort. Betsy \\n \\truns out from the doorway, takes hold of Jessica's arm and \\n \\tstarts running with her. There is a movement in the crowd as \\n \\tif they were about to follow her. From the doorway of the \\n \\tinner Houmfort, the Houngan calls out: \\n \\n \\t\\t\\t\\tHOUNGAN \\n \\t\\tTrouble. Bad trouble. Let her go.\",\n \"\\tPAGES ARE MISSING AT THIS POINT AS BETSY AND \\n \\tJESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE \\n \\tFIELDS TO THE HOUMFORT \\n \\n \\t<u>EXT. THE HOUMFORT - NIGHT \\n </u> \\n \\tLONG SHOT. The camera is behind Betsy and Jessica as they go \\n \\ttoward the Houmfort through the sugar cane. We see this\",\n \"\\t\\tlong story. And not an easy one -- \\n \\n \\t<u>EXT. THE HOUMFORT - NIGHT \\n </u> \\n \\tJessica stands patiently where Betsy had left her. The \\n \\tSabreur and two Mam-Lois stand near her looking at her and \\n \\ttalking. We cannot hear what they say. The drumming and the \\n \\tsong of joy for the coming of Damballa continue over the\",\n \"\\tBetsy taken her place with the others than the Shango ritual \\n \\tapproaches its climax. The Sabreur, a colored man dressed in \\n \\twhite shirt and trousers, with a neat dark tie knotted under \\n \\this collar, comes in, bearing a sabre in his right hand, \\n \\tholding it in stately, almost processional manner. He \\n \\tadvances to the altar, strikes it three times and at this \\n \\tsignal two colored women dressed in white beguine dresses\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tThe Houmfort -- they're trying to \\n \\t\\tget her back there. \\n \\n \\tBetsy and Holland look at each other. Then Betsy takes \\n \\tJessica's arm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tCome with me, Jessica. \\n \\n \\tObedient again, Jessica allows Betsy to turn her around and\",\n \"\\tdoor. Betsy leading Jessica by the hand takes her place with \\n \\tthe rest. She is third in the line of suppliants. She can \\n \\tsee the whole procedure. The suppliant places his forehead \\n \\tagainst the forehead of the god painted on the door, and \\n \\tspeaks. The first suppliant is a weary-looking field hand \\n \\twho shuffles to the door and speaks in such a low tone that\",\n \"\\t\\tTi-Peter, how do you ever expect to \\n \\t\\tget to Heaven with one foot in the \\n \\t\\tvoodoo Houmfort and the other in \\n \\t\\tthe Baptist church? \\n \\n \\tThe little black boy looks at her with rolling eyes but does \\n \\tnot answer. She gives him a playful pat on the behind, \\n \\tstarting him on his way to the door. \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D)\",\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\this shoulders and turns him around three times, Evidently \\n \\tthis is absolute guarantee of an enormous income tax to be \\n \\tpaid at St. Sebastian. The woman and her son retire happily, \\n \\tpleased and grinning. Finally, exhausted, the girl possessed \\n \\tof the god, Shango, sinks to her knees and then falls \\n \\tfainting to the floor. Two colored men come in, carry her \\n \\taway. A great cry rises from the voodoo worshippers. \\n\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\"\n ],\n [\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\tbottles. Before this altar stands the Houngan, the high \\n \\tpriest of the voodoo ceremonies, a small, stoop-shouldered \\n \\tman in a worn, white coat and trousers with ragged cuffs. \\n \\tSeveral mild-looking negroes in white trousers and shirts sit \\n \\tin kitchen chairs on one side of the altar with rada drums \\n \\tbetween their knees. Grouped around this altar in a loose\",\n \"\\t\\tMiss Jessica. But the Houngan \\n \\t\\tcured her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tAre you trying to tell me that the \\n \\t\\tHoungan -- the voodoo priest -- \\n \\t\\tcould cure Mrs. Holland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tYes, Miss Betsy. I mean that. The \\n \\t\\tHoungan will speak to the rada\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\",\n \"\\this shoulders and turns him around three times, Evidently \\n \\tthis is absolute guarantee of an enormous income tax to be \\n \\tpaid at St. Sebastian. The woman and her son retire happily, \\n \\tpleased and grinning. Finally, exhausted, the girl possessed \\n \\tof the god, Shango, sinks to her knees and then falls \\n \\tfainting to the floor. Two colored men come in, carry her \\n \\taway. A great cry rises from the voodoo worshippers. \\n\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tthe ceremony has taken place. Instantly the drumming and the \\n \\tsinging stops. A young colored girl jumps up from her seat \\n \\tamong the worshippers and begins shivering and quaking, \\n \\tcrying out wordlessly. There is a cry from the people. \\n \\n \\t\\t\\t\\tTHE PEOPLE \\n \\t\\tPut the god in her! Put the god in \\n \\t\\ther! \\n \\n \\tThe Houngan prances forward, followed by the Sabreur. The\",\n \"\\tA hand reaches out from the darkness and takes Betsy's hand \\n \\tand draws her in. The Houngan follows Betsy into the temple. \\n \\tThe door shuts behind him. Jessica remains outside, standing \\n \\tbefore the door. \\n \\n \\t<u>INT. INNER HOUMFORT - NIGHT \\n </u> \\n \\tA match flares and a hand brings it forward to light an oil \\n \\tlamp which flares brightly, revealing a little room of\",\n \"\\tThere is a great ecstatic shout from the voodoo worshippers. \\n \\n \\t\\t\\t\\tVOODOO WORSHIPPERS \\n \\t\\t\\t(shouting) \\n \\t\\tDamballa! Damballa! \\n \\n \\tThe Sabreur dances forward, sword in his left hand and a \\n \\tlittle plate with rice cakes, in his right. He kneels down \\n \\tand places the plate near the door jamb. A line forms at the\",\n \"\\tvoodoo temple as they go toward it. It is a rickety \\n \\tstructure of poles and laths, roofed over with a thin thatch \\n \\tof sugar cane and straw. It forms a sort of rude pergola. \\n \\tIn the center of this structure is a small, cubicle hut, made \\n \\tof rough boards but neatly whitewashed. From the rafters of \\n \\tthe main structure hang crude chandeliers of tin which give\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\",\n \"\\t\\tTi-Peter, how do you ever expect to \\n \\t\\tget to Heaven with one foot in the \\n \\t\\tvoodoo Houmfort and the other in \\n \\t\\tthe Baptist church? \\n \\n \\tThe little black boy looks at her with rolling eyes but does \\n \\tnot answer. She gives him a playful pat on the behind, \\n \\tstarting him on his way to the door. \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D)\",\n \"\\tthe first portion of their meal and Clement is taking off the \\n \\tsoup plates. Somewhere off in the hills there is the \\n \\tululating sounds of a great sea conch being blown. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou don't seem very disturbed by \\n \\t\\tit. I've always thought Voodoo was \\n \\t\\tsomething to be scared of: the \\n \\t\\tdrums sounded in the hills and \\n \\t\\teverybody was frightened. \\n\",\n \"\\t\\tmy head. The chanting -- the \\n \\t\\tlights -- everything blurred \\n \\t\\ttogether. And then I heard a \\n \\t\\tvoice, speaking in a sudden \\n \\t\\tsilence. My voice. I was \\n \\t\\tpossessed. I said that the woman \\n \\t\\tat Fort Holland was evil and that \\n \\t\\tthe Houngan must maker her a \\n \\t\\tZombie. \\n\",\n \"\\twhitewashed boards, bare except for a table on which stands a \\n \\tsmall iron tripod from which an iron pot is suspended. \\n \\tAlthough there is no fire under the pot, the steam rises from \\n \\tthis receptacle and water boils and bubbles in it. \\n \\tIt is the Houngan who has lit the lamp and, on the other side \\n \\tof the table is Mrs. Rand. Her face is serious and unsmiling. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\t\\t\\t\\tWORSHIPPERS \\n \\t\\tDamballa! Damballa! Damballa! \\n \\t\\tDamballa! \\n \\n \\tThe drums find a new rhythm. The Houngan retires to one \\n \\tcorner of the altar; the Sabreur to the other. Two young \\n \\tgirls, their beguine dresses slashed and torn, dance in from \\n \\teither side. This is a wild and an impassioned dance, a\",\n \"\\tHoungan holds a little saucer in his hand with some dark \\n \\tliquid at the bottom of it. He dips four fingers into this \\n \\tliquid while the girl quivers and writhes before him in \\n \\treligious ecstasy. He marks her forehead with four strange \\n \\tmarks, one with each finger. The Sabreur, crying out the \\n \\tname of Shango, four times, points his sabre to the four \\n \\tdirections of the compass. There is an immediate\",\n \"\\tthe Sabreur, with the drummer crouched behind them. The \\n \\tSabreur takes the doll from Carre-Four's hand and holds it a \\n \\tfoot or so away from him. The great black hand reaches for \\n \\tit. Again the Sabreur takes the doll away and dances off \\n \\twith mincing steps to a distance of a few yards. Carre-Four \\n \\tlumbers after him, his hand extended. Again, the Sabreur\",\n \"\\t\\t\\t\\tRAND \\n \\t\\tI know. I shouldn't have asked it. \\n \\n \\tHe starts slowly to the open door. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>EXT. HOUMFORT -- NIGHT \\n </u> \\n \\tThe Houngan and the Sabreur are working over the doll again. \\n \\tIt begins to move. \\n \\n \\t<u>EXT. GARDEN -- NIGHT\"\n ],\n [\n \"\\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \\n \\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \\\"ZOMBIE\\\". \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D) \\n \\t\\tBetsy! Get her away -- back to the \\n \\t\\tFort! Do as I say -- they won't \\n \\t\\thurt you. \\n\",\n \"\\tthe point of his saber in the ground and draws from his \\n \\tbodkin, a long needle. With one swift movement, he stabs \\n \\tthis through the doll's back. \\n \\n \\t<u>EXT. GARDEN -- NIGHT \\n </u> \\n \\tAs seen from Rand's ANGLE. He rises slowly, drains the \\n \\tliquor in his glass, walks forward to where Jessica stands at\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\t<u>INT. SLIT IN WALL OF TOWER -- NIGHT \\n </u> \\n \\tSingle file, the bats sweep out one by one through the \\n \\tloophole high up in the wall of the tower. Betsy's scream \\n \\tcontinues to echo. \\n \\n \\t<u>INT. TOWER -- SECOND FLOOR -- NIGHT \\n </u> \\n \\tJessica still continues to walk toward Betsy. Betsy retreats\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\tpulling movements. The conch is being blown with a more \\n \\tinsistent and compelling note. Still, the doll-figure \\n \\trefuses to move. The Sabreur stops. The conches are \\n \\tsuddenly silenced. \\n \\n \\t<u>EXT. GARDEN GATE -- NIGHT \\n </u> \\n \\tIn this sudden silence, Holland and Jessica look at each \\n \\tother across the motionless figure of Jessica. \\n\",\n \"\\tThe kettle of water, without a fire, is still boiling. The \\n \\tCAMERA MOVES AROUND the room to show that it is empty. Then \\n \\tMOVES UP ON a small shelf before which a candle is burning. \\n \\tOn this shelf, a few inches above the candle flame, stands \\n \\tthe cheap little doll dressed like Jessica, with the needle \\n \\tin its back. Suddenly, the doll falls forward on its face. \\n\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\tto walk forward. He tries to hold her. It is apparent he \\n \\tcannot do so without the use of considerable force. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tJessica! Jessica! \\n \\n \\tShe pays no attention but continues to move forward toward \\n \\tthe gate. Betsy, realizing that is something outside of her \\n \\tprevious experiences with the woman, has the presence of mind \\n \\tto run forward and slam shut the great wrought-iron gate. \",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\tClement is about to follow them when the door to Jessica's \\n \\tbedroom opens a few inches. Alma puts her head out \\n \\tcautiously. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(whispering) \\n \\t\\tClement... \\n \\n \\tClement goes over to her. \\n \\n \\t\\t\\t\\tALMA (cont'd) \\n \\t\\tI'm going to stay with Miss Jessica\",\n \"\\twalks to where Jessica stands. He pulls back the latch bar \\n \\tand throws the gates wide open. Jessica moves out into the \\n \\tdarkness. Rand follows her. \\n \\n \\t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \\n \\n \\tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \\n \\tinto the darkness. \\n \\n \\t<u>INT. HOUMFORT -- NIGHT</u>\",\n \"\\t\\t\\t(jumping to his feet) \\n \\t\\tYou were so gentlemanly when you \\n \\t\\tdrove Jessica insane -- so polite \\n \\t\\twhen you made her into that! \\n \\n \\tHe subsides in his chair, shaken, entirely out of control. \\n \\tHe doesn't look at Holland, nor at Betsy but at Jessica. \\n \\tThey sit there for a moment in complete silence. Then \\n \\tHolland, obviously holding in his temper, rises and says:\",\n \"\\thanging immobile, close to her slim body. She is blonde and \\n \\tas far as the light will reveal, she seems beautiful. She \\n \\tmakes the circuit of the garden, pacing slowly along the \\n \\tpaths. Betsy watches her. Then, from the living room, a \\n \\tman's voice calls out to her. \\n \\n \\t\\t\\t\\tHOLLAND'S VOICE \\n \\t\\tJessica. \\n\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tJessica walks up against the gate and stands there, unable to \\n \\tmove any further. They stand and look at her perplexed. \\n \\n \\t<u>EXT. HOUMFORT -- NIGHT \\n </u> \\n \\tThe doll has stopped moving. The Sabreur is exerting all his \\n \\tforce. We can see the sweat soaking his white shirt. The \\n \\tothers are chanting, louder now, swaying in rhythm with his\"\n ],\n [\n \"\\t\\tof blame. It's a question of what \\n \\t\\twe are to do with Jessica. The \\n \\t\\tcommissioner is very concerned. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tIt has become a serious problem. \\n \\t\\tThere's so much gossip, rumor and \\n \\t\\tagitation about the whole thing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI know. We've felt it at the mill. \",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\thanging immobile, close to her slim body. She is blonde and \\n \\tas far as the light will reveal, she seems beautiful. She \\n \\tmakes the circuit of the garden, pacing slowly along the \\n \\tpaths. Betsy watches her. Then, from the living room, a \\n \\tman's voice calls out to her. \\n \\n \\t\\t\\t\\tHOLLAND'S VOICE \\n \\t\\tJessica. \\n\",\n \"\\tClement is about to follow them when the door to Jessica's \\n \\tbedroom opens a few inches. Alma puts her head out \\n \\tcautiously. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(whispering) \\n \\t\\tClement... \\n \\n \\tClement goes over to her. \\n \\n \\t\\t\\t\\tALMA (cont'd) \\n \\t\\tI'm going to stay with Miss Jessica\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"\\t<u>INT. JESSICA'S BEDROOM - DAY \\n </u> \\n \\tIt is a beautiful woman's bedroom, feminine but with no \\n \\tsuggestion of the bagnic; elegant rather than seductive, and \\n \\treflecting a playful yet sophisticated taste. The furniture \\n \\tis Biedermeier. There is a large bed, a trim chaise lounge, \\n \\ta little slipper chair and in one corner of the room, that\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\",\n \"\\t\\tBetsy, and a generous heart. \\n \\t\\tDon't forget that. Don't call it \\n \\t\\tnothing. \\n \\n \\tBetsy turns wearily and returns to the sick room. Holland is \\n \\tabout to follow her when he hears a low chuckle and turns to \\n \\tsee who it is. \\n \\n \\t<u>INT. THE PASSAGE TO THE TOWER DOOR AS SEEN FROM JESSICA'S</u>\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tThe Houmfort -- they're trying to \\n \\t\\tget her back there. \\n \\n \\tBetsy and Holland look at each other. Then Betsy takes \\n \\tJessica's arm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tCome with me, Jessica. \\n \\n \\tObedient again, Jessica allows Betsy to turn her around and\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\t\\tbeen drinking too much lately. I \\n \\t\\tknow a great deal more about what \\n \\t\\tgoes on at Fort Holland than you'd \\n \\t\\tthink. I know all about you -- \\n \\t\\tthat you're a nice girl, competent \\n \\t\\tand kind to Jessica. The Fort \\n \\t\\tneeds a girl like you. \\n \\t\\t\\t(breaking her mood) \\n \\t\\tBut now we've got to get you back\",\n \"\\t\\tNo. You're quite wrong. Right \\n \\t\\there's the seat of the trouble. \\n \\t\\tMrs. Holland has become an object \\n \\t\\tof speculation and religious \\n \\t\\tinterest to these people. It's \\n \\t\\trevived all their old superstitions \\n \\t\\t-- Zombies -- and that sort of \\n \\t\\tnonsense. \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\tat the next window. Again, he tries the bars and peers into \\n \\tthe room. Again, he vanishes in the darkness. We hear a \\n \\tfaint sound from the tower. Betsy wakens. Her eyes go \\n \\tquickly to the bed, where the outline of Jessica's figure \\n \\treassures her. There is another muffled, dragging sound from \\n \\tthe tower. Betsy sits up, listens intently. She gets up and\",\n \"\\t\\tcruel to Jessica. When I got to \\n \\t\\tknow her -- when I found out how \\n \\t\\tempty and ungenerous she was, there \\n \\t\\twas something about her -- \\n \\t\\tsomething smooth and false -- that \\n \\t\\tmade we want to hurt her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI can understand that. Everyone \\n \\t\\tfeels that way about someone. \\n \\n \\t\\t\\t\\tHOLLAND\"\n ],\n [\n \"\\t\\tWesley's difficulty brought us \\n \\t\\ttogether. \\n \\n \\tBetsy takes the older woman's hand and they shake hands. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBelieve me, Mrs. Rand, he doesn't \\n \\t\\tdo this often. This is the first \\n \\t\\ttime I've seen him -- \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tNonsense, child! I know Wesley's\",\n \"\\tHe looks into her eyes and sees the finality of her refusal \\n \\tthere. His hand drops from her arm and he turns away. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(with great pity) \\n \\t\\tHer heart beats, Wes. She \\n \\t\\tbreathes. That's life -- I once \\n \\t\\ttook an oath to guard life. \\n \\n \\tRand straightens up and takes a deep breath. \\n\",\n \"\\t\\t\\t(sincerely) \\n \\t\\tWesley can be very entertaining. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(encouraged by his tone) \\n \\t\\tYes, he can. But I've been \\n \\t\\twondering -- you know if you could \\n \\t\\tleave the whisky decanter off the \\n \\t\\ttable -- \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIt's always stood there, Miss\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\t\\tthe patient still lives. I've been \\n \\t\\timagining too, Paul. You didn't \\n \\t\\tthink of that, did you? I saw \\n \\t\\tJessica coming across the garden, I \\n \\t\\theard her voice. \\n \\n \\tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \\n \\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE\",\n \"\\t\\tYou mean to say Paul can send her \\n \\t\\taway -- that he can hand her over \\n \\t\\tto strangers -- who'll shut her up \\n \\t\\t- maybe mistreat her? He hasn't \\n \\t\\tthat right! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\t\\t(trying to calm him) \\n \\t\\tWesley! \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI am afraid, Wesley, he has that\",\n \"\\tof the windows. In his face and his posture are complete \\n \\tdejection, utter misery. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBetsy, can I talk to you a minute? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(with quiet sympathy) \\n \\t\\tOf course, Wes. \\n \\n \\tShe waits, inquiringly. Rand takes a few steps into the room \\n \\tand turns to stare through the door, across the garden to\",\n \"\\t\\tgo to bed. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(suddenly) \\n \\t\\tShe's dead. The dead ought to be \\n \\t\\tburied. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(gently) \\n \\t\\tBut she's not dead, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(violently) \\n \\t\\tYou know what she is! That's death\",\n \"\\t\\tyou're every bit as nice as Wes \\n \\t\\tsays you are. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tSo -- he says I'm nice. He's a \\n \\t\\tnice boy, too, Miss Connell, a very \\n \\t\\tnice boy. But I'm worried about \\n \\t\\this drinking. \\n \\n \\tShe pauses in her speech, stops for a moment at the very edge\",\n \"\\t\\t-- no mind, no senses -- no love, \\n \\t\\tno hate, no feeling -- nothing! \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tPlease, Wes, do as I ask. You must \\n \\t\\trest, you must sleep. \\n \\n \\tRand turns his hand and lets the tablets fall to the floor. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(dully) \\n \\t\\tShe should have rest.\",\n \"\\t\\tFoolish? Tell them how foolish it \\n \\t\\tis, Paul -- tell them! \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(very calmly but with a \\n \\t\\t\\tlittle uncertainty) \\n \\t\\tMy guilt in this matter, if any, \\n \\t\\tWesley, is not the subject of this \\n \\t\\tdiscussion. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut it is, Paul! Because that's\",\n \"\\t\\tyou're not responsible -- that \\n \\t\\tevery damnable bit of it doesn't \\n \\t\\trest squarely on your shoulders! \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tYou're wrong, Wesley. The guilt is \\n \\t\\tmine -- all of it. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\t\\t(bitterly) \\n \\t\\tAre you going to lie for him, \\n \\t\\tMother? \\n\",\n \"\\tHolland still keeps his silence, although the muscles in his \\n \\tjaw twitch. \\n \\n \\t\\t\\t\\tRAND (cont'd) \\n \\t\\tWhat are you trying to do, impress \\n \\t\\ther? \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tLet's drop it now, Wes. We can \\n \\t\\ttalk about it later if you want. \\n \\n \\tRand glowers at him and makes no immediate answer. A great\",\n \"\\tlamp, she sees the figure of the Calypso singer, moving \\n \\tslowly towards her as he sings. \\n \\n \\t\\t\\t\\tCALYPSO SINGER (cont'd) \\n \\t\\t<i>The wife fall down and the evil came \\n \\t\\tAnd it burned her mind in the fever flame.</i> \\n \\n \\tBetsy shakes Rand urgently. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tPlease, Wes -- we've got to get\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tWes. Wesley -- it's time we were \\n \\t\\tstarting home. \\n \\n \\tRand makes some meaningless mumble of words. \\n \\n \\t\\t\\t\\tCALYPSO SINGER \\n \\t\\t<i>The wife and the brother, they want to go, \\n \\t\\tBut the Holland man, he tell them \\\"no.\\\"</i> \\n \\n \\tAs Betsy stares nervously into the shadows beyond the street\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tStill, I feel you should remove the \\n \\t\\tdecanter. Wes is not an alcoholic \\n \\t\\tyet, Mr. Holland. But as a nurse I can \\n \\t\\ttell you that it won't be long before he is. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(coldly) \\n \\t\\tI'm afraid the decanter will have \\n \\t\\tto stay where it is. I engaged\",\n \"\\tHe starts to rise. Betsy restrains him. The Calypso singer \\n \\truns off a few feet, makes his little polite bow again, and \\n \\tthe vanishes. Rand stands practically shaking with rage. \\n \\tBetsy forces him into a chair. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDon't let it bother you so, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDid you hear what he sang? \\n\",\n \"\\tservice has been set out on a long mahogany table. As she \\n \\tcomes forward, Betsy sees a handsome young man waiting for \\n \\ther. This is Wesley Rand. The table by which he stands is \\n \\tset for two and lit by candelabra in great glass hurricane \\n \\tlamps. The table is laid with white linen, and the \\n \\tcandlelight gleams on silver and cut-glass arranged in the\",\n \"\\t\\t\\t(jumping to his feet) \\n \\t\\tYou were so gentlemanly when you \\n \\t\\tdrove Jessica insane -- so polite \\n \\t\\twhen you made her into that! \\n \\n \\tHe subsides in his chair, shaken, entirely out of control. \\n \\tHe doesn't look at Holland, nor at Betsy but at Jessica. \\n \\tThey sit there for a moment in complete silence. Then \\n \\tHolland, obviously holding in his temper, rises and says:\"\n ],\n [\n \"\\tlike cerements. The fisherman looks for a moment at the body \\n \\tand then calls off to one of the other fishermen. \\n \\n \\tLONG SHOT -- flounder fishermen, their lights all converging \\n \\ton a central light. \\n \\n \\t<u>EXT. BEACH -- NIGHT \\n </u> \\n \\tMED. CLOSE SHOT. A group of flounder fishermen come out onto \\n \\tthe land. They are carrying the bodies of Jessica and Rand. \",\n \"\\tThey start in the direction of Fort Holland. \\n \\n \\t<u>EXT. GATES AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tThe fishermen come in bearing their tragic burdens. Rand's \\n \\tbody is carried on the shoulders of four fishermen. Behind \\n \\twalks Carre-Four and in his gigantic arms is the body of \\n \\tJessica; her wet hair and garments dripping from the great\",\n \"\\ta famous painting by Boecklin, called \\\"And the Sea Gave Up \\n \\tits Dead\\\" which should somewhat influence the composition of \\n \\tthis scene.) \\n \\n \\tMED. CLOSE SHOT -- Rand. He walks forward to secure the \\n \\treturning body. This time, he picks it up in his arms and \\n \\tstarts wading forward. \\n \\n \\tRand is walking forward with the body in his arms. The sea\",\n \"\\tbody of Jessica so that we see it in the semi-transparency of \\n \\tthe wave. \\n \\n \\tMED. CLOSE SHOT of Rand. The body comes floating to his \\n \\tfeet. \\n \\n \\tRand carries the body a little further into the surf so that \\n \\tthe waves when they come in flow past his knees. Again, the \\n \\toutsurge takes the body away. \\n \\n \\tA returning wave brings Jessica's body back again. (There is\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\t<u>EXT. SEASHORE -- DAY FOR NIGHT \\n </u> \\n \\tRand carrying Jessica's dead body in his arm, comes down to \\n \\tthe sand. \\n \\n \\tThe surf. Rand reverently places the body in the lapping \\n \\twater of the surf. The backward drag of an outgoing wave \\n \\tdraws it silently away from him. He watches it go. \\n \\n \\tA returning wave, tall and forward curving, upthrusts the\",\n \"\\tarms of the still-living Zombie. The upheld torches and \\n \\tspears of the fishermen give a weird, processional feeling to \\n \\tthe group. \\n \\n \\t<u>EXT. DINING TERRACE -- NIGHT \\n </u> \\n \\tHolland, Betsy and Mrs. Rand stand watching the fishermen \\n \\tbringing in the bodies of the dead. Across the garden from \\n \\tthe fountain stands the little group of house servants also\",\n \"\\tBetsy stands looking into the dark cistern. The wind still \\n \\tblows and the conches are sounding from the hills. But the \\n \\tnoise of the water flowing over the shoulders of St. \\n \\tSebastian can be heard above these other sounds. The iron \\n \\tarrows in his breast glisten. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(narrating) \\n \\t\\tI don't know how their own love is\",\n \"\\tis up to his hips. The outgoing surge tugs at him. He \\n \\tstruggles to regain his footing, misses and is drawn out to \\n \\tsea. \\n \\n \\t<u>EXT. SEA -- NIGHT -- (PROCESS) \\n </u> \\n \\tThe stars seem to have fallen to the surface of the sea. We \\n \\tsee lights here and there, only a few feet from the water, \\n \\tflaring and sparkling. \\n\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\tIt is a hot, windy night. The bushes in the garden move \\n \\tviolently with the gusts of wind. Even protected as they are \\n \\tby the great glass hurricane lamps, the candle flames that \\n \\tlight the table are agitated and stir restlessly. Tonight \\n \\tthere are four people at dinner, Holland, Rand, Betsy, in a \\n \\tsimple print dress, and Jessica, in a lovely evening gown \\n \\tthat leaves her shoulders and arms bare. They have finished\",\n \"\\t\\tconscience has been tormenting you. \\n \\t\\tThe rest is coincidence. There is \\n \\t\\tno such thing as a Zombie. The \\n \\t\\tdead do not come back to life. \\n \\t\\tDeath is final. \\n \\n \\tFrom the hills comes the sound of a single conch, loud and \\n \\tthin. \\n \\n \\tThe CAMERA PANS from the group around Mrs. Rand to the tower\",\n \"\\t\\tEverything good dies here -- even \\n \\t\\tthe stars. \\n \\n \\tHe leaves his position by the mast and walks aft. \\n \\n \\tThe group of negroes at the mainmast. They have stopped \\n \\tsinging and they sit about the charcoal brazier. They are \\n \\teating, tearing at the meat with cruel, greedy, animal \\n \\tgestures. Holland walks past them on his way aft. \\n\",\n \"\\tDr. Maxwell on the wall as they work over their patient. \\n \\tWe hear the murmur of their voices although we cannot hear \\n \\twhat they are saying. In the doorway itself, leaning against \\n \\tthe wall looking toward the room expectantly, anxiously, is \\n \\tHolland, half hidden in the shadows of the arch. The shadows \\n \\ton the wall straighten up. We see Betsy in shadow drawing \\n \\ther hand wearily across her forehead. Still in shadow, she\",\n \"\\t\\tgleam from millions of tiny dead \\n \\t\\tbodies. It's the glitter of \\n \\t\\tputrescence. There's no beauty \\n \\t\\there -- it's death and decay. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou can't really believe that. \\n \\n \\tA star falls. They both follow its flight with their eyes. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(pointing to it)\",\n \"\\tAs the credits FADE, the two human figures advancing along \\n \\tthe road are more clearly discernible. Although they are not \\n \\tclose enough to distinguish their faces, it can be seen that \\n \\tone of them is an enormously tall, cadaverous negro, clothed \\n \\tonly by ragged, tight-fitting trousers and that the other is \\n \\tnurse, dressed in crisp white uniform and cap, with a dark \\n \\tcloak over her shoulders. \\n \\n\",\n \"\\tchug-chug of a one-cylinder Diesel. \\n \\n \\t<u>EXT. SCHOONER -- WHEEL -- NIGHT \\n </u> \\n \\tTwo men stand by the wheel of the schooner, their faces lit \\n \\tby the light from the binnacle. Behind them the wake of the \\n \\tboat creams out, white and phosphorescent. One of the men is \\n \\tobviously the skipper of the boat, dressed in sloppy white\",\n \"\\ther slippers and negligee and leaves the room. \\n \\n \\t<u>EXT. THE FIGURE OF ST. SEBASTIAN -- NIGHT \\n </u> \\n \\tBetsy crosses in front of the fountain and goes to the small \\n \\tpostern door of heavy, iron-bound oaks which leads into the \\n \\truin. The sound of weeping continues. She tries the door. \\n \\tIt opens and she goes in, leaving it open behind her. \\n\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\"\n ],\n [\n \"\\tquietly and cautiously. She starts across the garden toward \\n \\ther room. From the shadows, Holland steps out barring her \\n \\tway. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tWhere have you been, Miss Connell? \\n \\n \\tThere is a pause. Holland stands looking at her, taking in \\n \\ther bedraggled appearance. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(wearily)\",\n \"\\tBetsy. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI heard about your little \\n \\t\\tmisadventure yesterday, Miss \\n \\t\\tConnell. \\n \\t\\t\\t(with a smile) \\n \\t\\tOn your first \\\"day off,\\\" too. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tWell, I had a good time up to a \\n \\t\\tpoint. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\tConnell. I can remember it in my \\n \\t\\tgrandfather's time and my father's. \\n \\t\\tI'm afraid it will have to remain. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tBut for Wes -- it must be a \\n \\t\\ttemptation to him. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI've no sympathy with people who \\n \\t\\tcan't resist temptation. \\n\",\n \"\\t\\t\\tBetsy) \\n \\t\\tis Miss Connell -- who is \\n \\t\\tbeautiful. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThank you. But who sits there? \\n \\t\\t\\t(indicating a chair at her \\n \\t\\t\\tleft) \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tMy brother's wife. \\n \\n \\tThere is a little pause. Rand stands for a very brief\",\n \"\\t\\tyou'd only seen her, Miss Connell. \\n \\t\\tShe looked so pretty. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tShe must have been beautiful. What \\n \\t\\thappened to her, Alma? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tShe was very sick and then she went \\n \\t\\tmindless, Miss. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(reassuringly)\",\n \"\\t\\t\\t\\tTI-JOSEPH \\n \\t\\tHey, boy! Bring up that mule -- \\n \\t\\tthat white mule, boy. \\n \\n \\tMrs. Rand turns to Betsy. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tI really intended going out to the \\n \\t\\tFort and meeting you long before \\n \\t\\tthis, Miss Connell. I'm Mrs. \\n \\t\\tRand -- Wesley's mother. \\n\",\n \"\\t\\tbeautiful --- \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(coldly) \\n \\t\\tMany people thought her beautiful. \\n \\n \\tBetsy is about to pass on when he asks abruptly: \\n \\n \\t\\t\\t\\tHOLLAND (CONT'D) \\n \\t\\tTell me, Miss Connell. Do you \\n \\t\\tconsider yourself pretty? \\n \\n \\tBetsy is a little taken aback by this, but she recovers\",\n \"\\tlantern light fading off in the distance, as he walks down \\n \\tthe path. \\n \\n \\t\\t\\t\\tHOLLAND (CONT'D) \\n \\t\\tI've told you, Miss Connell, this \\n \\t\\tis a sad place. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>INT. BETSY'S BEDROOM - DAY \\n </u>\",\n \"\\t\\tirregular, Miss Connell. I don't \\n \\t\\tquite know how to put it. \\n \\n \\tWilkens straightens himself determinedly and puts down the \\n \\tpaper. \\n \\n \\t\\t\\t\\tWILKENS (cont'd) \\n \\t\\tDo you believe in witchcraft? \\n \\n \\tBetsy bursts into laughter and we go to our first sight of \\n \\ther. She is young, bright, alert and looks extremely\",\n \"\\t\\tdrought. \\n \\n \\tBetsy comes across the garden with a tray of medicine bottles \\n \\tin her hands and several linen sheets folded over her arm. \\n \\tShe meets the two men at the path intersection. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tGood morning, Miss Connell. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tGood morning. \\n \\n \\tHe waves Bayard on and stops for a moment to speak with\",\n \"\\t\\tyou'll be out of the mess. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBut she isn't. She's been \\n \\t\\tsubpoenaed. \\n \\n \\tHolland turns to the Doctor, his face stricken. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tMiss Connell's testimony will be \\n \\t\\tvery important. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(quietly)\",\n \"\\t\\tcase. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tA mental case? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI'm sorry... \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(again the impersonal \\n \\t\\t\\temployer) \\n \\t\\tWhy should you be? My wife is a \\n \\t\\tmental case. Please keep that in \\n \\t\\tmind, Miss Connell -- particularly\",\n \"\\t\\tyou, Miss Connell, to take care of \\n \\t\\tmy wife, not my brother. \\n \\n \\tThey look at each other for a moment, then Betsy turns and \\n \\twalks off without a word. Holland turns to rejoin Bayard at \\n \\tthe gate. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>EXT. TERRACE -- DINING TABLE -- NIGHT \\n </u>\",\n \"\\tby an old coachman in dirty white singlet, a top hat with a \\n \\tcockade on his graying hair, is making its way along a dusty \\n \\troad between fields of sugar cane. In the distance, the sea \\n \\tis visible and above it the great billowing white clouds of \\n \\tthe Caribbean. Betsy, seated on the back seat of the \\n \\tcarriage, is bending forward to listen to the old man. \\n \\n \\t\\t\\t\\tCOACHMAN\",\n \"\\tRand puts down the bottle and straightens up. Holland stands \\n \\twatching him. \\n \\n \\t\\t\\t\\tRAND (CONT'D) \\n \\t\\t\\t(to Holland) \\n \\t\\tI was just going to the mill. \\n \\t\\t\\t(nods to Betsy) \\n \\t\\tGood night, Miss Connell. \\n \\n \\tBetsy nods and smiles to him. Rand starts toward the gate. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tMiss Connell, I think it would be \\n \\t\\tbest if I had Clement bring the \\n \\t\\trest of your dinner to your room. \\n \\n \\tHe turns and goes into the living room. Betsy also starts to \\n \\trise. Rand still stares at Jessica. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>INT. BETSY'S BEDROOM -- NIGHT\",\n \"\\tsimple, linen dress. There is a discreet rap on the \\n \\tjalousied door which separates the room from the garden. \\n \\tBetsy crosses the room and opens the door. A colored man in \\n \\ta butler's white jacket stands there. This is Clement. \\n \\n \\t\\t\\t\\tCLEMENT \\n \\t\\tMiss Connell -- it's dinner. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThank you, Clement. \\n\",\n \"\\t\\tThank you. \\n \\n \\tHe picks up his bag and walks toward the door. Betsy walks \\n \\twith him. At the door, he half turns and says: \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI'll be by in a day or so, Miss \\n \\t\\tConnell, and see how you are \\n \\t\\tgetting on. \\n \\n \\tBetsy nods and then turns back into the room. She walks up\",\n \"\\tslowly and a little aimlessly down one of the village \\n \\tstreets. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tBetsy! \\n \\n \\tBetsy turns, as she hears her name, and sees Rand, mounted on \\n \\ta white saddle mule. (The mule is one of those delicate, \\n \\tsingle footed saddle animals which they breed in Central \\n \\tAmerica and the West Indies, very smart-looking and with good\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tShe's decided to go on the next \\n \\t\\tboat. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tWhy, Betsy -- we can't lose you. \\n \\t\\tYou mean too much to us here. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThat's sweet of you, Mrs. Rand. \\n \\n \\t\\t\\t\\tHOLLAND\"\n ],\n [\n \"\\t\\tNo, this is quite final. You see, \\n \\t\\tMr. Holland is a sugar planter. He \\n \\t\\tlives in St. Sebastian Island in \\n \\t\\tthe West Indies. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tThe West Indies? \\n \\n \\t\\t\\t\\tWILKENS \\n \\t\\t\\t(he's been expecting this) \\n \\t\\tA year's contract -- a trip with\",\n \"\\t<u>EXT. GARDEN -- FORT HOLLAND -- DAY \\n </u> \\n \\tHolland is walking down the path from the office toward the \\n \\tgate. He is carrying a piece of sugar cane in his hand and \\n \\tis followed by a negro laborer in working clothes, who has \\n \\tseveral other pieces of cane in his arms. They are talking \\n \\tas they walk. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\towner. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tMr. Holland? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tYes, the redoubtable Paul. He has \\n \\t\\tthe plantation, and I, as you must \\n \\t\\thave noticed, have all the charm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. He spoke to me last \\n \\t\\tnight on the boat. I liked him very\",\n \"\\tone end is a raised portion with a low railing surrounding \\n \\tit. Here Holland has his office. \\n \\n \\tThere is a trestle table with a straight chair behind it, \\n \\ttypewriter on a stand, and a small wooden filing cabinet with \\n \\tan old-fashioned letter-press on top of it. There is a \\n \\tsurveyor's map of the plantation on one wall, and on the \\n \\tother a Geodetic Survey chart of the island of St. Sebastian. \",\n \"\\t\\tThere -- in the master's chair, \\n \\t\\tsits the master -- my half-brother \\n \\t\\tPaul Holland. But you've already \\n \\t\\tmet him. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes -- on the boat. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tAnd that chair -- \\n \\t\\t\\t(indicates the chair drawn \\n \\t\\t\\tback against the wall) \\n \\t\\tis the particular property of Mrs.\",\n \"\\tPAGES ARE MISSING AT THIS POINT AS BETSY AND \\n \\tJESSICA LEAVE FORT HOLLAND AND TRAVEL ACROSS THE SUGAR CANE \\n \\tFIELDS TO THE HOUMFORT \\n \\n \\t<u>EXT. THE HOUMFORT - NIGHT \\n </u> \\n \\tLONG SHOT. The camera is behind Betsy and Jessica as they go \\n \\ttoward the Houmfort through the sugar cane. We see this\",\n \"\\t\\t\\t(over his shoulder as they \\n \\t\\t\\twalk) \\n \\t\\tNo. It isn't a drought, Bayard. \\n \\t\\tThe rains are just a little late, \\n \\t\\tthat's all. \\n \\n \\t\\t\\t\\tBAYARD \\n \\t\\tI've seen the drought before, Mr. \\n \\t\\tHolland. The cane's too dry -- it's \\n \\t\\tdangerous that way -- it's the\",\n \"\\t\\twhen some of the foolish people of \\n \\t\\tthis island start talking to you \\n \\t\\tabout Zombies. \\n \\n \\tPaul rises and walks around the desk. Betsy also stands. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou will find slave superstition a \\n \\t\\tcontagious thing. Some people let \\n \\t\\tit get the better of them. \\n \\t\\t\\t(breaks off and looks at\",\n \"\\t\\tTimes gone, Fort Holland was a \\n \\t\\tfort...now, no longer. The \\n \\t\\tHolland's are a most old family, \\n \\t\\tmiss. They brought the colored \\n \\t\\tpeople to the island-- the colored \\n \\t\\tfolks and Ti-Misery. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tTi-Misery? What's that? \\n \\n \\t\\t\\t\\tCOACHMAN\",\n \"\\tHolland makes no answer. The conches blow wildly in the \\n \\thills and a flurry of wind sweeps the garden. \\n \\n \\t\\t\\t\\tRAND (cont'd) \\n \\t\\tAn economy move, I suppose. Or, \\n \\t\\tperhaps, Paul, you decided on a \\n \\t\\tfiner moral standard for our happy \\n \\t\\tlittle household, now that Miss \\n \\t\\tConnell is with us. \\n\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tA woman crying? No one's been \\n \\t\\tcrying here. \\n \\n \\t\\t\\t\\tCLEMENT \\n \\t\\tMr. Paul -- yes, there was crying \\n \\t\\ttonight. It was Alma. Her sister \\n \\t\\twas brought a'birthing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(with a slight smile) \\n \\t\\tThank you, Clement. \\n\",\n \"\\t\\tI don't think he can even sit in \\n \\t\\tthe saddle. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tDon't worry about a sugar planter. \\n \\t\\tGive him a mule and he'll ride to \\n \\t\\this own funeral. \\n \\n \\tTi-Joseph gets Rand to his feet and helps him stagger around \\n \\tthe corner. From around the corner we can hear Ti-Joseph \\n \\tbellowing.\",\n \"\\tin remembering. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tShe promised so much -- warmth and \\n \\t\\tsweetness...she promised -- \\n \\n \\tIn the hills the conches blow wildly, echoing and answering \\n \\teach other from every direction. For a brief moment, the \\n \\tnoise is so loud Holland could not speak if he wanted to and \\n \\tthen, when he can, and does, his voice has changed entirely. \",\n \"\\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \\n \\tin a fur-collared coat and has a little round fur cap on her \\n \\thead. She looks very attractive and very happy. The door of \\n \\tthe office opens and Paul Holland comes out, muffling up his \\n \\tovercoat. Betsy takes a half step to meet him. He takes her \\n \\tarm with a well-used and familiar gesture. \\n \\n \\t\\t\\t\\tPAUL\",\n \"\\t\\t\\t\\tRAND (cont'd) \\n \\t\\tThat's a work drum at the sugar \\n \\t\\tmill. St. Sebastian's version of \\n \\t\\tthe factory whistle. \\n \\n \\tHe finishes the little bit of liquor left in his brandy glass \\n \\tand gets up. \\n \\n \\t\\t\\t\\tRAND (CONT'D) \\n \\t\\tAs a matter of fact, it means the \\n \\t\\tsugar syrup is ready to be poured\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\tThis beast comes to a somnolent stop without the coachman so \\n \\tmuch as touching the reins. As the man climbs down and \\n \\tstarts to take the luggage out of the carriage, Betsy looks \\n \\tthrough the wrought-iron gate into the garden. \\n \\n \\tFort Holland is a one-story house built around the garden, \\n \\twith low covered porches to give shade and breezeway. At the\",\n \"\\tthe stalks. Her panic released, Betsy runs up the steps, \\n \\tdown the shadowy porch to the door of Holland's bedroom. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(in a very low, choked \\n \\t\\t\\tcry) \\n \\t\\tPaul...Paul... \\n \\n \\tShe flings herself against the door, turns the handle, and \\n \\truns into the room, closes the door behind her. Into the\",\n \"\\tThe CAMERA DRAWS BACK to SHOW a tall, masculine figure \\n \\tleaning against the foremast, behind Betsy. This is Paul \\n \\tHolland. As we see him, we hear his voice. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIt is not beautiful. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(surprised but smiling) \\n \\t\\tYou read my thoughts, Mr. Holland. \\n\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(in passing) \\n \\t\\tYou're beginning to learn. \\n \\n \\tBetsy looks after him as he walks away into the village. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>EXT. ROAD TO FORT HOLLAND -- DAY -- (PROCESS)</u> \\n \\n \\tAn umbrella-topped surrey, drawn by a gaunt mule and piloted\"\n ],\n [\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tI imagined this so differently... \\n \\n \\tHolland takes his hand from her shoulders. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI've been waiting here for hours, \\n \\t\\ttrying to imagine Jessica well \\n \\t\\tagain -- wondering what I'd feel. \\n \\t\\tI could see Jessica as she used to \\n \\t\\tbe, I could hear her say in that\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tTechnical responsibility, real \\n \\t\\tresponsibility -- what difference \\n \\t\\tdoes it make? \\n \\t\\t\\t(turns back to face them) \\n \\t\\t Jessica lives -- or she dies. \\n \\t\\tThat's what we're talking about! \\n \\n \\tBetsy turns and looks across the room to where Jessica sits \\n \\tmotionless before the mirror. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\t\\tBetsy feels there is nothing she \\n \\t\\tcan do for Jessica... \\n \\n \\tPAGE MISSING \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- DAY \\n </u> \\n \\tRand and Dr. Maxwell come through the gate and walk up the \\n \\tgarden path. As they do so, Mrs. Rand comes down the porch \\n \\tsteps. Betsy and Holland follow her. \\n\",\n \"\\thanging immobile, close to her slim body. She is blonde and \\n \\tas far as the light will reveal, she seems beautiful. She \\n \\tmakes the circuit of the garden, pacing slowly along the \\n \\tpaths. Betsy watches her. Then, from the living room, a \\n \\tman's voice calls out to her. \\n \\n \\t\\t\\t\\tHOLLAND'S VOICE \\n \\t\\tJessica. \\n\",\n \"\\tthen, searchingly, into her face. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou wouldn't understand that kind \\n \\t\\tof love. You never knew Jessica as \\n \\t\\tshe was. Beautiful, restless, \\n \\t\\twillful -- living in a world with \\n \\t\\troom for nothing but her own image \\n \\t\\tand her own desires. \\n \\n \\tBetsy gently draws her hand away. She watches his face, lost\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\t\\t\\t\\tHOLLAND \\n \\t\\tThe Houmfort -- they're trying to \\n \\t\\tget her back there. \\n \\n \\tBetsy and Holland look at each other. Then Betsy takes \\n \\tJessica's arm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tCome with me, Jessica. \\n \\n \\tObedient again, Jessica allows Betsy to turn her around and\",\n \"\\t\\tNo. It's not just how I felt \\n \\t\\ttoward Jessica. I've been cruel to \\n \\t\\teven you. \\n \\n \\tBesty, smiling, shakes her head. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tThe first night I saw you -- you \\n \\t\\twere looking at the sea. You were \\n \\t\\tenchanted -- and I had to break \\n \\t\\tthat enchantment. Do you\",\n \"\\tJessica's room. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tDoes she suffer? Does she know \\n \\t\\twhat she is? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. \\n \\t\\t\\t(trying to ease the truth) \\n \\t\\tI once asked Dr. Maxwell the same \\n \\t\\tquestion. He said he thought she \\n \\t\\twas like a sleepwalker who would \\n \\t\\tnever waken.\",\n \"\\t\\tcruel to Jessica. When I got to \\n \\t\\tknow her -- when I found out how \\n \\t\\tempty and ungenerous she was, there \\n \\t\\twas something about her -- \\n \\t\\tsomething smooth and false -- that \\n \\t\\tmade we want to hurt her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI can understand that. Everyone \\n \\t\\tfeels that way about someone. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\t\\t\\tHOLLAND (CONT'D) \\n \\t\\tTake Mrs. Holland to her room. \\n \\n \\t\\t\\t\\tALMA \\n \\t\\t\\t(taking Jessica's arm) \\n \\t\\tCome, Miss Jessica, come with Alma. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(attempting to get a grip \\n \\t\\t\\ton herself. Terribly \\n \\t\\t\\tashamed) \\n \\t\\tI heard someone crying -- a woman --\",\n \"\\t\\t\\t(jumping to his feet) \\n \\t\\tYou were so gentlemanly when you \\n \\t\\tdrove Jessica insane -- so polite \\n \\t\\twhen you made her into that! \\n \\n \\tHe subsides in his chair, shaken, entirely out of control. \\n \\tHe doesn't look at Holland, nor at Betsy but at Jessica. \\n \\tThey sit there for a moment in complete silence. Then \\n \\tHolland, obviously holding in his temper, rises and says:\",\n \"\\t\\tInvestigation of what? \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tOf the nature of Mrs. Holland's \\n \\t\\tillness. And, of course, the \\n \\t\\tevents which led up to it. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tIn other words, I'm on trial. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI did everything I could to\",\n \"\\tHolland pulls her close to him, looks down into her eyes. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tYou think I love Jessica and want \\n \\t\\ther back. It is like you to think \\n \\t\\tthat -- clean, decent thinking. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(simply) \\n \\t\\tShe was beautiful. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI hated her. \\n\",\n \"\\tpulling movements. The conch is being blown with a more \\n \\tinsistent and compelling note. Still, the doll-figure \\n \\trefuses to move. The Sabreur stops. The conches are \\n \\tsuddenly silenced. \\n \\n \\t<u>EXT. GARDEN GATE -- NIGHT \\n </u> \\n \\tIn this sudden silence, Holland and Jessica look at each \\n \\tother across the motionless figure of Jessica. \\n\",\n \"\\tBetsy seats herself. Dr. Maxwell takes a cigarette case from \\n \\this pocket. He takes a cigarette, holds it up. \\n \\n \\t\\t\\t\\tDR. MAXWELL (cont'd) \\n \\t\\tTo put it simply: Mrs. Holland had \\n \\t\\tone of those high fevers often found \\n \\t\\twith our tropical maladies. We might \\n \\t\\tsay that portions of the spinal cord \\n \\t\\tand certain lobes of the mind were\",\n \"\\t\\tof blame. It's a question of what \\n \\t\\twe are to do with Jessica. The \\n \\t\\tcommissioner is very concerned. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tIt has become a serious problem. \\n \\t\\tThere's so much gossip, rumor and \\n \\t\\tagitation about the whole thing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI know. We've felt it at the mill. \",\n \"\\tBetsy tries to turn away from him. He grips her shoulders \\n \\ttightly. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tI thought I was looking at a woman \\n \\t\\twho loved me and had compassion for \\n \\t\\tme. Yet you made that trip to the \\n \\t\\tHoumfort to bring Jessica back to \\n \\t\\tme -- \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes. \\n\",\n \"\\tIn the daylight her emaciated, pale face and great, empty \\n \\teyes are pitiful but no longer frightening. \\n \\n \\t\\t\\t\\tDR. MAXWELL \\n \\t\\tI'm afraid it won't be easy for me \\n \\t\\tto explain Mrs. Holland's illness, \\n \\t\\tMiss Connell. We have our own \\n \\t\\tdiseases here. But, if you'll sit \\n \\t\\tdown -- \\n \\t\\t\\t(indicates a chair)\"\n ],\n [\n \"\\tA CLOSER SHOT of Betsy as she stands waiting. She is dressed \\n \\tin a fur-collared coat and has a little round fur cap on her \\n \\thead. She looks very attractive and very happy. The door of \\n \\tthe office opens and Paul Holland comes out, muffling up his \\n \\tovercoat. Betsy takes a half step to meet him. He takes her \\n \\tarm with a well-used and familiar gesture. \\n \\n \\t\\t\\t\\tPAUL\",\n \"\\tFrom her window Betsy can see Holland playing the piano. \\n \\n \\t<u>INT. BETSY'S BEDROOM -- NIGHT \\n </u> \\n \\tBetsy stands watching him. Then suddenly, as if compelled, \\n \\tshe leaves the window, opens the jalousied door and goes \\n \\tquickly out into the garden. \\n \\n \\t<u>INT. LIVING ROOM -- NIGHT \\n </u>\",\n \"\\tchanges her position and looks out again through the blinds. \\n \\n \\t<u>INT. ANOTHER CORNER OF THE LIVING ROOM -- NIGHT</u> \\n \\n \\tAs seen from Betsy's NEW ANGLE. Paul Holland is seated in a \\n \\tlow armchair. His eyes are fixed on the woman at the piano. \\n \\tShe continues to strike odd notes on the piano. \\n \\n \\t<u>INT. BETSY'S ROOM -- NIGHT\",\n \"\\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tPaul! \\n \\n \\tHolland pauses at the head of the stairs and turns to her. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tLet him go. Don't touch him, don't \\n \\t\\ttry to stop him! \\n \\n \\tBetsy has come down the porch behind Holland and she and Mrs.\",\n \"\\tthe stalks. Her panic released, Betsy runs up the steps, \\n \\tdown the shadowy porch to the door of Holland's bedroom. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(in a very low, choked \\n \\t\\t\\tcry) \\n \\t\\tPaul...Paul... \\n \\n \\tShe flings herself against the door, turns the handle, and \\n \\truns into the room, closes the door behind her. Into the\",\n \"\\tBetsy looks up at him, astounded by his words. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tHer selfishness made her empty and \\n \\t\\tdead. She was a possession, a \\n \\t\\tbeautiful possession to own and \\n \\t\\thold -- but I never had a moment's \\n \\t\\tpeace or happiness with her. \\n \\n \\tThey stand there, close together, looking at each other. \",\n \"\\tthen, searchingly, into her face. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou wouldn't understand that kind \\n \\t\\tof love. You never knew Jessica as \\n \\t\\tshe was. Beautiful, restless, \\n \\t\\twillful -- living in a world with \\n \\t\\troom for nothing but her own image \\n \\t\\tand her own desires. \\n \\n \\tBetsy gently draws her hand away. She watches his face, lost\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\tBetsy tries to turn away from him. He grips her shoulders \\n \\ttightly. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tI thought I was looking at a woman \\n \\t\\twho loved me and had compassion for \\n \\t\\tme. Yet you made that trip to the \\n \\t\\tHoumfort to bring Jessica back to \\n \\t\\tme -- \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYes. \\n\",\n \"\\tquietly and cautiously. She starts across the garden toward \\n \\ther room. From the shadows, Holland steps out barring her \\n \\tway. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tWhere have you been, Miss Connell? \\n \\n \\tThere is a pause. Holland stands looking at her, taking in \\n \\ther bedraggled appearance. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(wearily)\",\n \"\\t\\towner. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tMr. Holland? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tYes, the redoubtable Paul. He has \\n \\t\\tthe plantation, and I, as you must \\n \\t\\thave noticed, have all the charm. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI don't know. He spoke to me last \\n \\t\\tnight on the boat. I liked him very\",\n \"\\tBetsy is puzzled and a little alarmed by Holland's strange \\n \\tutterances and his queer behavior. Over this shot of Betsy \\n \\tlooking off at him, we hear her as narrator. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(narrating) \\n \\t\\tIt was strange to have him break in \\n \\t\\ton my thoughts that way. There was \\n \\t\\tcruelty and hardness in his voice. \",\n \"\\tSuddenly Holland puts her arms around her. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBetsy -- \\n \\n \\tShe lifts her face, with a smile of complete love and trust. \\n \\tHolland studies her face longingly, but does not kiss her. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tI should never have brought you \\n \\t\\there. \\n\",\n \"\\tHolland is still playing. The sound of the door opening is \\n \\theard. It startles him and he turns toward the sound. He \\n \\tsees Betsy and rises to face her as she steps into the room. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI heard you playing. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(trying to hide behind \\n \\t\\t\\tbrittleness) \\n \\t\\tI often do.\",\n \"\\therself. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI suppose so. Yes. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tAnd charming? \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tI've never given it much thought. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tDon't. It will save you a great \\n \\t\\tdeal of trouble and other people a\",\n \"\\tBetsy. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI heard about your little \\n \\t\\tmisadventure yesterday, Miss \\n \\t\\tConnell. \\n \\t\\t\\t(with a smile) \\n \\t\\tOn your first \\\"day off,\\\" too. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tWell, I had a good time up to a \\n \\t\\tpoint. \\n \\n \\t\\t\\t\\tHOLLAND\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tI imagined this so differently... \\n \\n \\tHolland takes his hand from her shoulders. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tI've been waiting here for hours, \\n \\t\\ttrying to imagine Jessica well \\n \\t\\tagain -- wondering what I'd feel. \\n \\t\\tI could see Jessica as she used to \\n \\t\\tbe, I could hear her say in that\",\n \"\\t\\t\\t\\tBETSY \\n \\t\\tThere's no happiness for me \\n \\t\\tanywhere else -- \\n \\n \\tHolland shakes his head slowly, hopelessly. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(pleading) \\n \\t\\tPaul, I don't want you to be alone, \\n \\t\\tunhappy -- \\n \\n \\tHolland lets his arms drop from about her shoulders. \\n\",\n \"\\tcomes into Holland's face. With a quick gesture, he presses \\n \\tBetsy back and steps in front of her. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\t\\t(a little uncertainly) \\n \\t\\tGet out of here -- \\n \\n \\tCarre-Four is almost upon them. His shoulders press forward \\n \\tas he reaches out. \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\tThere is a little pause. Then Betsy looks at Holland, her \\n \\teyes glistening with tears. Betsy turns away slightly, \\n \\tclosing her eyes for a moment to steady herself. Holland \\n \\tputs his hands on her shoulders and turns her back to face \\n \\thim. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\t\\t(gently) \\n \\t\\tDon't take it to heart, Betsy. \\n\"\n ],\n [\n \"\\t\\t\\t\\tBETSY \\n \\t\\t\\t(narrating) \\n \\t\\tI walked with a zombie. \\n \\t\\t\\t(laughs a little, self \\n \\t\\t\\tconsciously) \\n \\t\\tIt does seem an odd thing to say. \\n \\t\\tHad anyone said that to me a year \\n \\t\\tago, I'm not at all sure I would \\n \\t\\thave known what a Zombie was. I \\n \\t\\tmight have had some notion -- that\",\n \"\\t\\tNo. You're quite wrong. Right \\n \\t\\there's the seat of the trouble. \\n \\t\\tMrs. Holland has become an object \\n \\t\\tof speculation and religious \\n \\t\\tinterest to these people. It's \\n \\t\\trevived all their old superstitions \\n \\t\\t-- Zombies -- and that sort of \\n \\t\\tnonsense. \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\t\\twhen some of the foolish people of \\n \\t\\tthis island start talking to you \\n \\t\\tabout Zombies. \\n \\n \\tPaul rises and walks around the desk. Betsy also stands. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou will find slave superstition a \\n \\t\\tcontagious thing. Some people let \\n \\t\\tit get the better of them. \\n \\t\\t\\t(breaks off and looks at\",\n \"\\t\\thands -- whom the other peasants \\n \\t\\tcall Zombies. I am sure they \\n \\t\\tsuffer from a similar destruction \\n \\t\\tof spinal nerves as the result of \\n \\t\\thigh fever. \\n \\n \\tHe crosses the room and clasps shut the black leather bag in \\n \\twhich he carries his medicine kit. Betsy rises and walks \\n \\tover to him. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\t\\tthey were strange and frightening, \\n \\t\\tand perhaps a little funny. But I \\n \\t\\thave walked with a Zombie \\n \\n \\tAs she speaks, the two figures advancing on the road come \\n \\tcloser. \\n \\n \\t\\t\\t\\tBETSY'S VOICE \\n \\t\\t\\t(narrating) \\n \\t\\tIt all began in such an ordinary \\n \\t\\tway -- \\n \\n \\tAs she says this the long road and the advancing figures\",\n \"\\tarms of the still-living Zombie. The upheld torches and \\n \\tspears of the fishermen give a weird, processional feeling to \\n \\tthe group. \\n \\n \\t<u>EXT. DINING TERRACE -- NIGHT \\n </u> \\n \\tHolland, Betsy and Mrs. Rand stand watching the fishermen \\n \\tbringing in the bodies of the dead. Across the garden from \\n \\tthe fountain stands the little group of house servants also\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\t\\tconscience has been tormenting you. \\n \\t\\tThe rest is coincidence. There is \\n \\t\\tno such thing as a Zombie. The \\n \\t\\tdead do not come back to life. \\n \\t\\tDeath is final. \\n \\n \\tFrom the hills comes the sound of a single conch, loud and \\n \\tthin. \\n \\n \\tThe CAMERA PANS from the group around Mrs. Rand to the tower\",\n \"\\tthe first portion of their meal and Clement is taking off the \\n \\tsoup plates. Somewhere off in the hills there is the \\n \\tululating sounds of a great sea conch being blown. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou don't seem very disturbed by \\n \\t\\tit. I've always thought Voodoo was \\n \\t\\tsomething to be scared of: the \\n \\t\\tdrums sounded in the hills and \\n \\t\\teverybody was frightened. \\n\",\n \"\\tothers walking idly. Betsy, followed by a black sailor with \\n \\ther suitcases, comes down the gangway. Parallel to this \\n \\tgangway is another. \\n \\n \\tUp the second gangway, in file, black stevedores with bundles \\n \\tof sugar cane and small bales of sisal hemp on their heads, \\n \\tgo up to the boat. \\n \\n \\tOn the dock, Betsy makes her way through a group of clamorous\",\n \"</u> \\n \\tHolland, Clement and Alma come up the stairs. Clement's \\n \\tlantern, held high, illuminates the room, disclosing Jessica \\n \\tstill walking and Betsy cowering away from her. \\n \\n \\t\\t\\t\\tHOLLAND \\n \\t\\tJessica! \\n \\n \\tThe woman stops and turns slowly toward him. He speaks \\n \\thurriedly to Alma. \\n\",\n \"\\tslightly. Betsy looks across the empty, defenseless space \\n \\tbetween herself and the porch steps. Steeling herself, she \\n \\tmoves into it, walking with the slowness of nightmare fear, \\n \\tlooking from side to side with the slightest possible move of \\n \\ther head. At the foot of the steps, she turns to look back \\n \\tat the bamboo. A distorted shadow slithers out from under\",\n \"\\tof the place is faintly lit by the open door into Jessica's \\n \\twindowed bedroom. She stands at the foot of the circling \\n \\tstone stairs, straining to see into the darkness above. \\n \\tOverhead, there is a sudden commotion of wings and shrilling \\n \\t- something has disturbed the bats. Very slowly and \\n \\thesitantly, Betsy moves up a few steps. \\n\",\n \"\\t\\tmy head. The chanting -- the \\n \\t\\tlights -- everything blurred \\n \\t\\ttogether. And then I heard a \\n \\t\\tvoice, speaking in a sudden \\n \\t\\tsilence. My voice. I was \\n \\t\\tpossessed. I said that the woman \\n \\t\\tat Fort Holland was evil and that \\n \\t\\tthe Houngan must maker her a \\n \\t\\tZombie. \\n\",\n \"\\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \\n \\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \\\"ZOMBIE\\\". \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D) \\n \\t\\tBetsy! Get her away -- back to the \\n \\t\\tFort! Do as I say -- they won't \\n \\t\\thurt you. \\n\",\n \"\\tsemicircle are the worshippers, a group of mild-mannered, \\n \\tpoorly-but-neatly-dressed negroes. They seem to have made an \\n \\teffort to dress in their best and their best is very poor \\n \\tindeed. As Betsy approaches, she can see familiar faces. \\n \\tAs she comes up they turn and look at her. They are not \\n \\thostile nor greatly surprised; just mildly curious. Leading\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\tThe room is in darkness. In the faint light from the barred \\n \\twindows, we see Betsy sleeping on the chaise lounge. A \\n \\tshadow moves across her face. Through the window, we see the \\n \\tgreat, cadaverous figure of Carre-Four. His hand closes \\n \\taround the bars, his face presses against them. Then he lets \\n \\tgo of the bars and slips out of sight. His figure reappears\",\n \"\\tBetsy is puzzled and a little alarmed by Holland's strange \\n \\tutterances and his queer behavior. Over this shot of Betsy \\n \\tlooking off at him, we hear her as narrator. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(narrating) \\n \\t\\tIt was strange to have him break in \\n \\t\\ton my thoughts that way. There was \\n \\t\\tcruelty and hardness in his voice. \",\n \"\\t\\t\\t\\tALMA \\n \\t\\tThey even cure nonsense, Miss \\n \\t\\tBetsy. Mama Rose was mindless. I \\n \\t\\twas at the Houmfort when the \\n \\t\\tHoungan brought her mind back. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou mean Mama Rose was like Mrs. \\n \\t\\tHolland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tNo. She was mindless but not like\"\n ],\n [\n \"\\t\\tMiss Jessica. But the Houngan \\n \\t\\tcured her. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tAre you trying to tell me that the \\n \\t\\tHoungan -- the voodoo priest -- \\n \\t\\tcould cure Mrs. Holland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tYes, Miss Betsy. I mean that. The \\n \\t\\tHoungan will speak to the rada\",\n \"\\tA hand reaches out from the darkness and takes Betsy's hand \\n \\tand draws her in. The Houngan follows Betsy into the temple. \\n \\tThe door shuts behind him. Jessica remains outside, standing \\n \\tbefore the door. \\n \\n \\t<u>INT. INNER HOUMFORT - NIGHT \\n </u> \\n \\tA match flares and a hand brings it forward to light an oil \\n \\tlamp which flares brightly, revealing a little room of\",\n \"\\tJessica's hand in hers, Betsy takes her place at the door. \\n \\tShe puts her forehead against the crudely painted forehead of \\n \\tthe god. She talks to the door. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tDamballa! This woman is sick. \\n \\n \\tThe door swings open slowly. The feeble light of the outer \\n \\tHoumfort does not penetrate the darkness of the inner temple.\",\n \"\\tJessica by the hand, Betsy takes her place at one end of the \\n \\tsemicircle around the altar. Her arrival has in no way \\n \\tinterrupted the ceremonies. The Houngan continues to chant \\n \\tbefore the altar, the rada drums beat and the crowd sings the \\n \\tchorus of the Shango song at the proper intervals. It is all \\n \\tvery decorous and decidedly religious in tone. No sooner has\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\tbottles. Before this altar stands the Houngan, the high \\n \\tpriest of the voodoo ceremonies, a small, stoop-shouldered \\n \\tman in a worn, white coat and trousers with ragged cuffs. \\n \\tSeveral mild-looking negroes in white trousers and shirts sit \\n \\tin kitchen chairs on one side of the altar with rada drums \\n \\tbetween their knees. Grouped around this altar in a loose\",\n \"\\t\\t\\t(to Betsy, cheerfully) \\n \\t\\tSome of this native nonsense. The \\n \\t\\tHoungan has his prescription and \\n \\t\\tDr. Maxwell and I have ours. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou've never said anything about \\n \\t\\tvoodoo before, Mrs. Rand. \\n \\n \\t\\t\\t\\tMRS. RAND \\n \\t\\tHaven't I? I suppose I take it for\",\n \"\\tthe first portion of their meal and Clement is taking off the \\n \\tsoup plates. Somewhere off in the hills there is the \\n \\tululating sounds of a great sea conch being blown. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou don't seem very disturbed by \\n \\t\\tit. I've always thought Voodoo was \\n \\t\\tsomething to be scared of: the \\n \\t\\tdrums sounded in the hills and \\n \\t\\teverybody was frightened. \\n\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\",\n \"\\tBetsy taken her place with the others than the Shango ritual \\n \\tapproaches its climax. The Sabreur, a colored man dressed in \\n \\twhite shirt and trousers, with a neat dark tie knotted under \\n \\this collar, comes in, bearing a sabre in his right hand, \\n \\tholding it in stately, almost processional manner. He \\n \\tadvances to the altar, strikes it three times and at this \\n \\tsignal two colored women dressed in white beguine dresses\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\twhitewashed boards, bare except for a table on which stands a \\n \\tsmall iron tripod from which an iron pot is suspended. \\n \\tAlthough there is no fire under the pot, the steam rises from \\n \\tthis receptacle and water boils and bubbles in it. \\n \\tIt is the Houngan who has lit the lamp and, on the other side \\n \\tof the table is Mrs. Rand. Her face is serious and unsmiling. \\n \\n \\t\\t\\t\\tBETSY\",\n \"\\t\\t\\t\\tALMA \\n \\t\\tThey even cure nonsense, Miss \\n \\t\\tBetsy. Mama Rose was mindless. I \\n \\t\\twas at the Houmfort when the \\n \\t\\tHoungan brought her mind back. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tYou mean Mama Rose was like Mrs. \\n \\t\\tHolland? \\n \\n \\t\\t\\t\\tALMA \\n \\t\\tNo. She was mindless but not like\",\n \"\\this shoulders and turns him around three times, Evidently \\n \\tthis is absolute guarantee of an enormous income tax to be \\n \\tpaid at St. Sebastian. The woman and her son retire happily, \\n \\tpleased and grinning. Finally, exhausted, the girl possessed \\n \\tof the god, Shango, sinks to her knees and then falls \\n \\tfainting to the floor. Two colored men come in, carry her \\n \\taway. A great cry rises from the voodoo worshippers. \\n\",\n \"\\t\\tlong story. And not an easy one -- \\n \\n \\t<u>EXT. THE HOUMFORT - NIGHT \\n </u> \\n \\tJessica stands patiently where Betsy had left her. The \\n \\tSabreur and two Mam-Lois stand near her looking at her and \\n \\ttalking. We cannot hear what they say. The drumming and the \\n \\tsong of joy for the coming of Damballa continue over the\",\n \"\\t\\tmy head. The chanting -- the \\n \\t\\tlights -- everything blurred \\n \\t\\ttogether. And then I heard a \\n \\t\\tvoice, speaking in a sudden \\n \\t\\tsilence. My voice. I was \\n \\t\\tpossessed. I said that the woman \\n \\t\\tat Fort Holland was evil and that \\n \\t\\tthe Houngan must maker her a \\n \\t\\tZombie. \\n\",\n \"\\t\\t\\t\\tWORSHIPPERS \\n \\t\\tDamballa! Damballa! Damballa! \\n \\t\\tDamballa! \\n \\n \\tThe drums find a new rhythm. The Houngan retires to one \\n \\tcorner of the altar; the Sabreur to the other. Two young \\n \\tgirls, their beguine dresses slashed and torn, dance in from \\n \\teither side. This is a wild and an impassioned dance, a\",\n \"\\t\\tdrums and the drums will speak to \\n \\t\\tShango and Damballa. \\n \\n \\tThe CAMERA MOVES IN to a CLOSE TWO SHOT of both women's \\n \\tfaces, Betsy looking thoughtfully at Alma and Alma returning \\n \\tthe gaze with equal intensity. \\n \\n \\t\\t\\t\\tALMA (CONT'D) \\n \\t\\t\\t(softly) \\n \\t\\tBetter doctors -- \\n\",\n \"\\tHoungan holds a little saucer in his hand with some dark \\n \\tliquid at the bottom of it. He dips four fingers into this \\n \\tliquid while the girl quivers and writhes before him in \\n \\treligious ecstasy. He marks her forehead with four strange \\n \\tmarks, one with each finger. The Sabreur, crying out the \\n \\tname of Shango, four times, points his sabre to the four \\n \\tdirections of the compass. There is an immediate\"\n ],\n [\n \"\\tthe Sabreur, with the drummer crouched behind them. The \\n \\tSabreur takes the doll from Carre-Four's hand and holds it a \\n \\tfoot or so away from him. The great black hand reaches for \\n \\tit. Again the Sabreur takes the doll away and dances off \\n \\twith mincing steps to a distance of a few yards. Carre-Four \\n \\tlumbers after him, his hand extended. Again, the Sabreur\",\n \"\\tJessica walks up against the gate and stands there, unable to \\n \\tmove any further. They stand and look at her perplexed. \\n \\n \\t<u>EXT. HOUMFORT -- NIGHT \\n </u> \\n \\tThe doll has stopped moving. The Sabreur is exerting all his \\n \\tforce. We can see the sweat soaking his white shirt. The \\n \\tothers are chanting, louder now, swaying in rhythm with his\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\tpulling movements. The conch is being blown with a more \\n \\tinsistent and compelling note. Still, the doll-figure \\n \\trefuses to move. The Sabreur stops. The conches are \\n \\tsuddenly silenced. \\n \\n \\t<u>EXT. GARDEN GATE -- NIGHT \\n </u> \\n \\tIn this sudden silence, Holland and Jessica look at each \\n \\tother across the motionless figure of Jessica. \\n\",\n \"\\tthe point of his saber in the ground and draws from his \\n \\tbodkin, a long needle. With one swift movement, he stabs \\n \\tthis through the doll's back. \\n \\n \\t<u>EXT. GARDEN -- NIGHT \\n </u> \\n \\tAs seen from Rand's ANGLE. He rises slowly, drains the \\n \\tliquor in his glass, walks forward to where Jessica stands at\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\",\n \"\\tThe CAMERA PANS ALONG the thread to show us that the other \\n \\tend of the thread, some twenty feet long, is held by a negro, \\n \\tcrouched near the altar. Halfway between this man and the \\n \\tdoll, the Sabreur, his sword stuck in the mound before him, \\n \\tstraddles the thread, his hands clasped around the thread but \\n \\tnot touching it. Carre-Four stands watching. \\n\",\n \"\\tscene. Suddenly, as if he had arrived at some decision, the \\n \\tSabreur, holding his sword stiffly in front of him, starts \\n \\ttoward Jessica with little mincing steps. \\n \\n \\t<u>INT. INNER HOUMFORT -- NIGHT \\n </u> \\n \\tMrs. Rand, as if continuing with something she has been \\n \\ttalking about for a long time -- \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\tThe kettle of water, without a fire, is still boiling. The \\n \\tCAMERA MOVES AROUND the room to show that it is empty. Then \\n \\tMOVES UP ON a small shelf before which a candle is burning. \\n \\tOn this shelf, a few inches above the candle flame, stands \\n \\tthe cheap little doll dressed like Jessica, with the needle \\n \\tin its back. Suddenly, the doll falls forward on its face. \\n\",\n \"\\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \\n \\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \\\"ZOMBIE\\\". \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D) \\n \\t\\tBetsy! Get her away -- back to the \\n \\t\\tFort! Do as I say -- they won't \\n \\t\\thurt you. \\n\",\n \"\\tBetsy taken her place with the others than the Shango ritual \\n \\tapproaches its climax. The Sabreur, a colored man dressed in \\n \\twhite shirt and trousers, with a neat dark tie knotted under \\n \\this collar, comes in, bearing a sabre in his right hand, \\n \\tholding it in stately, almost processional manner. He \\n \\tadvances to the altar, strikes it three times and at this \\n \\tsignal two colored women dressed in white beguine dresses\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tlets him take the doll. \\n \\n \\tCLOSE SHOT of Carre-Four's hand with the doll upon it. From \\n \\tunderneath, the smaller hand of the Sabreur comes in and \\n \\tcloses the great black fingers over the little white doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>INT. MRS. HOLLAND'S BEDROOM -- NIGHT \\n </u>\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\",\n \"\\t<u>INT. INNER HOUMFORT -- DAY</u> \\n \\n \\tAlthough it is broad daylight, the Inner Houmfort is lit with \\n \\ta rush light which burns weakly. The ceremonial pot of \\n \\tboiling water has been removed from the table and, in its \\n \\tplace, squatting cross-legged like a tailor, sits the \\n \\tSabreur. With one hand he holds upright a small, cheaply-made\",\n \"\\t\\tright. And I will have to urge him \\n \\t\\tto use it. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tI tell you he hasn't and he \\n \\t\\twouldn't dare use it if he had. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tWhy? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBecause he drove Jessica insane -- \\n \\t\\tdeliberately -- coldly! \\n\",\n \"\\tsilhouette against the darkening sky. A single rada drum is \\n \\tbeing beaten in light, quick rhythm. Someone sets fire to a \\n \\theaped-up bonfire of dry leaves. The flames blazing up \\n \\tilluminate the scene more clearly, so that we can see a small \\n \\tgroup of voodoo adepts squatting on their heels in a ring \\n \\taround the bonfire. Near the bonfire stand Carre-Four and\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\twalks to where Jessica stands. He pulls back the latch bar \\n \\tand throws the gates wide open. Jessica moves out into the \\n \\tdarkness. Rand follows her. \\n \\n \\t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \\n \\n \\tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \\n \\tinto the darkness. \\n \\n \\t<u>INT. HOUMFORT -- NIGHT</u>\"\n ],\n [\n \"\\tthe point of his saber in the ground and draws from his \\n \\tbodkin, a long needle. With one swift movement, he stabs \\n \\tthis through the doll's back. \\n \\n \\t<u>EXT. GARDEN -- NIGHT \\n </u> \\n \\tAs seen from Rand's ANGLE. He rises slowly, drains the \\n \\tliquor in his glass, walks forward to where Jessica stands at\",\n \"\\tJessica walks up against the gate and stands there, unable to \\n \\tmove any further. They stand and look at her perplexed. \\n \\n \\t<u>EXT. HOUMFORT -- NIGHT \\n </u> \\n \\tThe doll has stopped moving. The Sabreur is exerting all his \\n \\tforce. We can see the sweat soaking his white shirt. The \\n \\tothers are chanting, louder now, swaying in rhythm with his\",\n \"\\tThe kettle of water, without a fire, is still boiling. The \\n \\tCAMERA MOVES AROUND the room to show that it is empty. Then \\n \\tMOVES UP ON a small shelf before which a candle is burning. \\n \\tOn this shelf, a few inches above the candle flame, stands \\n \\tthe cheap little doll dressed like Jessica, with the needle \\n \\tin its back. Suddenly, the doll falls forward on its face. \\n\",\n \"\\tPAGE MISSING WHERE THE SABREUR CUTS JESSICA'S ARM AND SHE \\n \\tDOES NOT BLEED. THE WORSHIPPERS REALIZE SHE IS A \\\"ZOMBIE\\\". \\n \\n \\t\\t\\t\\tMRS. RAND (CONT'D) \\n \\t\\tBetsy! Get her away -- back to the \\n \\t\\tFort! Do as I say -- they won't \\n \\t\\thurt you. \\n\",\n \"\\t\\tthe patient still lives. I've been \\n \\t\\timagining too, Paul. You didn't \\n \\t\\tthink of that, did you? I saw \\n \\t\\tJessica coming across the garden, I \\n \\t\\theard her voice. \\n \\n \\tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \\n \\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tpulling movements. The conch is being blown with a more \\n \\tinsistent and compelling note. Still, the doll-figure \\n \\trefuses to move. The Sabreur stops. The conches are \\n \\tsuddenly silenced. \\n \\n \\t<u>EXT. GARDEN GATE -- NIGHT \\n </u> \\n \\tIn this sudden silence, Holland and Jessica look at each \\n \\tother across the motionless figure of Jessica. \\n\",\n \"\\tBetsy taken her place with the others than the Shango ritual \\n \\tapproaches its climax. The Sabreur, a colored man dressed in \\n \\twhite shirt and trousers, with a neat dark tie knotted under \\n \\this collar, comes in, bearing a sabre in his right hand, \\n \\tholding it in stately, almost processional manner. He \\n \\tadvances to the altar, strikes it three times and at this \\n \\tsignal two colored women dressed in white beguine dresses\",\n \"\\tfive-and-ten-cent store doll which represents Jessica. From \\n \\tbeneath this hand, another smaller black hand comes in and \\n \\tcloses the great fingers around the doll. \\n \\n \\tThe CAMERA PULLS BACK to show the exterior of the Houmfort. \\n \\tThe light is fading. The posts of the Houmfort and the \\n \\tfigures of several voodoo worshippers are outlined in\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\tscene. Suddenly, as if he had arrived at some decision, the \\n \\tSabreur, holding his sword stiffly in front of him, starts \\n \\ttoward Jessica with little mincing steps. \\n \\n \\t<u>INT. INNER HOUMFORT -- NIGHT \\n </u> \\n \\tMrs. Rand, as if continuing with something she has been \\n \\ttalking about for a long time -- \\n \\n \\t\\t\\t\\tMRS. RAND\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\tThe CAMERA PANS ALONG the thread to show us that the other \\n \\tend of the thread, some twenty feet long, is held by a negro, \\n \\tcrouched near the altar. Halfway between this man and the \\n \\tdoll, the Sabreur, his sword stuck in the mound before him, \\n \\tstraddles the thread, his hands clasped around the thread but \\n \\tnot touching it. Carre-Four stands watching. \\n\",\n \"\\tthe Sabreur, with the drummer crouched behind them. The \\n \\tSabreur takes the doll from Carre-Four's hand and holds it a \\n \\tfoot or so away from him. The great black hand reaches for \\n \\tit. Again the Sabreur takes the doll away and dances off \\n \\twith mincing steps to a distance of a few yards. Carre-Four \\n \\tlumbers after him, his hand extended. Again, the Sabreur\",\n \"\\tSabreur and the wild chanting of the voodoo adepts. Nothing \\n \\tcan make it move again. There is a whispered consultation \\n \\tbetween the Sabreur and the Houngan. The Houngan lifts his \\n \\thand and the drums begin to beat a light rapid rhythm. \\n \\n \\tThe Sabreur dances toward the doll, making a menacing move \\n \\twith his saber. When he reaches the little image, he puts\",\n \"\\tdanced in the voodoo ceremony is kneeling before the table. \\n \\tIt is her hands which have dressed the doll. There are about \\n \\tfive people in the room, including the three drummers. The \\n \\tSabreur makes magical passes over the doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tFADE OUT \\n \\n \\tFADE IN \\n \\n \\t<u>EXT. GATES OF FORT HOLLAND -- DAY \\n </u>\",\n \"\\tlets him take the doll. \\n \\n \\tCLOSE SHOT of Carre-Four's hand with the doll upon it. From \\n \\tunderneath, the smaller hand of the Sabreur comes in and \\n \\tcloses the great black fingers over the little white doll. \\n \\n \\t\\t\\t\\t\\t\\t\\tDISSOLVE \\n \\n \\t<u>INT. MRS. HOLLAND'S BEDROOM -- NIGHT \\n </u>\",\n \"\\tA hand reaches out from the darkness and takes Betsy's hand \\n \\tand draws her in. The Houngan follows Betsy into the temple. \\n \\tThe door shuts behind him. Jessica remains outside, standing \\n \\tbefore the door. \\n \\n \\t<u>INT. INNER HOUMFORT - NIGHT \\n </u> \\n \\tA match flares and a hand brings it forward to light an oil \\n \\tlamp which flares brightly, revealing a little room of\",\n \"\\t\\tright. And I will have to urge him \\n \\t\\tto use it. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tI tell you he hasn't and he \\n \\t\\twouldn't dare use it if he had. \\n \\n \\t\\t\\t\\tJEFFRIES \\n \\t\\tWhy? \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tBecause he drove Jessica insane -- \\n \\t\\tdeliberately -- coldly! \\n\",\n \"\\tThe conch is blowing its strange, magnetic call and the \\n \\tnegroes are chanting as they watch the Sabreur and the doll. \\n \\tThe Sabreur makes motions as if he were pulling on the thread \\n \\tbut still does no touch it. He makes these motions over and \\n \\tover again. The doll moves slowly. Then suddenly stops. \\n \\tThe Sabreur's most frantic efforts fail to move it. \\n \\n \\tOMITTED \\n\"\n ],\n [\n \"\\t<u>EXT. SEASHORE -- DAY FOR NIGHT \\n </u> \\n \\tRand carrying Jessica's dead body in his arm, comes down to \\n \\tthe sand. \\n \\n \\tThe surf. Rand reverently places the body in the lapping \\n \\twater of the surf. The backward drag of an outgoing wave \\n \\tdraws it silently away from him. He watches it go. \\n \\n \\tA returning wave, tall and forward curving, upthrusts the\",\n \"\\tbody of Jessica so that we see it in the semi-transparency of \\n \\tthe wave. \\n \\n \\tMED. CLOSE SHOT of Rand. The body comes floating to his \\n \\tfeet. \\n \\n \\tRand carries the body a little further into the surf so that \\n \\tthe waves when they come in flow past his knees. Again, the \\n \\toutsurge takes the body away. \\n \\n \\tA returning wave brings Jessica's body back again. (There is\",\n \"\\tThey start in the direction of Fort Holland. \\n \\n \\t<u>EXT. GATES AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tThe fishermen come in bearing their tragic burdens. Rand's \\n \\tbody is carried on the shoulders of four fishermen. Behind \\n \\twalks Carre-Four and in his gigantic arms is the body of \\n \\tJessica; her wet hair and garments dripping from the great\",\n \"\\t\\tthe patient still lives. I've been \\n \\t\\timagining too, Paul. You didn't \\n \\t\\tthink of that, did you? I saw \\n \\t\\tJessica coming across the garden, I \\n \\t\\theard her voice. \\n \\n \\tTHERE ARE TWO PAGES MISSING AT THIS POINT WHERE PAUL AND \\n \\tWESLEY END THEIR CONVERSATION. THE SCRIPT PICKS UP IN THE\",\n \"\\t\\tpretended to be possessed by their \\n \\t\\tgods... \\n \\n \\tThey stare at her, dumbfounded. \\n \\n \\t\\t\\t\\tMRS. RAND (cont'd) \\n \\t\\tBut what I did to Jessica was worse \\n \\t\\tthan that. It was when she going \\n \\t\\taway with Wesley. There was that \\n \\t\\thorrible scene. \\n \\n \\tShe turns to Rand. \\n\",\n \"\\tstealthily forward, spear poised, torch held low. \\n \\tSomething on the surface of the water near-by attracts his \\n \\tattention and he lifts up his torch, the periphery of the \\n \\tlight widening as he holds it aloft. The widening light \\n \\treveals the dead body of Jessica afloat on the surface of the \\n \\twater, pallid and dreamlike, her wet, white garments clinging\",\n \"\\tlike cerements. The fisherman looks for a moment at the body \\n \\tand then calls off to one of the other fishermen. \\n \\n \\tLONG SHOT -- flounder fishermen, their lights all converging \\n \\ton a central light. \\n \\n \\t<u>EXT. BEACH -- NIGHT \\n </u> \\n \\tMED. CLOSE SHOT. A group of flounder fishermen come out onto \\n \\tthe land. They are carrying the bodies of Jessica and Rand. \",\n \"\\ta famous painting by Boecklin, called \\\"And the Sea Gave Up \\n \\tits Dead\\\" which should somewhat influence the composition of \\n \\tthis scene.) \\n \\n \\tMED. CLOSE SHOT -- Rand. He walks forward to secure the \\n \\treturning body. This time, he picks it up in his arms and \\n \\tstarts wading forward. \\n \\n \\tRand is walking forward with the body in his arms. The sea\",\n \"\\tThe crowd subsides. \\n \\n \\tDISSOLVE \\n \\n \\t<u>EXT. THE BANYAN TREE -- NIGHT \\n </u> \\n \\tBetsy and Jessica pass quickly under the dead goat, on their \\n \\tway home. \\n \\n \\t<u>EXT. GARDEN AT FORT HOLLAND -- NIGHT \\n </u> \\n \\tBetsy comes out of the tower door, closing it behind her very\",\n \"\\twoman stops directly in the shaft of moonlight. \\n \\n \\tCLOSEUP of Jessica. This is the face of the dead; bloodless, \\n \\tcold-lidded, eyes open and unseeing, washed white with the \\n \\tpallor of the moonlight, framed in lank, lifeless tresses of \\n \\tblonde hair. \\n \\n \\t\\t\\t\\tBETSY (cont'd) \\n \\t\\t\\t(a frightened questioning\",\n \"\\tBetsy shakes her head. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tNo, Wes. \\n \\n \\t\\t\\t\\tRAND \\n \\t\\tJessica was never any good for \\n \\t\\tPaul. You will be, you are. And \\n \\t\\tMother -- seeing Jessica day after \\n \\t\\tday -- never able to escape, never \\n \\t\\table to forget. Please, Betsy -- \\n \\t\\tit's only merciful. \\n\",\n \"\\tHe looks into her eyes and sees the finality of her refusal \\n \\tthere. His hand drops from her arm and he turns away. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\t\\t(with great pity) \\n \\t\\tHer heart beats, Wes. She \\n \\t\\tbreathes. That's life -- I once \\n \\t\\ttook an oath to guard life. \\n \\n \\tRand straightens up and takes a deep breath. \\n\",\n \"\\twalks to where Jessica stands. He pulls back the latch bar \\n \\tand throws the gates wide open. Jessica moves out into the \\n \\tdarkness. Rand follows her. \\n \\n \\t<u>EXT. ROAD IN FRONT OF FORT HOLLAND -- NIGHT</u> \\n \\n \\tSHOOTING TOWARD the gates. Jessica, followed by Rand, walks \\n \\tinto the darkness. \\n \\n \\t<u>INT. HOUMFORT -- NIGHT</u>\",\n \"\\tthen, searchingly, into her face. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tYou wouldn't understand that kind \\n \\t\\tof love. You never knew Jessica as \\n \\t\\tshe was. Beautiful, restless, \\n \\t\\twillful -- living in a world with \\n \\t\\troom for nothing but her own image \\n \\t\\tand her own desires. \\n \\n \\tBetsy gently draws her hand away. She watches his face, lost\",\n \"\\tThe kettle of water, without a fire, is still boiling. The \\n \\tCAMERA MOVES AROUND the room to show that it is empty. Then \\n \\tMOVES UP ON a small shelf before which a candle is burning. \\n \\tOn this shelf, a few inches above the candle flame, stands \\n \\tthe cheap little doll dressed like Jessica, with the needle \\n \\tin its back. Suddenly, the doll falls forward on its face. \\n\",\n \"\\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tBefore Jessica was taken ill, there \\n \\t\\twas a scene. An ugly scene. I \\n \\t\\ttold her I wouldn't let her go, \\n \\t\\tthat I'd hold her by force if \\n \\t\\tnecessary. \\n \\n \\tBetsy puts her hand on his arm, in an instinctive gesture of \\n \\tsympathy and comfort. Holland looks down at her hand and\",\n \"\\t\\t\\twhisper over the closeup) \\n \\t\\tMrs. Holland -- ? \\n \\n \\tWithout expression, Jessica moves toward her. \\n \\n \\tMED. CLOSE SHOT -- Jessica and Betsy. Jessica comes toward \\n \\tBetsy, who takes a step back. They are out of the moonlight \\n \\tnow, but the pale face of the woman seems to glow in the \\n \\tdarkness. She keeps advancing toward Betsy. Betsy screams --\",\n \"\\t\\tNo. It's not just how I felt \\n \\t\\ttoward Jessica. I've been cruel to \\n \\t\\teven you. \\n \\n \\tBesty, smiling, shakes her head. \\n \\n \\t\\t\\t\\tHOLLAND (cont'd) \\n \\t\\tThe first night I saw you -- you \\n \\t\\twere looking at the sea. You were \\n \\t\\tenchanted -- and I had to break \\n \\t\\tthat enchantment. Do you\",\n \"\\tto walk forward. He tries to hold her. It is apparent he \\n \\tcannot do so without the use of considerable force. \\n \\n \\t\\t\\t\\tBETSY \\n \\t\\tJessica! Jessica! \\n \\n \\tShe pays no attention but continues to move forward toward \\n \\tthe gate. Betsy, realizing that is something outside of her \\n \\tprevious experiences with the woman, has the presence of mind \\n \\tto run forward and slam shut the great wrought-iron gate. \",\n \"\\t<u>EXT. THE GARDEN -- NIGHT \\n </u> \\n \\tANOTHER ANGLE -- Jessica comes slowly past the fountain. \\n \\n \\t\\t\\t\\tRAND'S VOICE \\n \\t\\tJessica! \\n \\n \\tShe does not seem to hear but continues walking toward the \\n \\tgate. We hear the sound of running feet. Holland and Betsy \\n \\trun up to Jessica. Holland takes her arm, but she continues\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Who does Paul try to encourage to limit his drinking?","Who is the priest?","What does Mrs. Rand tell Betsy about Jessica's condition?","Who do the local's stab in the arm?","What do the locals believe about Jessica?","Who stated that she felt possessed by a voodoo God?","Who did Mrs. Rand believe Jessica was going to run away with?","What does Betsy do for a living?","Who is Paul?","What does Betsy learn about Jessica?","Who is Wesley?","Why does Betsy take Jessica to a voodoo priest?","Who is discovered to be the voodoo priest?","What happens when Jessica is stabbed in the arm?","What do locals suspect Jessica is?","What drives Wesley more than anything?","Whose bodies are discovered in the sea?","What coun try did Betsy Connell come from?","Where was the sugar plantation owned by Paul Holland?","What type of illness left Jessica Holland impaired?","After developing an attraction to Paul Holland, what diud Betsy do in order to impress him?","What made the supersticious locals think that Betsy was really a zombie?","Who was the voodoo priest that Besty took Jessica to for healing?","What did the Sabreur do using an effigy of Jessica?","What did Wesley use to stab Jessica with after the Sabreur stuck a pin into Jessica's effigy?","What happened after Wesley carried Jessica's body into the sea?"],"string":"[\n \"Who does Paul try to encourage to limit his drinking?\",\n \"Who is the priest?\",\n \"What does Mrs. Rand tell Betsy about Jessica's condition?\",\n \"Who do the local's stab in the arm?\",\n \"What do the locals believe about Jessica?\",\n \"Who stated that she felt possessed by a voodoo God?\",\n \"Who did Mrs. Rand believe Jessica was going to run away with?\",\n \"What does Betsy do for a living?\",\n \"Who is Paul?\",\n \"What does Betsy learn about Jessica?\",\n \"Who is Wesley?\",\n \"Why does Betsy take Jessica to a voodoo priest?\",\n \"Who is discovered to be the voodoo priest?\",\n \"What happens when Jessica is stabbed in the arm?\",\n \"What do locals suspect Jessica is?\",\n \"What drives Wesley more than anything?\",\n \"Whose bodies are discovered in the sea?\",\n \"What coun try did Betsy Connell come from?\",\n \"Where was the sugar plantation owned by Paul Holland?\",\n \"What type of illness left Jessica Holland impaired?\",\n \"After developing an attraction to Paul Holland, what diud Betsy do in order to impress him?\",\n \"What made the supersticious locals think that Betsy was really a zombie?\",\n \"Who was the voodoo priest that Besty took Jessica to for healing?\",\n \"What did the Sabreur do using an effigy of Jessica?\",\n \"What did Wesley use to stab Jessica with after the Sabreur stuck a pin into Jessica's effigy?\",\n \"What happened after Wesley carried Jessica's body into the sea?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Wesley","Wesley"],["Mrs. Rand","Mrs. Rand"],["She can never be cured","That she can never be cured. "],["Jessica","Jessica"],["That she is a zombie","That she is a zombie."],["Mrs. Rand","Mrs. Rand"],["Wesley","Wesley."],["She is a nurse.","Nursing"],["A sugar plantation owner who hires Betsy to care for Jessica, his wife.","Sugar plantation owner. "],["Her spine was irreversibly damaged by an illness. ","That she is paralyzed and uncurable."],["Paul's half brother who loves Jessica.","Jessica's former fiance"],["She loves Paul and wants to please him.","For a cure."],["Wesley and Paul's doctor mother.","Ms. Rand"],["She doesn't bleed.","she does not bleed"],["A zombie.","a zombie"],["Freeing Jessica from being a zombie","Jessica."],["Wesley and Jessica's.","Jessica and Wesley"],["Betsy came from Canada.","Canada."],["It was located on the Caribbean island of Saint Sebastian.","Saint Sebastian."],["An illness which damaged her spinal cord.","Spinal cord injury."],["She tried to cure Jessica Holland's illness.","she vows to cure Jessica"],["She was stabbed in the arm with a sword and didn't bleed from the wound.","She didn't bleed."],["The voodoo priest was actually Mrs. Rand, the mother of Paul Holland and his half-brother, Wesley.","Carre-Four"],["He took control of her in order to draw her too him.","take control of Jessica"],["He took an arrow from the statue of Tri-Misery and stabbed Jessica with it.","An arrow from the statue of St. Sebastian."],["The natives later discovered the bodies of both Jerssica and Wesley floatin in the surf.","Natives found their bodies floating in the sea."]],"string":"[\n [\n \"Wesley\",\n \"Wesley\"\n ],\n [\n \"Mrs. Rand\",\n \"Mrs. Rand\"\n ],\n [\n \"She can never be cured\",\n \"That she can never be cured. \"\n ],\n [\n \"Jessica\",\n \"Jessica\"\n ],\n [\n \"That she is a zombie\",\n \"That she is a zombie.\"\n ],\n [\n \"Mrs. Rand\",\n \"Mrs. Rand\"\n ],\n [\n \"Wesley\",\n \"Wesley.\"\n ],\n [\n \"She is a nurse.\",\n \"Nursing\"\n ],\n [\n \"A sugar plantation owner who hires Betsy to care for Jessica, his wife.\",\n \"Sugar plantation owner. \"\n ],\n [\n \"Her spine was irreversibly damaged by an illness. \",\n \"That she is paralyzed and uncurable.\"\n ],\n [\n \"Paul's half brother who loves Jessica.\",\n \"Jessica's former fiance\"\n ],\n [\n \"She loves Paul and wants to please him.\",\n \"For a cure.\"\n ],\n [\n \"Wesley and Paul's doctor mother.\",\n \"Ms. Rand\"\n ],\n [\n \"She doesn't bleed.\",\n \"she does not bleed\"\n ],\n [\n \"A zombie.\",\n \"a zombie\"\n ],\n [\n \"Freeing Jessica from being a zombie\",\n \"Jessica.\"\n ],\n [\n \"Wesley and Jessica's.\",\n \"Jessica and Wesley\"\n ],\n [\n \"Betsy came from Canada.\",\n \"Canada.\"\n ],\n [\n \"It was located on the Caribbean island of Saint Sebastian.\",\n \"Saint Sebastian.\"\n ],\n [\n \"An illness which damaged her spinal cord.\",\n \"Spinal cord injury.\"\n ],\n [\n \"She tried to cure Jessica Holland's illness.\",\n \"she vows to cure Jessica\"\n ],\n [\n \"She was stabbed in the arm with a sword and didn't bleed from the wound.\",\n \"She didn't bleed.\"\n ],\n [\n \"The voodoo priest was actually Mrs. Rand, the mother of Paul Holland and his half-brother, Wesley.\",\n \"Carre-Four\"\n ],\n [\n \"He took control of her in order to draw her too him.\",\n \"take control of Jessica\"\n ],\n [\n \"He took an arrow from the statue of Tri-Misery and stabbed Jessica with it.\",\n \"An arrow from the statue of St. Sebastian.\"\n ],\n [\n \"The natives later discovered the bodies of both Jerssica and Wesley floatin in the surf.\",\n \"Natives found their bodies floating in the sea.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"d0cad885bea05d1a0272e36b14ddeef899db5cee"},"split":{"kind":"string","value":"train"}}},{"rowIdx":37,"cells":{"text":{"kind":"list like","value":[[" Gordy takes it. Just sits there a long moment, then -- \n \n GORDY \n What kind of twisted people do \n things like this? \n \n Beat. Brandt and Phipps don't have an answer. \n \n 27. \n \n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \n \n Gordy talks to a Latin reporter, ERNIE OROSCO. \n"," (hesitates, then) \n Yes. \n \n PHIPPS \n He was there yesterday. Just \n stood there and left... So far, \n the dogs haven't found anything, \n so maybe we're ahead of him. \n \n BRANDT \n What's he waiting for? \n \n SELENA \n He takes his time. Like he told \n you, he enjoys it."," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," that way, Gordo. \n \n Junior spots a news camera crew focusing on Gordy's \n grief, calls at a cop. \n \n JUNIOR \n Get those goddamn people outta \n here! \n \n Phipps, approaching with Dray, addresses the same cop. \n \n PHIPPS \n Put that tape out fifty more \n feet. \n \n The cop begins moving the camera crew back. Phipps","332 INT./EXT. LOCKUP GARAGE - DAY 332 \n \n Claudio opens the door of a cheap rental garage in an old \n commercial strip. He steps inside. There's a rental van \n and a big Ducati motorbike against a wall. Claudio \n straps a black bag onto the bike, then rolls it out and \n shuts the garage. Pulls on helmet and STARTS the BIKE. \n As Claudio speeds into traffic -- \n \n"," off and stops a short distance away, ready to open fire. \n \n Gordy shows the guerrillas his travel pass. One of them \n takes it. Reads. Looks Gordy over. Then starts to rip \n the pass in half, when... \n \n He stops. Grins. It's a big joke. He hands back the \n pass, searches the boat quickly and waves the panga on. \n \n OFF Gordy's relief as the panga heads on... \n \n"," When Gordy glances back, Armstrong is gone. \n \n \n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \n \n Gordy disembarks amid the throng of passengers, when the \n FAT FEDERALE confronts him. \n \n FAT FEDERALE \n Senor Pitt? \n \n Gordy looks up in surprise at him and the thin federale \n backing him up. \n"," relieve the muscle-tearing strain on his arm. \n \n \n 230 ABOVE GORDY'S WORLD 230 \n \n the Suburban passes the \"Cine.\" The movie's over, just \n letting out. \n \n 231 EXT. GUERRILLA HOUSE - NIGHT 231 \n \n The Suburban pulls up to the well-guarded house Gordy saw"," Si, amor. \n \n Somebody whistles for a drink, and Berta goes. \n \n FELIX \n ... She's hot, isn't she? \n \n GORDY \n Yeah. \n \n Long beat. Gordy makes the play he's been contemplating. \n \n GORDY \n Armstrong said to watch my butt \n around here. I guess the fucking"," to absorb the news, then buries his face in his hands. \n \n \n 80 INT. FIREHOUSE - TRUCK BAY - NIGHT 80 \n \n The Dalmatian whizzes on the hydrant outside. \n \n Sal plays chess in the open door with the neighbor kid. \n \n Ronnie polishes chrome on the truck. \n \n Gordy holds up the broken remains of his ice cream maker \n as Junior looks on. \n"," finally hung the spoon on the second girl's nose. \n \n ARMSTRONG \n Yahtzee! \n \n And now Armstong also realizes something's up. Turns and \n sees Gordy. Sees the cap in Gordy's hand as the Fat \n Federale addresses Gordy -- \n \n FAT FEDERALE \n Come along, Mr. Pitt. \n"," Feet jam into boots. Yellow trousers are hauled up and \n hitched with suspenders. \n \n Yellow jackets are whipped on. \n \n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \n \n Firefighters take their stations on the truck. Headsets \n go on. As the fire company's lieutenant, Gordy rides \n shotgun. The chauffeur hands him the printout. As the"," toward them and yelling. \n \n GORDY \n Get back! \n \n \n 253 INSERT - GRENADE 253 \n \n The rubber bands are about to break. \n \n \n 254 BACK TO SCENE 254 \n \n The Woman sees Gordy. Screams toward the house -- \n \n WOMAN \n Claudio!! \n \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," clean, well-ordered office is nicely appointed, with a \n big-screen Sony and leather furniture. The TV's TUNED TO \n CNN. A photo on the wall depicts him as a younger man \n wearing guerrilla cammies bearing with an ELC patch and \n holding an AK-47. A brass nameplate reading \"Supervisor\" \n rests on a neat desk, behind which stands the man himself \n -- a hardened, former guerrilla fighter proud of his"," It appears the entire neighborhood's crammed against the \n chain-link fence around the court, yelling and cheering \n as a team of local kids from the NYFD Athletic League \n plays a team of local kids from the NYPD Athletic League. \n \n Gordy's an NYFD coach, exhorts his team at the top of his \n lungs. \n \n The rivalry's intense. The game close. The noise \n deafening. Bets are going down. \n"," up against a desk. \n \n ORTIZ-DOMINGUEZ \n Please... \n \n The FBI agents crash in. \n \n FBI SURVEILLANCE AGENT \n Mr. Pitt! \n \n Gordy just stares down at Ortiz-Dominguez. \n \n FBI SURVEILLANCE AGENT \n This isn't the way to do things. \n \n Gordy still doesn't move. \n"," - DAY \n \n Phipps flips to the last photo in the book. \n \n SELENA \n ... No... \n \n He reaches for another book. As he does, he topples a \n stack. Selena's eyes fix on one book cover. \n \n SELENA \n He had that book! Let me see it! \n \n Phipps hands it to her. It's a guidebook to Washington.","371 EXT. STREET 371 \n \n The driver of the car finally backs up. Claudio aims the \n DUCATI through a narrow gap and ZOOMS on. \n \n \n 372 INT. TOWN HOUSE GARAGE 372 \n \n Gordy blows into the second story of the garage, a \n converted old-time carriage barn. He's in the old"],["258 GORDY 258 \n \n reaches the Woman and Boy now. Pulls them down. Covers \n them protectively with his body, when... \n \n \n 259 NEW ANGLE 259 \n \n KA-BOOM! A gigantic EXPLOSION lights up the night and \n utterly destroys the house. \n \n 90. \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," and fluttered to the ground nearby. The woman picks it \n up, and we see... \n \n It's the photo of Anne and Matt. \n \n The woman stares at the photo a moment, as... \n \n Gordy absorbs another blow. He tries to stand. \n \n GORDY \n You killed my wife and son -- \n \n Whack! The Wolf slams the butt of an AK-47 against"," He realizes the horror of what will happen. And... \n \n (CONTINUED) \n \n 89. \n \n 252 CONTINUED: 252 \n \n WIDER \n \n Gordy bursts from his hiding place. \n \n GORDY \n No! Stop! Alto! \n \n The Woman and Boy look over in alarm, see Gordy running"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," Gordy turns to them. Looks into the faces of these men, \n the people closest to him in the world. Beat. Then -- \n \n GORDY \n It's good to be home. \n \n Gordy's still in pain, still missing the wife and son \n he'll never see again. But Gordy's gonna be alright. \n \n Mauro's gonna be with him. There'll be fires to put out"," I know this is hard. I'm sorry I \n had to bother you. \n \n Phipps goes. Gordy looks over as the bodies of Anne and \n Matt are placed on gurneys and rolled away. Chalk \n outlines are all that remain of his family. Beat. \n \n MIKE \n We're gonna roll you to the \n hospital now and get that glass \n out. \n \n 17. \n"," Gordy's not gonna go down easy, though. \n \n Even as only one against four, Gordy's a formidable \n challenge. He's strong, and he's committed all the way. \n He's not getting kicked out of this country again. It's \n not a clean or artful fight. There's no karate. It's \n four men trying to tackle a bull, and... \n \n The bull gets away. \n \n"," 108. \n \n 310 CONTINUED: 310 \n \n GROUND COMMANDER \n No sign of The Wolf. Two people, \n possibly a third, got away. \n They're in the river. \n \n Brandt moves back to the L.O.H., gets in. A moment \n later, the chopper's up and away. \n \n"," Gordy lowers the family through the floor hole. \n \n \n 16 EXT. TENEMENT 16 \n \n Gordy carries the family's small child outside. He \n passes the child to its grateful parents, while... \n \n The rescued Firefighter sits on a curb looking at a hero \n and shaking his head in disbelief and admiration. \n \n"," her, she'll never want to look at \n another man again... \n \n Gordy drives past the house as the Beaten Man and the \n guerrilla with him get out of the Suburban and start \n carrying the beer inside. And a moment later... \n \n Felix comes around with a start. \n \n FELIX \n What the fuck are you doing?! \n \n He unholsters the 9mm and points it at Gordy. \n"," Beat. Gordy sits. \n \n GORDY \n The Wolf killed my wife and son \n in New York. \n \n (CONTINUED) \n \n 59. \n \n 145 CONTINUED: 145 \n \n ARMSTRONG \n ... Oh, you're that guy, eh? I'm \n sorry, man... And what, you came"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," nothing next to the thousands \n who've been slain. \n \n Gordy hears it. It only drives him to a deeper fury. \n \n GORDY \n They were my family. \n \n Gordy's blind with rage. Chokes her neck hard. \n Summoning all the power in him, first to shut off her air \n and blood, and then to continue squeezing, relishing her"," FELIX \n There's beer at the plantation. \n \n GORDY \n (thinking fast) \n There's no Berta at the \n plantation. I like drinking beer \n around pretty girls, not a bunch \n of guys with automatic rifles. \n \n FELIX \n To hell with Berta. \n \n GORDY \n What happened? Last night you \n were in love with her. \n"," need to talk to him. \n \n Beat. Mike nods. To Gordy -- \n \n PHIPPS \n Mr. Pitt, if you can you tell \n me... What'd you see? \n \n GORDY \n (looks up; beat) \n What'd I see? I saw my family \n die. \n \n Mike puts a restraining hand on Gordy. \n \n MIKE"," to absorb the news, then buries his face in his hands. \n \n \n 80 INT. FIREHOUSE - TRUCK BAY - NIGHT 80 \n \n The Dalmatian whizzes on the hydrant outside. \n \n Sal plays chess in the open door with the neighbor kid. \n \n Ronnie polishes chrome on the truck. \n \n Gordy holds up the broken remains of his ice cream maker \n as Junior looks on. \n"," that way, Gordo. \n \n Junior spots a news camera crew focusing on Gordy's \n grief, calls at a cop. \n \n JUNIOR \n Get those goddamn people outta \n here! \n \n Phipps, approaching with Dray, addresses the same cop. \n \n PHIPPS \n Put that tape out fifty more \n feet. \n \n The cop begins moving the camera crew back. Phipps"],[" SELENA \n Claudio used to be a teacher. I \n was a medical aid worker. We met \n in Guatemala, in an Indian village \n called Guamaunco. We were married \n there. Sophia, our daughter was \n born there. Claudio was kind and \n loving, and we were happy... We \n were there four years when the \n civil war broke out... The \n guerrillas were all around us, but"," Selena looks over at her son sleeping in Gordy's arms. \n She lovingly brushes the hair off his forehead, rattling \n her seashells. The leather doll is about to fall from \n Mauro's fingers. Selena takes the doll and puts it into \n her bag. Then looks out at the passing scenery. OFF \n Selena, in the land of her husband's enemy -- \n \n"," Selena hesitates, choking back her emotions. \n \n SELENA \n ... my baby girl was hit by \n shrapnel... she bled to death in \n Claudio's arms. \n \n She looks into Gordy's eyes. The look says she \n understands and shares Gordy's pain because she's \n suffered her own painful loss. She looks away again. \n \n (CONTINUED) \n"," falls hard. Gets back to her feet quickly and starts to \n run, when... \n \n Gordy hits her like a linebacker. Slams Selena against a \n brick wall. Gets behind her and slips a mighty arm \n around her thin neck. Selena squirms hard, kicks \n backward, going for the balls, kneecaps, insteps, doing \n whatever she can to hurt Gordy and get free. But she's","391 SELENA 391 \n \n blows through a swinging door into the kitchen, slamming \n into a Hispanic maid, who's coming to investigate all \n the noise. Both women tumble. Selena gets right back \n on her feet. She breaks out a window with the crowbar \n and exits onto a fire escape as Gordy blasts in from the \n dining room. \n \n"," renovation. Without stopping, she tears through the \n plastic covering the doorway to seal in dust from the \n rest of the house. She topples what she can into \n Gordy's way. Throws nails down behind her. Grabs a \n circular saw and hurls it back at Gordy, just missing him \n and shattering a large wall mirror. \n \n Selena's a soldier, taught to pick up and use whatever \n weapons she finds as she moves through a battlefield --"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," He's a war orphan. I adopted him. \n \n Beat. Gordy finishes checking the bullet wound. \n \n GORDY \n You're lucky. \n \n He uses part of his shirt to make a pressure bandage. As \n he ties it around Selena's arm, she looks around. \n \n SELENA \n I know where we are. There's a \n secret trail nearby that leads"," breaks toward an open door of the house. \n \n \n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \n \n Selena blasts into the bottom floor, runs through a \n playroom. Gordy's right behind her. \n \n \n 387 SELENA 387 \n \n mounts a stairwell. A girl's descending. Selena grabs a"," SELENA \n My name is Selena. \n \n GORDY \n ... His wife? \n \n SELENA \n Yes. \n \n \n Beat. The sea shells clack. Gordy loses consciousness \n again, and everything goes... \n \n \n 266 BLACK 266 \n \n The CLACKING sound CONTINUES. And... \n \n"," The fire escape ends at a top floor window. Selena \n BREAKS out the GLASS with the crowbar and goes in. \n \n \n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \n \n Selena's in a teenager's bedroom. The teenager's got \n headphones on, oblivious to everything. Selena darts \n through a bathroom into a second bedroom. \n \n"," I'm not one of them. I'm here for \n my own reasons. \n \n Selena watches him another moment. Decides he's telling \n the truth. She reaches into a skirt pocket, then extends \n her hand toward Gordy. He looks up. She's holding the \n photo of Anne and Matt. Beat. Gordy takes the photo. \n Looks at his wife and son. Selena sits next to him. \n Another beat. Then, off the photo... \n"," in leathers and a helmet. He takes the fall better than \n Selena. Gets to his feet. Looks for the guns they \n dropped. Before Claudio can get to a gun, Gordy's on \n him. They grapple. Gordy pounds Claudio hard. Once. \n Twice. When... \n \n \n 375 SELENA 375 \n \n side-kicks Gordy. He sags. She front-kicks a heel into"," But Mauro squirms free, and immediately, Mauro runs back \n to his mother. Selena uses sign language to tell him \n everything's okay. OFF Gordy's surprised look -- \n \n SELENA \n He can't hear or speak. \n \n Gordy just looks at them a moment. Then moves to Selena. \n Re: Mauro, as Gordy examines her arm -- \n \n SELENA"," Selena looks at Gordy a moment. She signs \"hello\" for \n him, her seashells clacking as she does it. \n \n Gordy taps Mauro to get his attention. Tries out the sign \n for \"hello.\" The boy just looks at him... then reaches \n out and takes Gordy's hand, shows him the correct way to \n do it. Gordy tries again. Mauro nods \"yes\" and smiles. \n Gordy smiles back. \n"," But that's not what Selena's thinking. She attacks with \n the crowbar, and Gordy can only retreat in the face of \n the vicious onslaught. He finds a nearby garbage can. \n It's full, heavy, but he manages to lift it, spilling \n garbage as he uses the can to block the blows from the \n crowbar. The CROWBAR THWOCKS into the can over and over, \n the sound ECHOING LOUDLY in the small courtyard."," is scratch. But Gordy's oblivious. They're alone in the \n courtyard. Body to body. Head to head. He's pumped \n with fury and hatred. He tightens the chokehold. Hisses \n in her ear -- \n \n GORDY \n You killed them. \n \n SELENA \n (beat; with \n contempt) \n One woman, one boy -- they mean"," Beat. Selena's overwhelmed by the experience of seeing \n her husband on the tape, by her betrayal of him. She \n grows queasy. Leans on the table for support. \n \n PHIPPS \n Are you okay? \n \n (CONTINUED) \n \n 118. \n \n 343 CONTINUED: 343 \n \n SELENA"," The black becomes a BLUR. The BLUR becomes a hazy \n glimpse of Selena. She's sitting on the metal bed frame \n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \n it's made by SEA SHELLS that dangle from a bracelet on \n Selena's wrist. The shells knock together as she washes \n Gordy's wounds. \n \n (CONTINUED) \n"," Sounds of GUNFIRE. EXPLOSIONS in the compound flicker \n light through the dense foliage. Selena leads Gordy to \n a bush and pulls back leaves, revealing Mauro, cowering \n fearfully, clutching an old leather doll to his chest. \n Selena takes Mauro's hand, grabs a small pack lying next \n to him, then leads Gordy off through the jungle. \n \n"],[" The chopper door opens. Brandt's inside. \n \n \n 325 INT. BLACKHAWK - MOMENTS LATER 325 \n \n Everyone's aboard and buckled in. Everyone's tired. The \n chopper lifts off. Selena's glaring at Brandt, who \n pushes a headset at her, shouts over the ENGINE WHINE -- \n \n BRANDT"," questions. And we're gonna get \n answers... And you're staying \n right here till our bomber's dead. \n \n Brandt goes. Moments later, a TORTURED SCREAM is heard \n on the other side of the brick wall, waking Armstrong \n with a start. \n \n \n 148 EXT. MOMPOS - VARIOUS SHOTS - NIGHT 148 \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," Brandt's on the phone. He's pissed. \n \n BRANDT \n ... Senator, the failure of one \n operation shouldn't cause your \n committee to question financing \n everything else we're doing down \n there... \n \n DONALD UPDEGRAF, Brandt's number two, enters. \n \n BRANDT \n ... I know it looks bad, and I \n appreciate your support."," hair, when... \n \n Gordy's eyes meet Brandt's. The two men hold the look \n for a moment. If Brandt could speak, he'd be yelling at \n Gordy to stop, not to go on. And Gordy knows it. But \n Gordy's not stopping. Picks up Armstrong again and moves \n off toward the waterfront. \n \n"," 108. \n \n 310 CONTINUED: 310 \n \n GROUND COMMANDER \n No sign of The Wolf. Two people, \n possibly a third, got away. \n They're in the river. \n \n Brandt moves back to the L.O.H., gets in. A moment \n later, the chopper's up and away. \n \n"," (hesitates, then) \n Yes. \n \n PHIPPS \n He was there yesterday. Just \n stood there and left... So far, \n the dogs haven't found anything, \n so maybe we're ahead of him. \n \n BRANDT \n What's he waiting for? \n \n SELENA \n He takes his time. Like he told \n you, he enjoys it."," The 4x4 catapults completely over the guerrillas' truck, \n disintegrating into spare parts and dead occupants, as... \n \n \n 167 GUERRILLAS 167 \n \n ROAR off. \n \n \n 168 EXT./INT. JAIL 168 \n \n A severely-dazed Brandt, bleeding from the nose and ears, \n slowly gets to his knees, crawls out of the burning"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," get back to you. \n \n \n 84 INT. GORDY'S APARTMENT - LIVING ROOM - DAY 84 \n \n Gordy's mood is dark. It's not improved by hearing the \n bullshit in Updegraf's reply. \n \n GORDY \n Tell him not to bother. \n \n He slams down the phone. Rips up Brandt's business card."," Beat. Phipps sees it's pointless to insist. To Dray -- \n \n PHIPPS \n Take care of it. \n \n (CONTINUED) \n \n 26. \n \n 68 CONTINUED: 68 \n \n Dray heads out, passing Mike Brandt, who enters. \n \n PHIPPS \n Gordy, this is Mike Brandt. \n"," People react to the sounds of the MORTAR ATTACK on the \n town. The lights go out. Brandt, Rocha and their men \n quickly lock the guerrillas in their cell and head out. \n \n \n 154 EXT. JAIL 154 \n \n As MORTARS CONTINUE to fall on the rest of the town, the \n unit of guerrilla infiltrators open up on the front of \n the jail with LAW ROCKETS.","417 CONTINUED: 417 \n \n BRANDT \n We got the bitch. \n \n Gordy hits him. One of the jackhammer blows he slammed \n into Claudio in the bunker. A hard fist deep in the gut \n that drives all the wind from Brandt and drops him to his \n knees. Beat. Gordy's voice is cold and hard -- \n \n GORDY"," the cell containing their two captured comrades. Beat. \n The HINGES BLOW. The beaten man and the rebel with him \n are freed, and the guerrillas quickly retreat the way \n they came. \n \n Gordy sees flames spreading into the cell area. \n \n \n 160 GUERRILLAS 160 \n \n exit the fiery jail past Brandt. We see Brandt's not \n dead. \n \n"," Brandt lets \"thinks\" sink in. \n \n PHIPPS \n I know it's hard for you right \n now, Mr. Pitt. We're all sorry. \n But why don't you go home. \n We're taking care of things. \n \n Beat. Brandt proffers a business card. \n \n BRANDT \n Here's my card. Call me any time. \n"," UPDEGRAF (O.S.) \n Houses, barracks, school for the \n kids, cooking sheds, H.Q., \n latrines, gun pits... \n \n BRANDT (O.S.) \n They're not just hiding The Wolf. \n \n UPDEGRAF (O.S.) \n Here it is on the map... \n \n PULL BACK to reveal: \n \n","147 CONTINUED: 147 \n \n There's a flurry of activity outside the cell area. The \n door opens. Soldiers enter with some federales. \n \n Gordy watches the soldiers move past his cell. Rocha is \n with them. And then... \n \n Brandt appears at the bars, looks in at Gordy. \n \n BRANDT \n Enjoy your trip? \n"," BRANDT \n Mr. Pitt. \n \n Gordy just looks at him. \n \n BRANDT \n I'm very sorry for your loss... I \n lost people, too. \n \n PHIPPS \n ... Mike was in the motorcade that \n day... He's the chief U.S. \n intelligence officer overseeing \n Colombia. \n \n BRANDT"," Gordy stands, approaches. \n \n BRANDT \n We asked you to leave it to us. \n \n GORDY \n And you guys still haven't got \n him. \n \n BRANDT \n It's not over yet... The guys next \n door are in The Wolf's elite \n bodyguard unit. Where he goes, \n they go. We're gonna ask"," Matt die, but now he can't do it. He's a firefighter. \n He saves lives. If he kills Selena, Gordy crosses into \n her world, into Brandt's world, into the brutal nightmare \n destroying Colombia and all the places like it, and becomes \n part of that sadness and death... And... \n \n Gordy relaxes the chokehold enough so she can breathe. \n Selena gasps for air. The impulse to murder has left"],[" The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," Hey, yo, dude, here's a seat, man! \n \n GORDY \n No, that's okay -- \n \n But Armstrong's already throwing a bag off the bench. \n \n ARMSTRONG \n I was hoping for someone I could \n communicate with. \n \n He sees Gordy hasn't moved. \n \n ARMSTRONG \n Only room's at the back near the"," In here, the MUSIC'S LOUD ROCK 'N' ROLL. Gringo music \n for a gringo bar. The place is busy, with plenty of \n local \"hostesses\" for the men. Even Armstrong, standing \n half-crocked at the bar, is flanked by two scantily-clad \n women. He's got a spoon hanging off his nose. So does one \n of the girls. Armstrong's trying to hang a spoon on the \n other. \n"," Whereupon Armstrong shouts drunkenly at Gordy -- \n \n ARMSTRONG \n Police catch you trying to steal \n my hat, you asshole?! \n \n He staggers toward Gordy. Grabs the hat. \n \n ARMSTRONG \n Fucking hat thief! \n \n Armstrong takes a drunken swing at Gordy, but... \n \n Instead of hitting Gordy, Armstrong accidentally-on-"," a spoon on. \n \n Gordy reaches the bar, snags the cap. Glances back, sees \n the thin federale closing in, turns to run out the back, \n when... \n \n A strong hand stops him. The hand belongs to the Fat \n Federale. And now the thin federale's there, too, \n wielding a stun gun where Gordy can see it. People in \n the bar fall silent. Everyone but Armstrong, who's"," Beat. Armstrong sees the look on Gordy's face. By way \n of a warning -- \n \n ARMSTRONG \n If you can't kill them, don't even \n talk to them. \n \n The GUERRILLAS are MURMURING in the other cell. One of \n them LAUGHS. OFF Gordy, listening to the LAUGHING... \n \n"," Felix leads him towards a Land Cruiser. \n \n FELIX \n Armstrong should have called \n sooner. We don't like changes \n here... If I didn't need the \n equipment fixed, I'd send you \n back. \n \n (CONTINUED) \n \n 67. \n \n 176 CONTINUED: 176 \n \n They reach the Land Cruiser. \n"," hair, when... \n \n Gordy's eyes meet Brandt's. The two men hold the look \n for a moment. If Brandt could speak, he'd be yelling at \n Gordy to stop, not to go on. And Gordy knows it. But \n Gordy's not stopping. Picks up Armstrong again and moves \n off toward the waterfront. \n \n"," New York City. \n \n ARMSTRONG \n I don't like New York City. \n Buildings're too big. What kinda \n work you in? \n \n GORDY \n (hesitates, then) \n Coffee. I buy beans. \n \n ARMSTRONG \n Can't drink caffeine. Makes my \n stomach do the rumba. I like that"," would ever go back. Caguan's in \n the guerrilla zone run by the \n E.L.C. E.L.C. as in 'Extra \n Loathsome Communists.' They don't \n care, and they kill. I'm going \n there myself. But I have a 'get \n outta jail free' card. \n \n Armstrong doffs his cap, undoes a safety pin securing a"," I'm not one of them. I'm here for \n my own reasons. \n \n Selena watches him another moment. Decides he's telling \n the truth. She reaches into a skirt pocket, then extends \n her hand toward Gordy. He looks up. She's holding the \n photo of Anne and Matt. Beat. Gordy takes the photo. \n Looks at his wife and son. Selena sits next to him. \n Another beat. Then, off the photo... \n"," The ferry's the only means of travel south, and it's \n packed. Gordy picks his way through. The only other \n gringo on the boat is a geek in a plaid shirt and gimme \n hat that says \"Deerborn.\" The geek, PHILIP ARMSTRONG, \n looks like a talker, and Gordy tries to avoid eye \n contact. He's too late. \n \n ARMSTRONG"," ARMSTRONG \n I'll call ahead and tell Felix I'm \n not coming, and you're my \n replacement. He'll meet you in \n Caguan and take you to the \n plantation... What do you know \n about diesel engines? \n \n GORDY \n All the fire trucks are diesels. \n \n ARMSTRONG \n You'll have to be Austrian, eh?"," relieve the muscle-tearing strain on his arm. \n \n \n 230 ABOVE GORDY'S WORLD 230 \n \n the Suburban passes the \"Cine.\" The movie's over, just \n letting out. \n \n 231 EXT. GUERRILLA HOUSE - NIGHT 231 \n \n The Suburban pulls up to the well-guarded house Gordy saw"," We can fix anything, but these \n keep dying on us... You'll start \n now. I'll have tools brought to \n you. \n (beat) \n Armstrong's a magician with them. \n Let's hope you have his skill. \n \n Felix walks over to a guerrilla with an AK-47 and speaks \n to him. Then goes. Whereupon the guerrilla crosses to \n Gordy and takes up a sentry position over him. \n"," Armstrong carefully returns the card to the hat. And now \n his voice takes on a noticeably more measured tone -- \n \n ARMSTRONG \n If you don't have one of these, \n you don't want to be up there, \n Gordy. \n \n Beat. Gordy's contemplating the warning, when his eyes \n go to a small, sleepy boy standing nearby on the cramped \n deck, leaning against his father. Gordy reaches over and"," licking at him, but Gordy's undeterred. He heaves again, \n and... \n \n This time, the door gives. Gordy picks up Armstrong's \n cap, then picks up Armstrong, who's starting to come \n around. Puts Armstrong over his shoulders in a fireman's \n carry. \n \n GORDY \n Don't breathe. \n \n ARMSTRONG \n (weakly)"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," falls hard. Gets back to her feet quickly and starts to \n run, when... \n \n Gordy hits her like a linebacker. Slams Selena against a \n brick wall. Gets behind her and slips a mighty arm \n around her thin neck. Selena squirms hard, kicks \n backward, going for the balls, kneecaps, insteps, doing \n whatever she can to hurt Gordy and get free. But she's"," clean, well-ordered office is nicely appointed, with a \n big-screen Sony and leather furniture. The TV's TUNED TO \n CNN. A photo on the wall depicts him as a younger man \n wearing guerrilla cammies bearing with an ELC patch and \n holding an AK-47. A brass nameplate reading \"Supervisor\" \n rests on a neat desk, behind which stands the man himself \n -- a hardened, former guerrilla fighter proud of his"],[" Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," The laser indicates The Wolf. \n \n UPDEGRAF (O.S.) \n -- is giving all the orders. \n \n BRANDT (O.S.) \n ... I don't fucking believe it. \n That lucky son-of-a-bitch found \n The Wolf. \n \n UPDEGRAF (O.S.) \n ... He's paying for it now. \n \n FOLLOW the laser TO:"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many","310 EXT. ELC JUNGLE VILLAGE 310 \n \n The village is a silent, smoking ruin. Everyone who \n lived there is dead. Troops check the faces of the \n bodies of the men against the freeze-frame of The Wolf \n outside the Colombian consulate in New York. \n \n The L.O.H. lands. Brandt's met by the Ground Commander. \n \n (CONTINUED) \n"," Selena flips through it. Stops at a photo. \n \n \n 338 CLOSE ON PHOTO 338 \n \n It's of the redesigned lobby of Union Station. \n \n \n 339 BACK TO SCENE 339 \n \n Selena glances up. \n \n SELENA \n That's it! \n \n BRANDT"," GORDY \n No problemo. \n \n Gordy peers out the window intently as they drive, \n looking for a lucky break, looking for The Wolf, \n searching the face of every man. He doesn't see The \n Wolf, but what he does see surprises him. The ELC \n Supervisor was right: Caguan's no Mompos. It's a third- \n world town, armed troops are visible, and there's a lot"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor...","355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," He takes a big breath and holds it. Mauro understands \n and does the same. They go under. So does Selena. \n \n \n 312 INT. L.O.H. 312 \n \n The Pilot scans the river with his night-vision goggles. \n Brandt studies the night-vision monitor in front of him. \n There's nothing but river. \n \n They zoom by the two fuel cans, but see nothing. \n \n"," He's alone with his frustration, with his rekindled \n hatred and rage. OFF Gordy, glaring at the photo of The \n Wolf on his wall... \n \n \n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \n CUSTOMS AREA - DAY \n \n Armed police lead Rottweilers through the newly-arrived","343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \n - DAY \n \n Selena watches as Phipps plays a surveillance video of \n Union Station. Phipps suddenly freezes the image. Zooms \n in on a man in the middle of the crowd. Claudio. \n \n PHIPPS \n That's him, isn't it? \n \n SELENA"," Felix is just loose enough. \n \n FELIX \n The Wolf, and they'll never catch \n him. \n \n GORDY \n Ever see him? \n \n FELIX \n Once. \n \n GORDY \n Where? \n \n FELIX \n (beat; eyes Gordy) \n If you know too much around here,","236 INSIDE 236 \n \n is a group of ELC guerrillas, including the Beaten Man, \n packing suitcases, etc. Leaving in a hurry. \n \n \n 237 GORDY 237 \n \n scans the faces. Except for the Beaten Man, no face is \n familiar. A man with his BACK TO us stands, and there's \n nothing familiar about him, either. When... \n \n"," (hesitates, then) \n Yes. \n \n PHIPPS \n He was there yesterday. Just \n stood there and left... So far, \n the dogs haven't found anything, \n so maybe we're ahead of him. \n \n BRANDT \n What's he waiting for? \n \n SELENA \n He takes his time. Like he told \n you, he enjoys it."," When Gordy glances back, Armstrong is gone. \n \n \n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \n \n Gordy disembarks amid the throng of passengers, when the \n FAT FEDERALE confronts him. \n \n FAT FEDERALE \n Senor Pitt? \n \n Gordy looks up in surprise at him and the thin federale \n backing him up. \n"," would ever go back. Caguan's in \n the guerrilla zone run by the \n E.L.C. E.L.C. as in 'Extra \n Loathsome Communists.' They don't \n care, and they kill. I'm going \n there myself. But I have a 'get \n outta jail free' card. \n \n Armstrong doffs his cap, undoes a safety pin securing a"," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," They reach the storeroom. Water's pouring out under the \n door. Felix unlocks the door and opens it to find... \n \n \n 224 INT. STOREROOM 224 \n \n Gordy's gone. The Beaten Man signals two men to go out \n the hole. To the other man -- \n \n BEATEN MAN \n (in Spanish) \n Organize the others. Find him. \n"," Claudio. \n \n (CONTINUED) \n \n 91. \n \n 261 CONTINUED: 261 \n \n The Wolf glances over. Meets her eyes a moment. Sees \n the photo in her hand. Glances up into her eyes again. \n They hold the look. A whole conversation exchanged \n without words. Then The Wolf turns back to Gordy, lying"],[" Selena flips through it. Stops at a photo. \n \n \n 338 CLOSE ON PHOTO 338 \n \n It's of the redesigned lobby of Union Station. \n \n \n 339 BACK TO SCENE 339 \n \n Selena glances up. \n \n SELENA \n That's it! \n \n BRANDT"," - DAY \n \n Phipps flips to the last photo in the book. \n \n SELENA \n ... No... \n \n He reaches for another book. As he does, he topples a \n stack. Selena's eyes fix on one book cover. \n \n SELENA \n He had that book! Let me see it! \n \n Phipps hands it to her. It's a guidebook to Washington."," I'm not one of them. I'm here for \n my own reasons. \n \n Selena watches him another moment. Decides he's telling \n the truth. She reaches into a skirt pocket, then extends \n her hand toward Gordy. He looks up. She's holding the \n photo of Anne and Matt. Beat. Gordy takes the photo. \n Looks at his wife and son. Selena sits next to him. \n Another beat. Then, off the photo... \n"," falls hard. Gets back to her feet quickly and starts to \n run, when... \n \n Gordy hits her like a linebacker. Slams Selena against a \n brick wall. Gets behind her and slips a mighty arm \n around her thin neck. Selena squirms hard, kicks \n backward, going for the balls, kneecaps, insteps, doing \n whatever she can to hurt Gordy and get free. But she's"," Beat. Selena's overwhelmed by the experience of seeing \n her husband on the tape, by her betrayal of him. She \n grows queasy. Leans on the table for support. \n \n PHIPPS \n Are you okay? \n \n (CONTINUED) \n \n 118. \n \n 343 CONTINUED: 343 \n \n SELENA"," renovation. Without stopping, she tears through the \n plastic covering the doorway to seal in dust from the \n rest of the house. She topples what she can into \n Gordy's way. Throws nails down behind her. Grabs a \n circular saw and hurls it back at Gordy, just missing him \n and shattering a large wall mirror. \n \n Selena's a soldier, taught to pick up and use whatever \n weapons she finds as she moves through a battlefield --"," The fire escape ends at a top floor window. Selena \n BREAKS out the GLASS with the crowbar and goes in. \n \n \n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \n \n Selena's in a teenager's bedroom. The teenager's got \n headphones on, oblivious to everything. Selena darts \n through a bathroom into a second bedroom. \n \n"," The chopper door opens. Brandt's inside. \n \n \n 325 INT. BLACKHAWK - MOMENTS LATER 325 \n \n Everyone's aboard and buckled in. Everyone's tired. The \n chopper lifts off. Selena's glaring at Brandt, who \n pushes a headset at her, shouts over the ENGINE WHINE -- \n \n BRANDT"," Who are you? What are you doing \n in here? \n \n \n 399 SELENA 399 \n \n sees an open rooftop door at the top of a flight of \n stairs and charges upward without answering. \n \n \n 400 GORDY'S 400 \n \n in the hallway a second later. Meets the Woman In \n Gardening Clothes, who's now come up the stairs. She","391 SELENA 391 \n \n blows through a swinging door into the kitchen, slamming \n into a Hispanic maid, who's coming to investigate all \n the noise. Both women tumble. Selena gets right back \n on her feet. She breaks out a window with the crowbar \n and exits onto a fire escape as Gordy blasts in from the \n dining room. \n \n"," breaks toward an open door of the house. \n \n \n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \n \n Selena blasts into the bottom floor, runs through a \n playroom. Gordy's right behind her. \n \n \n 387 SELENA 387 \n \n mounts a stairwell. A girl's descending. Selena grabs a"," 115. \n \n 333 CONTINUED: 333 \n \n SELENA \n No... No... No... \n \n That book's done. \n \n SELENA \n I'm sorry. \n \n PHIPPS \n That's okay. \n \n He grabs another. Opens it to the first photo. \n"," Selena hesitates, choking back her emotions. \n \n SELENA \n ... my baby girl was hit by \n shrapnel... she bled to death in \n Claudio's arms. \n \n She looks into Gordy's eyes. The look says she \n understands and shares Gordy's pain because she's \n suffered her own painful loss. She looks away again. \n \n (CONTINUED) \n"," But Mauro squirms free, and immediately, Mauro runs back \n to his mother. Selena uses sign language to tell him \n everything's okay. OFF Gordy's surprised look -- \n \n SELENA \n He can't hear or speak. \n \n Gordy just looks at them a moment. Then moves to Selena. \n Re: Mauro, as Gordy examines her arm -- \n \n SELENA"," Matt die, but now he can't do it. He's a firefighter. \n He saves lives. If he kills Selena, Gordy crosses into \n her world, into Brandt's world, into the brutal nightmare \n destroying Colombia and all the places like it, and becomes \n part of that sadness and death... And... \n \n Gordy relaxes the chokehold enough so she can breathe. \n Selena gasps for air. The impulse to murder has left"," well-trained and determined firefighter. And \n he's not far back. One tumble, and he'll catch her. \n Selena strains harder. \n \n \n 404 SELENA 404 \n \n vaults a gap. Moments later, Gordy vaults it. \n \n 405 SELENA 405 \n \n finally runs out of roof. She looks down. A fire escape","355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," I'm sorry... I think I'm going to \n be sick. \n \n Brandt opens a door to a bathroom. \n \n BRANDT \n In here. \n \n Selena grabs her pack and rushes in. When the door's \n closed, Phipps turns to Dray, indicates monitor. \n \n PHIPPS \n Get copies of this freeze frame to \n all the undercover people and the"," The black becomes a BLUR. The BLUR becomes a hazy \n glimpse of Selena. She's sitting on the metal bed frame \n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \n it's made by SEA SHELLS that dangle from a bracelet on \n Selena's wrist. The shells knock together as she washes \n Gordy's wounds. \n \n (CONTINUED) \n"," He's a war orphan. I adopted him. \n \n Beat. Gordy finishes checking the bullet wound. \n \n GORDY \n You're lucky. \n \n He uses part of his shirt to make a pressure bandage. As \n he ties it around Selena's arm, she looks around. \n \n SELENA \n I know where we are. There's a \n secret trail nearby that leads"],[" SHOOTS Claudio dead from the mouth of the alleyway down \n the block. The first SHOT CRACKS the back of Claudio's \n helmet. The second SHOT punches through and exits his \n visor in a bright red mist of blood. \n \n \n 378 SELENA 378 \n \n bolts. \n \n \n 379 GORDY 379 \n \n goes after her. \n"," the middle of the back and explodes her heart on its way \n through her body. She's dead on her feet. Her body \n crumples to the ground and empties its blood in a large \n pool that quickly spreads over the slate. \n \n \n 416 OTHER AGENTS 416 \n \n move in to help the guard as Phipps holsters his pistol. \n He walks to Gordy. The two men share a long, silent"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n","414 NEW ANGLE 414 \n \n The GUN FIRES, just as the crowbar hits Selena, spoiling \n her aim. The bullet creases the guard's arm. Selena \n recovers. And the next BULLET... \n \n \n 415 ANOTHER ANGLE 415 \n \n Isn't hers. It's from Phipps' GUN. It takes Selena in"," Quickly lashes it on with some wire. Then cranks on the \n master valve. High-pressure water streams from the hose. \n \n Gordy sneaks a peek out the window. The Beaten Man's \n still questioning Felix. The sound of the hose water is \n being covered by the DIESELS. \n \n Gordy crosses the room, extending the hose to the hole \n he's made in the wall. He aims the stream at the hole."," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," and fluttered to the ground nearby. The woman picks it \n up, and we see... \n \n It's the photo of Anne and Matt. \n \n The woman stares at the photo a moment, as... \n \n Gordy absorbs another blow. He tries to stand. \n \n GORDY \n You killed my wife and son -- \n \n Whack! The Wolf slams the butt of an AK-47 against"," But that's not what Selena's thinking. She attacks with \n the crowbar, and Gordy can only retreat in the face of \n the vicious onslaught. He finds a nearby garbage can. \n It's full, heavy, but he manages to lift it, spilling \n garbage as he uses the can to block the blows from the \n crowbar. The CROWBAR THWOCKS into the can over and over, \n the sound ECHOING LOUDLY in the small courtyard."," Gordy runs out. Phipps and others follow. OFF Brandt... \n \n \n 356 INT. BATHROOM 356 \n \n Brandt bursts in. He searches. Finds Mauro's leather \n doll behind the toilet. The head's detached. Brandt \n looks inside, and... \n \n We see a block of reddish Semtex plastic explosive and a \n chemical fuse. \n \n BRANDT"," toward them and yelling. \n \n GORDY \n Get back! \n \n \n 253 INSERT - GRENADE 253 \n \n The rubber bands are about to break. \n \n \n 254 BACK TO SCENE 254 \n \n The Woman sees Gordy. Screams toward the house -- \n \n WOMAN \n Claudio!! \n \n"," his spine and between his shoulder blades. Gordy lets go \n of Claudio and drops. Selena's relentless, kicks Gordy \n repeatedly as... \n \n \n 376 CLAUDIO 376 \n \n gets the pistol. Turns. Aims the gun two-handed at \n Gordy's head, and BANG! \n \n \n 377 DRAY 377 \n","411 ANOTHER ANGLE 41 \n \n In the same moment, Gordy grabs the crowbar from the \n ground. \n \n \n 412 SELENA 412 \n \n flicks off the safety and points the gun again. \n \n \n 413 GORDY 413 \n \n hurls the crowbar with all his might, and... \n \n"," screams. Swipes at him with the digging tool, making \n three deep scratches in his face. Gordy doesn't stop. \n \n \n 401 OMITTED 401 \n \n \n 402 EXT. TOWN HOUSE - ROOF/ADJOINING ROOFTOPS 402 \n \n This is where the woman was gardening, tending a rooftop"," is scratch. But Gordy's oblivious. They're alone in the \n courtyard. Body to body. Head to head. He's pumped \n with fury and hatred. He tightens the chokehold. Hisses \n in her ear -- \n \n GORDY \n You killed them. \n \n SELENA \n (beat; with \n contempt) \n One woman, one boy -- they mean","391 SELENA 391 \n \n blows through a swinging door into the kitchen, slamming \n into a Hispanic maid, who's coming to investigate all \n the noise. Both women tumble. Selena gets right back \n on her feet. She breaks out a window with the crowbar \n and exits onto a fire escape as Gordy blasts in from the \n dining room. \n \n"," falls hard. Gets back to her feet quickly and starts to \n run, when... \n \n Gordy hits her like a linebacker. Slams Selena against a \n brick wall. Gets behind her and slips a mighty arm \n around her thin neck. Selena squirms hard, kicks \n backward, going for the balls, kneecaps, insteps, doing \n whatever she can to hurt Gordy and get free. But she's"," renovation. Without stopping, she tears through the \n plastic covering the doorway to seal in dust from the \n rest of the house. She topples what she can into \n Gordy's way. Throws nails down behind her. Grabs a \n circular saw and hurls it back at Gordy, just missing him \n and shattering a large wall mirror. \n \n Selena's a soldier, taught to pick up and use whatever \n weapons she finds as she moves through a battlefield --"," a spoon on. \n \n Gordy reaches the bar, snags the cap. Glances back, sees \n the thin federale closing in, turns to run out the back, \n when... \n \n A strong hand stops him. The hand belongs to the Fat \n Federale. And now the thin federale's there, too, \n wielding a stun gun where Gordy can see it. People in \n the bar fall silent. Everyone but Armstrong, who's"," (hesitates, then) \n Yes. \n \n PHIPPS \n He was there yesterday. Just \n stood there and left... So far, \n the dogs haven't found anything, \n so maybe we're ahead of him. \n \n BRANDT \n What's he waiting for? \n \n SELENA \n He takes his time. Like he told \n you, he enjoys it."],[" Gordy turns to them. Looks into the faces of these men, \n the people closest to him in the world. Beat. Then -- \n \n GORDY \n It's good to be home. \n \n Gordy's still in pain, still missing the wife and son \n he'll never see again. But Gordy's gonna be alright. \n \n Mauro's gonna be with him. There'll be fires to put out"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," NATIONAL SECURITY ADVISOR (V.O.) \n ... At this time, we believe the \n man responsible for carrying out \n the New York bombing, the \n terrorist known as The Wolf, is \n among the enemy dead. \n \n \n 79 NEW ANGLE 79 \n \n Big cheers now. Toasts all around. Everyone in the \n place is happy for Gordy, who sits there a moment trying"," licking at him, but Gordy's undeterred. He heaves again, \n and... \n \n This time, the door gives. Gordy picks up Armstrong's \n cap, then picks up Armstrong, who's starting to come \n around. Puts Armstrong over his shoulders in a fireman's \n carry. \n \n GORDY \n Don't breathe. \n \n ARMSTRONG \n (weakly)"," and lives to save and basketball games and the multitude \n of miseries and joys the firefighters in Spanish Harlem \n see each and every day. \n \n As we PULL BACK, OUT and AWAY from the old brick edifice \n from which the big red truck will come, bringing help... \n \n \n FADE OUT. \n \n \n THE END \n \n"," Feet jam into boots. Yellow trousers are hauled up and \n hitched with suspenders. \n \n Yellow jackets are whipped on. \n \n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \n \n Firefighters take their stations on the truck. Headsets \n go on. As the fire company's lieutenant, Gordy rides \n shotgun. The chauffeur hands him the printout. As the"," two men can't go have a beer and \n look at women's breasts because \n of pink elephants?... Nothing \n makes any sense down here. \n \n (CONTINUED) \n \n 79. \n \n 206 CONTINUED: 206 \n \n Felix pulls out his .9mm. Gordy doesn't blink an eye. \n \n GORDY"," night. And then, I don't care if \n there's a typhoon, I want those \n fucking rotors turning. \n \n Beat. Updegraf goes. Brandt crumples the fax and \n pitches it. Then sees he got fax ink on his hands. OFF \n Brandt, holding his mitts out in the rain, trying to wash \n off the stains... \n \n"," in position, his leg still bowing the line. \n \n (CONTINUED) \n \n 48. \n \n 117 CONTINUED: 117 \n \n Using the Zippo again to light his way, Gordy advances to \n the young man. He follows the trip wire to where a Coca- \n Cola can hangs from a nearby tree. On closer inspection,"," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," a spoon on. \n \n Gordy reaches the bar, snags the cap. Glances back, sees \n the thin federale closing in, turns to run out the back, \n when... \n \n A strong hand stops him. The hand belongs to the Fat \n Federale. And now the thin federale's there, too, \n wielding a stun gun where Gordy can see it. People in \n the bar fall silent. Everyone but Armstrong, who's"," Gordy takes it. Just sits there a long moment, then -- \n \n GORDY \n What kind of twisted people do \n things like this? \n \n Beat. Brandt and Phipps don't have an answer. \n \n 27. \n \n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \n \n Gordy talks to a Latin reporter, ERNIE OROSCO. \n"," and fluttered to the ground nearby. The woman picks it \n up, and we see... \n \n It's the photo of Anne and Matt. \n \n The woman stares at the photo a moment, as... \n \n Gordy absorbs another blow. He tries to stand. \n \n GORDY \n You killed my wife and son -- \n \n Whack! The Wolf slams the butt of an AK-47 against"," Gordy slips into the bar. Spots Armstrong through the \n crowd. Sees Armstrong's not wearing his cap, when... \n \n The girl with the spoon on her nose turns slightly, \n revealing she's wearing the cap. It's on backwards, but \n now Gordy can see the \"Deerborn\" logo clearly. \n \n Gordy wants the guerrilla travel pass inside the cap. \n It's a desperate move, but he's got no choice. Starts"," As he readjusts his shirt to cover the spoon... \n \n \n 215 EXT. PLANTATION - DIESEL GENERATORS - NIGHT 215 \n \n Felix is right there supervising for himself as Gordy \n finishes working. Gordy stands. He stares hopefully at \n the MACHINE. Then pushes the starter, and... VRROOM! \n The heat lights in the second row of sheds brighten. \n"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," 30. \n \n 76 CONTINUED: 76 \n \n MIKE \n Hey, we never turned down free \n beer, and rookie's buying, you \n believe that? He certified today, \n he's off probation. \n \n GORDY \n (still looking at \n wall) \n Ronnie couldn't find a fire with \n both hands."," Gordy raises the can. Thwock! Thwock! The can's all \n dents. There's garbage everywhere. She feints high and \n then swings low again, a wicked blow to the knee. Gordy \n stumbles badly this time. Selena breaks for the gate. \n Gordy sees her and, with all his might slings the can \n across the slate pavers, and... \n \n The can takes Selena's legs out from under her. She"," Gordy barely avoids being seen as the guerrillas cross \n the room. At the bar, the bartender puts out two crates \n of beer. The guerrillas take the beer and head out. No \n money's changed hands. When they're gone, to Felix -- \n \n GORDY \n We'd better get back, huh? \n \n FELIX \n (checks his watch) \n ... Shit. It's late."],[" waves back, shrugs an apology to Anne as he starts across \n the street, when... \n \n \n 36 INTENSE FLASH 36 \n \n suddenly lights up the intersection. \n \n In SLOW MOTION: \n \n \n 37 SHOCK WAVE 37 \n \n wave rolls up 68th past Madison... \n \n \n 38 HUGE BALL OF FLAME 38 \n"," Phipps addresses Gordy. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. \n \n JUMP CUT: \n \n \n 350 CONTINUE FLASHBACK 350 \n \n PHIPPS \n Did you see a cell phone when you \n ran into him? \n \n GORDY \n No. \n \n"," Boom! An ENORMOUS EXPLOSION. And... \n \n 43. \n \n 102 EXT./INT. CHIVA - NIGHT 102 \n \n Gordy bolts awake from the nightmare with a scream. He \n looks around at the startled faces in the crowded bus, \n unsure where he is for a moment before he gets his \n bearings. The dream lingers, depressing him. \n \n"," The cop tickets a vehicle, then walks west out of frame. \n \n PHIPPS \n The bomb's in the cart. \n \n \n 56 PHIPPS 56 \n \n reverses the video, freeze-frames on the cop. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. The guy doesn't \n have one in his hands here. Did \n you see a cell phone when you ran"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," son. \n \n \n 59 INT. LIVING ROOM - NIGHT 59 \n \n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \n slumped in a chair. \n \n \n 60 NEWS ANCHOR 60 \n \n NEWS ANCHOR (V.O.) \n ... The bombing that left a mother \n and son dead and New York City"," erupts behind Anne and Matt... \n \n We hear the ENORMOUS BANG of the explosion... \n \n 12. \n \n 39 WINDOWS 39 \n \n are sucked into millions of fragments, a hailstorm of \n glass... \n \n \n 40 GREAT CHUNK OF METAL 40 \n \n -- an engine block -- flies from the ball of flame... \n \n","250 BACK TO SCENE (PRESENT) 250 \n \n Gordy sees the Woman pull the boy close to her, lovingly. \n \n \n 251 FLASHBACK - NEW YORK 251 \n \n The BOMB EXPLODES, and Anne moves to protect Matt. \n \n \n 252 CLOSE ON GORDY (PRESENT) 252 \n"," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," go in the tubes on the truck. WHUMP, WHUMP. \n \n \n 152 ANOTHER ANGLE 152 \n \n BOOM! BOOM! BOOM! A water tower, the Mompos fire \n station and the town's power supply are direct hits. \n \n WHUMP, WHUMP, WHUMP... \n \n \n 153 INT. JAIL - CELLS 153 \n"," NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," the blast-hole. \n \n OLDER MAN \n Mina. \n \n Gordy realizes the old man's saying \"land mine.\" To the \n young woman -- \n \n GORDY \n No! \n \n Gordy moves to catch her. Just manages to stop her as \n she reaches the far bank. Gordy points to where the land \n mine detonated. \n \n GORDY","258 GORDY 258 \n \n reaches the Woman and Boy now. Pulls them down. Covers \n them protectively with his body, when... \n \n \n 259 NEW ANGLE 259 \n \n KA-BOOM! A gigantic EXPLOSION lights up the night and \n utterly destroys the house. \n \n 90. \n","361 EXT. BUILDING'S TOP FLOOR 361 \n \n BOOM! A MASSIVE EXPLOSION spits flame out of the windows \n of the building's top floor. \n \n \n 362 PEOPLE 362 \n \n dive for cover. Debris showers the street. \n \n \n 363 GORDY 363 \n \n keeps moving. \n"," in that spot. And steps onto it. \n \n Searching the ground and scratching at it with the \n machete before each step, Gordy inches toward the Man in \n the Yankees Cap. Three steps from the river... \n \n (CONTINUED) \n \n 47. \n \n 115 CONTINUED: 115 \n \n He finds a small, round anti-personnel mine the size of a"," into him? \n \n GORDY \n ... No. \n \n PHIPPS \n How much time passed between then \n and the explosion? \n \n GORDY \n ... Seconds... Five, ten... \n \n PHIPPS \n We think maybe he got into the \n brown Ford. You see him then? \n \n GORDY \n All I cared about was getting to"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," the grenade before it drops to the road. And then... \n \n Carefully, slowly -- praying that each bump doesn't jar \n the grenade off the pin -- with his other arm shaking and \n screaming in pain as he maintains a grip on the transfer \n case -- Gordy eases the grenade back onto his stomach, \n where he gets a better grip. Jams the grenade back. \n Then grabs onto the undercarriage once more, in time to"," Colombia,' unquote... Two \n Colombian officials and an \n American military officer died \n in last Thursday's blast. Also \n killed were Anne Pitt, wife of a \n New York City firefighter, and \n their only child, four-year-old \n Matt... The President has vowed \n that the United States will avenge \n what he called 'this monstrous act \n of barbarism and cowardice'..."," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"],[" Felix is just loose enough. \n \n FELIX \n The Wolf, and they'll never catch \n him. \n \n GORDY \n Ever see him? \n \n FELIX \n Once. \n \n GORDY \n Where? \n \n FELIX \n (beat; eyes Gordy) \n If you know too much around here,"," GORDY \n No problemo. \n \n Gordy peers out the window intently as they drive, \n looking for a lucky break, looking for The Wolf, \n searching the face of every man. He doesn't see The \n Wolf, but what he does see surprises him. The ELC \n Supervisor was right: Caguan's no Mompos. It's a third- \n world town, armed troops are visible, and there's a lot"," Claudio. \n \n (CONTINUED) \n \n 91. \n \n 261 CONTINUED: 261 \n \n The Wolf glances over. Meets her eyes a moment. Sees \n the photo in her hand. Glances up into her eyes again. \n They hold the look. A whole conversation exchanged \n without words. Then The Wolf turns back to Gordy, lying"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," THE WOLF \n You bastard! \n \n The Wolf's alive and unhurt. Angrily punts Gordy again. \n \n THE WOLF \n You think you can kill The Wolf?! \n \n A boot in the face this time. \n \n THE WOLF \n You think you can kill The Wolf?! \n \n A piece of paper has fallen from one of Gordy's pockets"," The laser indicates The Wolf. \n \n UPDEGRAF (O.S.) \n -- is giving all the orders. \n \n BRANDT (O.S.) \n ... I don't fucking believe it. \n That lucky son-of-a-bitch found \n The Wolf. \n \n UPDEGRAF (O.S.) \n ... He's paying for it now. \n \n FOLLOW the laser TO:"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many","355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," He's alone with his frustration, with his rekindled \n hatred and rage. OFF Gordy, glaring at the photo of The \n Wolf on his wall... \n \n \n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \n CUSTOMS AREA - DAY \n \n Armed police lead Rottweilers through the newly-arrived"," Beat. Gordy sits. \n \n GORDY \n The Wolf killed my wife and son \n in New York. \n \n (CONTINUED) \n \n 59. \n \n 145 CONTINUED: 145 \n \n ARMSTRONG \n ... Oh, you're that guy, eh? I'm \n sorry, man... And what, you came"," The Wolf slaps his palm for emphasis. \n \n THE WOLF (V.O.) \n ... Venceremos. \n \n The tape ends. Mike shakes his head. \n \n MIKE \n This guy, Quaddafi, that Bin \n Laden... We never get these \n assholes. \n \n OFF Gordy, his spark of life suddenly extinguished... \n \n"," wearing a camo floppy hat and a hunter's mesh face mask \n with a strange-smiling face painted on it in camo earth \n tones. The Wolf's body is hidden shadow, the voice \n digitally altered to a deep bass growl. \n \n THE WOLF (V.O.) \n You thought you killed me. You \n didn't. I'm still here... \n \n We see Gordy's demeanor shift, retreating to the","86 CONTINUED: 86 \n \n IMMIGRATION SUPERIOR \n It's The Wolf you're after, yes? \n \n Gordy stops, turns back. He says nothing, but the look \n on his face speaks volumes. \n \n IMMIGRATION SUPERIOR \n ... Then I've just done you a \n bigger favor than you know. \n","177 CONTINUED: 177 \n \n A long beat. The ELC Supervisor hands the travel pass \n back to Gordy. In a hard tone to Felix -- \n \n ELC SUPERVISOR \n (in Spanish) \n He's your responsibility. Don't \n let him out of your sight. \n \n FELIX \n Si. Gracias. \n"," Don't worry, Mr. Pitt, we're gonna \n get the son-of-a-bitch. \n \n GORDY \n You know where he is? \n \n BRANDT \n We believe The Wolf's in hiding \n in an area of Colombia controlled \n by the E.L.C., extreme Marxist \n guerrillas... He thinks he's in \n a safe haven. \n"," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," slides the pistol into his shoulder holster. He checks \n his watch. Loud, to Updegraf -- \n \n BRANDT \n It's time to make The Wolf howl. \n \n He takes a last drag on his cigarette, passes the butt to \n Updegraf to finish and gets in the rear of the L.O.H. as \n Updegraf scoots clear. \n \n \n 283 L.O.H. 283 \n"," Gordy stands, approaches. \n \n BRANDT \n We asked you to leave it to us. \n \n GORDY \n And you guys still haven't got \n him. \n \n BRANDT \n It's not over yet... The guys next \n door are in The Wolf's elite \n bodyguard unit. Where he goes, \n they go. We're gonna ask"," GUERRILLA \n Bath time... You stink, gringo. \n \n The guerrillas laugh. Gordy throws the soap in the mud. \n Gets to his feet. Points his face up into the soothing \n rain... When he hears ARGUING and looks over to see... \n \n \n 272 WOLF AND SELENA 272 \n \n are inside a small house nearby, obviously fighting about"," SELENA \n No... \n \n \n 334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334 \n \n A small conference room devoted to everything having to \n do with the interagency interest in The Wolf. Photos of \n evidence, time lines, charts, etc. cover the walls. \n \n Gordy's tired, being debriefed by two FBI AGENTS. \n"],[" Gordy can see the can is sleeved around a grenade. \n There's no pin in the grenade. The can keeps the \n grenade's arming spoon in place. The trip wire's \n designed to yank the can off, allowing the grenade to \n explode at chest level... And the can's almost off. \n \n Gordy burns through the monofilament trip wire. Then \n carefully slides the Coke can back over the grenade. \n \n"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," Gordy runs out. Phipps and others follow. OFF Brandt... \n \n \n 356 INT. BATHROOM 356 \n \n Brandt bursts in. He searches. Finds Mauro's leather \n doll behind the toilet. The head's detached. Brandt \n looks inside, and... \n \n We see a block of reddish Semtex plastic explosive and a \n chemical fuse. \n \n BRANDT"," Gordy pounds out the back of the bar into a littered \n courtyard, where he's surrounded by ten-foot walls. \n \n \n 133 FEDERALES 133 \n \n blast through the bar. \n \n \n 134 GORDY 134 \n \n runs, jumps, launches off a beer keg, and... \n \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor...","179 CONTINUED: 179 \n \n FELIX \n ... Coffee beans? Shit. \n Armstrong didn't tell you much... \n \n \n 180 INT./EXT. LAND CRUISER - PLANTATION - DAY 180 \n \n They approach a hacienda and outbuildings. The \n accoutrements of agriculture are present -- tractors,"," Lighter fluid drops onto the rubber bands. Gordy \n squeezes out as much as he can onto them. \n \n Then Gordy gets the hell out of there. He finds cover. \n Ducks down. And waits. \n \n \n 245 CLOSEUP - GRENADE 245 \n \n The lighter fluid is dissolving the rubber bands. \n \n \n 246 BACK TO SCENE 246 \n"," Spread out and drying beneath them is a half-acre or two \n of converted cocaine. \n \n \n 184 IN ANOTHER SHED 184 \n \n workers pack and wrap one-kilo bricks of coke for \n shipment. \n \n 70. \n \n 185 GORDY AND FELIX 185 \n \n approach the two giant diesel generators. \n \n FELIX"," and we're blind. \n \n BRANDT \n (beat; pissed) \n Got any good news? \n \n UPDEGRAF \n Yeah. The creeks are rivers \n around Caguan. Unless The Wolf's \n a fish, he's not moving... And \n there's fresh coffee. \n \n BRANDT \n Only good thing down here... Put \n everyone on red till tomorrow"," it can get you killed. \n \n Gordy's gotten all he'll get from Felix. He feigns \n nonchalance, smiles. \n \n GORDY \n Tell me what doesn't get you \n killed around here. \n \n Gordy takes a swig of beer. When... \n \n Gordy sees the Beaten Man from the jail in Mompos. The \n man has just walked in with another guerrilla. \n"," Quickly lashes it on with some wire. Then cranks on the \n master valve. High-pressure water streams from the hose. \n \n Gordy sneaks a peek out the window. The Beaten Man's \n still questioning Felix. The sound of the hose water is \n being covered by the DIESELS. \n \n Gordy crosses the room, extending the hose to the hole \n he's made in the wall. He aims the stream at the hole.","155 EXT./INT. JAIL 155 \n \n KA-BOOM! The front door and wall of the jail \n disintegrate under the multiple LAW attack. \n \n \n 156 NEW ANGLE 156 \n \n Brandt, Rocha and the soldiers, approaching the front \n door inside, are hammered by the massive concussion of \n the BLAST and flung across the room, apparently dead. \n \n"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," 14. \n \n 47 CONTINUED: 47 \n \n DRAY \n No one's talking yet, but it \n smells high-level. There were \n Colombians and Americans in the \n cars. Three of 'em ate it. Guy \n on the phone -- \n \n He indicates Brandt, talking on a cell phone. \n \n DRAY \n -- is one of the survivors."," Gordy drops out the bathroom window. \n \n \n 209 EXT./INT. LAND CRUISER - MOMENTS LATER 209 \n \n Gordy gets the grenade from the tool box. He slides it \n just inside the top of his pants, with the spoon hooked \n over the waistband. He finds some wire. Then searches \n for something else. Finds a piece of string and checks"," ARMSTRONG \n I'll call ahead and tell Felix I'm \n not coming, and you're my \n replacement. He'll meet you in \n Caguan and take you to the \n plantation... What do you know \n about diesel engines? \n \n GORDY \n All the fire trucks are diesels. \n \n ARMSTRONG \n You'll have to be Austrian, eh?"," moves to the door and tries it. It's definitely locked. \n Through a small window, he can see the lights in the \n sheds and the ever-vigilant nighttime ELC sentries \n patrolling the grounds. The DIESELS ROAR in the b.g. \n \n Gordy turns back. Readjusts the grenade digging into his \n belly, then hooks it back inside his pants. He turns off \n the light. Moves to the adobe wall opposite the door."," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," Gordy screams out his agony -- \n \n GORDY \n Noooooo!!! \n \n \n 45 EXT. COLOMBIAN CONSULATE 45 \n \n The blast detonated here. Some men from the Navigators \n are dead. MIKE BRANDT is not. Rises from the \n devastation, gun in hand, as SIRENS wail in the distance. \n \n"],[" Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," Where? \n \n She doesn't answer. \n \n GORDY \n Where? \n \n SELENA \n ... Washington D.C. \n \n GORDY \n Where in Washington? \n \n SELENA \n ... He had pictures of a \n building... \n \n GORDY \n Which building? \n \n SELENA"," 14. \n \n 47 CONTINUED: 47 \n \n DRAY \n No one's talking yet, but it \n smells high-level. There were \n Colombians and Americans in the \n cars. Three of 'em ate it. Guy \n on the phone -- \n \n He indicates Brandt, talking on a cell phone. \n \n DRAY \n -- is one of the survivors.","310 EXT. ELC JUNGLE VILLAGE 310 \n \n The village is a silent, smoking ruin. Everyone who \n lived there is dead. Troops check the faces of the \n bodies of the men against the freeze-frame of The Wolf \n outside the Colombian consulate in New York. \n \n The L.O.H. lands. Brandt's met by the Ground Commander. \n \n (CONTINUED) \n"," GORDY \n No problemo. \n \n Gordy peers out the window intently as they drive, \n looking for a lucky break, looking for The Wolf, \n searching the face of every man. He doesn't see The \n Wolf, but what he does see surprises him. The ELC \n Supervisor was right: Caguan's no Mompos. It's a third- \n world town, armed troops are visible, and there's a lot"," Selena flips through it. Stops at a photo. \n \n \n 338 CLOSE ON PHOTO 338 \n \n It's of the redesigned lobby of Union Station. \n \n \n 339 BACK TO SCENE 339 \n \n Selena glances up. \n \n SELENA \n That's it! \n \n BRANDT"," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," Don't worry, Mr. Pitt, we're gonna \n get the son-of-a-bitch. \n \n GORDY \n You know where he is? \n \n BRANDT \n We believe The Wolf's in hiding \n in an area of Colombia controlled \n by the E.L.C., extreme Marxist \n guerrillas... He thinks he's in \n a safe haven. \n","355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," NATIONAL SECURITY ADVISOR (V.O.) \n ... At this time, we believe the \n man responsible for carrying out \n the New York bombing, the \n terrorist known as The Wolf, is \n among the enemy dead. \n \n \n 79 NEW ANGLE 79 \n \n Big cheers now. Toasts all around. Everyone in the \n place is happy for Gordy, who sits there a moment trying"," He's alone with his frustration, with his rekindled \n hatred and rage. OFF Gordy, glaring at the photo of The \n Wolf on his wall... \n \n \n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \n CUSTOMS AREA - DAY \n \n Armed police lead Rottweilers through the newly-arrived"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," and we're blind. \n \n BRANDT \n (beat; pissed) \n Got any good news? \n \n UPDEGRAF \n Yeah. The creeks are rivers \n around Caguan. Unless The Wolf's \n a fish, he's not moving... And \n there's fresh coffee. \n \n BRANDT \n Only good thing down here... Put \n everyone on red till tomorrow","343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \n - DAY \n \n Selena watches as Phipps plays a surveillance video of \n Union Station. Phipps suddenly freezes the image. Zooms \n in on a man in the middle of the crowd. Claudio. \n \n PHIPPS \n That's him, isn't it? \n \n SELENA"," with earpieces patrol public structures. Some lead dogs \n that sniff for explosives. \n \n 116. \n \n 336A EXT. WASHINGTON, D.C. - STREETS - DAY 336A \n \n Claudio weaves the Ducati through heavy traffic. \n \n \n 337 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 337"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," SELENA \n No... \n \n \n 334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334 \n \n A small conference room devoted to everything having to \n do with the interagency interest in The Wolf. Photos of \n evidence, time lines, charts, etc. cover the walls. \n \n Gordy's tired, being debriefed by two FBI AGENTS. \n"," would ever go back. Caguan's in \n the guerrilla zone run by the \n E.L.C. E.L.C. as in 'Extra \n Loathsome Communists.' They don't \n care, and they kill. I'm going \n there myself. But I have a 'get \n outta jail free' card. \n \n Armstrong doffs his cap, undoes a safety pin securing a"],[" his spine and between his shoulder blades. Gordy lets go \n of Claudio and drops. Selena's relentless, kicks Gordy \n repeatedly as... \n \n \n 376 CLAUDIO 376 \n \n gets the pistol. Turns. Aims the gun two-handed at \n Gordy's head, and BANG! \n \n \n 377 DRAY 377 \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," SHOOTS Claudio dead from the mouth of the alleyway down \n the block. The first SHOT CRACKS the back of Claudio's \n helmet. The second SHOT punches through and exits his \n visor in a bright red mist of blood. \n \n \n 378 SELENA 378 \n \n bolts. \n \n \n 379 GORDY 379 \n \n goes after her. \n","417 CONTINUED: 417 \n \n BRANDT \n We got the bitch. \n \n Gordy hits him. One of the jackhammer blows he slammed \n into Claudio in the bunker. A hard fist deep in the gut \n that drives all the wind from Brandt and drops him to his \n knees. Beat. Gordy's voice is cold and hard -- \n \n GORDY"," He just manages to grab Selena and yank her off the bike. \n \n Selena's arms are wrapped around Claudio -- when Gordy \n rips her out of the saddle, Claudio goes, too. The three \n of them tumble to the ground as the speeding Ducati \n spins, flips and disintegrates. \n \n 124. \n \n 374 CLAUDIO 374 \n"," toward them and yelling. \n \n GORDY \n Get back! \n \n \n 253 INSERT - GRENADE 253 \n \n The rubber bands are about to break. \n \n \n 254 BACK TO SCENE 254 \n \n The Woman sees Gordy. Screams toward the house -- \n \n WOMAN \n Claudio!! \n \n"," Quickly lashes it on with some wire. Then cranks on the \n master valve. High-pressure water streams from the hose. \n \n Gordy sneaks a peek out the window. The Beaten Man's \n still questioning Felix. The sound of the hose water is \n being covered by the DIESELS. \n \n Gordy crosses the room, extending the hose to the hole \n he's made in the wall. He aims the stream at the hole."," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," is scratch. But Gordy's oblivious. They're alone in the \n courtyard. Body to body. Head to head. He's pumped \n with fury and hatred. He tightens the chokehold. Hisses \n in her ear -- \n \n GORDY \n You killed them. \n \n SELENA \n (beat; with \n contempt) \n One woman, one boy -- they mean"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," He makes Gordy pay for the punches. Lands blow after \n blow on Gordy's face. Beats the living shit out of \n him... and leaves him unconscious on the dirt floor. \n \n \n 263 BLACK 263 \n \n we hear a gentle CLACKING sound. It's unidentifiable. \n \n \n 264 GORDY'S POV 264 \n"," in leathers and a helmet. He takes the fall better than \n Selena. Gets to his feet. Looks for the guns they \n dropped. Before Claudio can get to a gun, Gordy's on \n him. They grapple. Gordy pounds Claudio hard. Once. \n Twice. When... \n \n \n 375 SELENA 375 \n \n side-kicks Gordy. He sags. She front-kicks a heel into"," Claudio. \n \n (CONTINUED) \n \n 91. \n \n 261 CONTINUED: 261 \n \n The Wolf glances over. Meets her eyes a moment. Sees \n the photo in her hand. Glances up into her eyes again. \n They hold the look. A whole conversation exchanged \n without words. Then The Wolf turns back to Gordy, lying"," Gordy's skull. Gordy drops hard. The Wolf reverses the \n AK. Points it at Gordy's head, about to pull the \n trigger, when... \n \n The Woman lays a hand on The Wolf's arm. \n \n WOMAN \n Claudio. \n \n The Wolf doesn't take his eyes off Gordy. The Woman \n squeezes his arm. Implores him -- \n \n WOMAN"," Whereupon Armstrong shouts drunkenly at Gordy -- \n \n ARMSTRONG \n Police catch you trying to steal \n my hat, you asshole?! \n \n He staggers toward Gordy. Grabs the hat. \n \n ARMSTRONG \n Fucking hat thief! \n \n Armstrong takes a drunken swing at Gordy, but... \n \n Instead of hitting Gordy, Armstrong accidentally-on-"," you in Mompos is dying. He was \n burned in your explosion. \n \n Gordy just looks at him. \n \n The Wolf signals a bodyguard, who crosses to Gordy and \n frees his leg from the chain. \n \n THE WOLF \n You want to kill me? Come and \n kill me. \n \n The bodyguards are smiling. Gordy hesitates, then \n springs for The Wolf, and... \n"," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," away. \n \n \n 341 INT. VAN 341 \n \n Agents press the man hard to the floorboards. His bag's \n tossed. It's empty. The guy's clean. It's not Claudio. \n OFF the agents, holding an innocent man... \n \n \n 342 OMITTED 342 \n \n"," THROUGH another small window, he can see it's dark in \n this direction. \n \n Gordy rummages through the refuse lying around the room. \n We see some rubber tubing. We see some rope. Gordy \n finally finds a piece of sharp metal. He moves to the \n wall with the window. With the DIESELS covering the \n noise, Gordy starts chiseling away at the adobe. \n \n","371 EXT. STREET 371 \n \n The driver of the car finally backs up. Claudio aims the \n DUCATI through a narrow gap and ZOOMS on. \n \n \n 372 INT. TOWN HOUSE GARAGE 372 \n \n Gordy blows into the second story of the garage, a \n converted old-time carriage barn. He's in the old"],["355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," Claudio. \n \n (CONTINUED) \n \n 91. \n \n 261 CONTINUED: 261 \n \n The Wolf glances over. Meets her eyes a moment. Sees \n the photo in her hand. Glances up into her eyes again. \n They hold the look. A whole conversation exchanged \n without words. Then The Wolf turns back to Gordy, lying"," something. Selena emphasizes her argument by slapping \n her hand. The Wolf storms off, and we hear a DOOR SLAM. \n Selena is left alone, disconsolate, framed in the window. \n She looks up and sees Gordy outside. Her eyes meet his. \n OFF their look... \n \n 99. \n \n 273 EXT. CIA HACIENDA - FRONT PORCH - NIGHT 273 \n"," SELENA \n No... \n \n \n 334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334 \n \n A small conference room devoted to everything having to \n do with the interagency interest in The Wolf. Photos of \n evidence, time lines, charts, etc. cover the walls. \n \n Gordy's tired, being debriefed by two FBI AGENTS. \n"," renovation. Without stopping, she tears through the \n plastic covering the doorway to seal in dust from the \n rest of the house. She topples what she can into \n Gordy's way. Throws nails down behind her. Grabs a \n circular saw and hurls it back at Gordy, just missing him \n and shattering a large wall mirror. \n \n Selena's a soldier, taught to pick up and use whatever \n weapons she finds as she moves through a battlefield --"," Selena hesitates, choking back her emotions. \n \n SELENA \n ... my baby girl was hit by \n shrapnel... she bled to death in \n Claudio's arms. \n \n She looks into Gordy's eyes. The look says she \n understands and shares Gordy's pain because she's \n suffered her own painful loss. She looks away again. \n \n (CONTINUED) \n"," falls hard. Gets back to her feet quickly and starts to \n run, when... \n \n Gordy hits her like a linebacker. Slams Selena against a \n brick wall. Gets behind her and slips a mighty arm \n around her thin neck. Selena squirms hard, kicks \n backward, going for the balls, kneecaps, insteps, doing \n whatever she can to hurt Gordy and get free. But she's"," The laser indicates The Wolf. \n \n UPDEGRAF (O.S.) \n -- is giving all the orders. \n \n BRANDT (O.S.) \n ... I don't fucking believe it. \n That lucky son-of-a-bitch found \n The Wolf. \n \n UPDEGRAF (O.S.) \n ... He's paying for it now. \n \n FOLLOW the laser TO:"," GUERRILLA \n Bath time... You stink, gringo. \n \n The guerrillas laugh. Gordy throws the soap in the mud. \n Gets to his feet. Points his face up into the soothing \n rain... When he hears ARGUING and looks over to see... \n \n \n 272 WOLF AND SELENA 272 \n \n are inside a small house nearby, obviously fighting about"," Beat. Selena's overwhelmed by the experience of seeing \n her husband on the tape, by her betrayal of him. She \n grows queasy. Leans on the table for support. \n \n PHIPPS \n Are you okay? \n \n (CONTINUED) \n \n 118. \n \n 343 CONTINUED: 343 \n \n SELENA"," wearing a camo floppy hat and a hunter's mesh face mask \n with a strange-smiling face painted on it in camo earth \n tones. The Wolf's body is hidden shadow, the voice \n digitally altered to a deep bass growl. \n \n THE WOLF (V.O.) \n You thought you killed me. You \n didn't. I'm still here... \n \n We see Gordy's demeanor shift, retreating to the"," The black becomes a BLUR. The BLUR becomes a hazy \n glimpse of Selena. She's sitting on the metal bed frame \n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \n it's made by SEA SHELLS that dangle from a bracelet on \n Selena's wrist. The shells knock together as she washes \n Gordy's wounds. \n \n (CONTINUED) \n"," breaks toward an open door of the house. \n \n \n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \n \n Selena blasts into the bottom floor, runs through a \n playroom. Gordy's right behind her. \n \n \n 387 SELENA 387 \n \n mounts a stairwell. A girl's descending. Selena grabs a","351 FLASHBACK - ELC JUNGLE VILLAGE 351 \n \n Selena and Claudio argue inside the house. Selena slaps \n the back of one hand into the palm of the other. \n \n \n 352 FLASHBACK - THE WOLF'S VIDEO TAPE 352 \n \n The Wolf does the same hand slap. \n \n"," Selena flips through it. Stops at a photo. \n \n \n 338 CLOSE ON PHOTO 338 \n \n It's of the redesigned lobby of Union Station. \n \n \n 339 BACK TO SCENE 339 \n \n Selena glances up. \n \n SELENA \n That's it! \n \n BRANDT"," The chopper door opens. Brandt's inside. \n \n \n 325 INT. BLACKHAWK - MOMENTS LATER 325 \n \n Everyone's aboard and buckled in. Everyone's tired. The \n chopper lifts off. Selena's glaring at Brandt, who \n pushes a headset at her, shouts over the ENGINE WHINE -- \n \n BRANDT"," Gordy's on the bed. The guard lets Selena in. She \n crosses toward the food tray near Gordy... but she's not \n there for the tray. Moves past it to Gordy's leg and, to \n Gordy's surprise, begins unlocking the shackle. \n \n SELENA \n We're going with you. \n \n When Gordy's free -- \n \n GORDY \n How do we get out?"," The fire escape ends at a top floor window. Selena \n BREAKS out the GLASS with the crowbar and goes in. \n \n \n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \n \n Selena's in a teenager's bedroom. The teenager's got \n headphones on, oblivious to everything. Selena darts \n through a bathroom into a second bedroom. \n \n"," But Mauro squirms free, and immediately, Mauro runs back \n to his mother. Selena uses sign language to tell him \n everything's okay. OFF Gordy's surprised look -- \n \n SELENA \n He can't hear or speak. \n \n Gordy just looks at them a moment. Then moves to Selena. \n Re: Mauro, as Gordy examines her arm -- \n \n SELENA"," is scratch. But Gordy's oblivious. They're alone in the \n courtyard. Body to body. Head to head. He's pumped \n with fury and hatred. He tightens the chokehold. Hisses \n in her ear -- \n \n GORDY \n You killed them. \n \n SELENA \n (beat; with \n contempt) \n One woman, one boy -- they mean"],[" NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," Phipps addresses Gordy. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. \n \n JUMP CUT: \n \n \n 350 CONTINUE FLASHBACK 350 \n \n PHIPPS \n Did you see a cell phone when you \n ran into him? \n \n GORDY \n No. \n \n"," The cop tickets a vehicle, then walks west out of frame. \n \n PHIPPS \n The bomb's in the cart. \n \n \n 56 PHIPPS 56 \n \n reverses the video, freeze-frames on the cop. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. The guy doesn't \n have one in his hands here. Did \n you see a cell phone when you ran"," I think it's a public place. He \n said he wanted the people of \n America to feel the terror. \n 'Terror is all they understand.' \n He said it over and over... \n \n PHIPPS \n (to Dray) \n Double up on public venues: \n museums, theaters, transport... \n Put in all the extra undercover we \n can. \n"," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," Gordy runs out. Phipps and others follow. OFF Brandt... \n \n \n 356 INT. BATHROOM 356 \n \n Brandt bursts in. He searches. Finds Mauro's leather \n doll behind the toilet. The head's detached. Brandt \n looks inside, and... \n \n We see a block of reddish Semtex plastic explosive and a \n chemical fuse. \n \n BRANDT"," SAL \n How's the leg? \n \n RONNIE \n Cut's deep, but no major vessels \n were severed. He's got a load 'o \n silk holding it all together. \n \n Junior, who stepped off to talk to a cop, now comes back. \n \n JUNIOR \n Just came over the police radio... \n Consulate surveillance cameras \n caught the bomber in the act. He"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," go in the tubes on the truck. WHUMP, WHUMP. \n \n \n 152 ANOTHER ANGLE 152 \n \n BOOM! BOOM! BOOM! A water tower, the Mompos fire \n station and the town's power supply are direct hits. \n \n WHUMP, WHUMP, WHUMP... \n \n \n 153 INT. JAIL - CELLS 153 \n"," I'm not one of them. I'm here for \n my own reasons. \n \n Selena watches him another moment. Decides he's telling \n the truth. She reaches into a skirt pocket, then extends \n her hand toward Gordy. He looks up. She's holding the \n photo of Anne and Matt. Beat. Gordy takes the photo. \n Looks at his wife and son. Selena sits next to him. \n Another beat. Then, off the photo... \n"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," Americans come down and shoot \n everyone all the time. \n \n FELIX \n Especially now, since the bomb in \n New York. \n \n (CONTINUED) \n \n 73. \n \n 192 CONTINUED: 192 \n \n GORDY \n Yeah, I heard about it. Who did \n it? \n"," more bombs... and more families \n like yours will pay the price. \n \n The Wolf wants to pique him, but this is pouring gasoline \n onto fire. Gordy explodes off the ground. The \n suddenness and fury of the rush catch The Wolf off guard. \n Gordy drives him backward. Slams him against a wall. \n Then hooks an arm around the back of The Wolf's neck and \n drives the other fist like a piston into his abdomen."," into him? \n \n GORDY \n ... No. \n \n PHIPPS \n How much time passed between then \n and the explosion? \n \n GORDY \n ... Seconds... Five, ten... \n \n PHIPPS \n We think maybe he got into the \n brown Ford. You see him then? \n \n GORDY \n All I cared about was getting to"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," FORENSIC EXPERT #1 \n Pieces of a pager oxidized with \n trace elements of Semtex. \n Probably the triggering device. \n They dial it up, probably from a \n cell phone, and boom... \n \n He picks up a microchip. \n \n FORENSIC EXPERT #1 \n ... This is the memory chip. I \n can build it into a working pager"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," behind the brutal bombing in New \n York City ten days ago... We are \n presently evaluating after-action \n reports from Special Operations \n Group, but feel confident that we \n have accomplished our mission... \n \n Cheers throughout the bar. Mike quiets them. \n \n (CONTINUED) \n \n 32. \n \n 78 CONTINUED: 78 \n"," GORDY \n Why are you still here? \n \n SELENA \n Because I know he was a good man, \n who's been consumed by rage \n because of what he lost... Just \n like you. \n \n GORDY \n I'm not like him. \n \n SELENA \n Not yet. \n \n GORDY \n He kills innocent people."," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"],[" Felix really wants to, but still hesitates. \n \n GORDY \n With the spare parts, I'll have \n the generators running in two \n hours... We have time for a \n couple beers. \n \n Beat. Finally -- \n \n FELIX \n Okay. Just a beer. Maybe two. \n \n \n 192 INT. BAR - NIGHT 192 \n"," are getting out, including the Beaten Man. Felix meets \n them. The Beaten Man exchanges words with Felix. Felix \n indicates Gordy's room. As the Beaten Man continues to \n question Felix... \n \n Gordy realizes he's fucked. He can't get through the \n wall fast enough. His eyes go to water dripping from a \n pipe leading to the washtub sink. He moves to it. Finds \n the water pipe underneath that feeds the tap. Cranks"," it can get you killed. \n \n Gordy's gotten all he'll get from Felix. He feigns \n nonchalance, smiles. \n \n GORDY \n Tell me what doesn't get you \n killed around here. \n \n Gordy takes a swig of beer. When... \n \n Gordy sees the Beaten Man from the jail in Mompos. The \n man has just walked in with another guerrilla. \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," in position, his leg still bowing the line. \n \n (CONTINUED) \n \n 48. \n \n 117 CONTINUED: 117 \n \n Using the Zippo again to light his way, Gordy advances to \n the young man. He follows the trip wire to where a Coca- \n Cola can hangs from a nearby tree. On closer inspection,"," As he readjusts his shirt to cover the spoon... \n \n \n 215 EXT. PLANTATION - DIESEL GENERATORS - NIGHT 215 \n \n Felix is right there supervising for himself as Gordy \n finishes working. Gordy stands. He stares hopefully at \n the MACHINE. Then pushes the starter, and... VRROOM! \n The heat lights in the second row of sheds brighten. \n"," two men can't go have a beer and \n look at women's breasts because \n of pink elephants?... Nothing \n makes any sense down here. \n \n (CONTINUED) \n \n 79. \n \n 206 CONTINUED: 206 \n \n Felix pulls out his .9mm. Gordy doesn't blink an eye. \n \n GORDY"," Gordy barely avoids being seen as the guerrillas cross \n the room. At the bar, the bartender puts out two crates \n of beer. The guerrillas take the beer and head out. No \n money's changed hands. When they're gone, to Felix -- \n \n GORDY \n We'd better get back, huh? \n \n FELIX \n (checks his watch) \n ... Shit. It's late."," We can fix anything, but these \n keep dying on us... You'll start \n now. I'll have tools brought to \n you. \n (beat) \n Armstrong's a magician with them. \n Let's hope you have his skill. \n \n Felix walks over to a guerrilla with an AK-47 and speaks \n to him. Then goes. Whereupon the guerrilla crosses to \n Gordy and takes up a sentry position over him. \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," FELIX \n There's beer at the plantation. \n \n GORDY \n (thinking fast) \n There's no Berta at the \n plantation. I like drinking beer \n around pretty girls, not a bunch \n of guys with automatic rifles. \n \n FELIX \n To hell with Berta. \n \n GORDY \n What happened? Last night you \n were in love with her. \n"," There's a beat. Felix glances at Gordy. Decides it's \n safe to confide. \n \n FELIX \n ... I had a dream... I fed her \n lobster, got her drunk, and she \n rejected me for another man. \n (off Gordy's look) \n Dreams tell the future. \n \n GORDY \n ... That wasn't a dream, that was \n the alcohol talking... You saying"," Gordy turns to them. Looks into the faces of these men, \n the people closest to him in the world. Beat. Then -- \n \n GORDY \n It's good to be home. \n \n Gordy's still in pain, still missing the wife and son \n he'll never see again. But Gordy's gonna be alright. \n \n Mauro's gonna be with him. There'll be fires to put out"," Quickly lashes it on with some wire. Then cranks on the \n master valve. High-pressure water streams from the hose. \n \n Gordy sneaks a peek out the window. The Beaten Man's \n still questioning Felix. The sound of the hose water is \n being covered by the DIESELS. \n \n Gordy crosses the room, extending the hose to the hole \n he's made in the wall. He aims the stream at the hole.","179 CONTINUED: 179 \n \n FELIX \n ... Coffee beans? Shit. \n Armstrong didn't tell you much... \n \n \n 180 INT./EXT. LAND CRUISER - PLANTATION - DAY 180 \n \n They approach a hacienda and outbuildings. The \n accoutrements of agriculture are present -- tractors,"," her, she'll never want to look at \n another man again... \n \n Gordy drives past the house as the Beaten Man and the \n guerrilla with him get out of the Suburban and start \n carrying the beer inside. And a moment later... \n \n Felix comes around with a start. \n \n FELIX \n What the fuck are you doing?! \n \n He unholsters the 9mm and points it at Gordy. \n"," licking at him, but Gordy's undeterred. He heaves again, \n and... \n \n This time, the door gives. Gordy picks up Armstrong's \n cap, then picks up Armstrong, who's starting to come \n around. Puts Armstrong over his shoulders in a fireman's \n carry. \n \n GORDY \n Don't breathe. \n \n ARMSTRONG \n (weakly)"," Felix is just loose enough. \n \n FELIX \n The Wolf, and they'll never catch \n him. \n \n GORDY \n Ever see him? \n \n FELIX \n Once. \n \n GORDY \n Where? \n \n FELIX \n (beat; eyes Gordy) \n If you know too much around here,"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"],[" Everybody out! Clear this floor! \n Now! \n \n \n 357 INT. STAIRWELL 357 \n \n Gordy jumps downstairs, four steps at a time. \n \n \n 358 INT. CORRIDORS 358 \n \n Institute personnel evacuate offices. \n \n","330 CONTINUED: 330 \n \n GORDY \n Where're we going? \n \n BRANDT \n Inter-agency headquarters for our \n efforts in Latin America. \n \n PHIPPS \n It's secure, and we can coordinate \n all departments here. \n \n OFF which, as they're swallowed up by the dark garage -- \n \n"," fuck with the rungs. Just swings over the edge of the \n roof, grabs the side-rails lightly with his hands, \n squeezes the rails with the insides of his boots and lets \n gravity take over. \n \n \n 406 EXT. EMBASSY - COURTYARD 406 \n \n The fire escape leads down to a second-story balcony \n running around the inside wall of the courtyard. Twin"," stops him. \n \n PHIPPS \n My people will debrief you in \n another room... We'll take the boy \n to a safe house across the \n street... He'll be well cared for. \n \n Gordy exchanges a look with Selena. Beat. She nods her \n reluctant approval. Gordy hands the boy to an agent. \n \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," licking at him, but Gordy's undeterred. He heaves again, \n and... \n \n This time, the door gives. Gordy picks up Armstrong's \n cap, then picks up Armstrong, who's starting to come \n around. Puts Armstrong over his shoulders in a fireman's \n carry. \n \n GORDY \n Don't breathe. \n \n ARMSTRONG \n (weakly)","331 INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS - DAY 331 \n \n Brandt, Phipps, Dray, Selena and Gordy -- along with the \n rest of the entourage -- walk through the interagency \n nerve center. Gordy carries Mauro, still asleep. \n \n They stop at the door to a large conference room. \n Selena's ushered in. Gordy starts to follow. Phipps"," Name's Brandt. C.I.A. \n \n That gets Phipps' interest momentarily. Then, as they \n continue toward the consulate, he notices security \n cameras on the building. \n \n PHIPPS \n Check the surveillance cameras? \n \n DRAY \n We're pulling up the video now. \n \n PHIPPS \n (stops; looks around)"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," Dray are among those waiting by the cars. The Lear's \n door pops, and Gordy, carrying a sleeping Mauro, emerges \n with Selena. Brandt and a medic follow. \n \n \n 328 INT. GOVERNMENT SUBURBAN - MOMENTS LATER 328 \n \n Driving. \n (CONTINUED) \n \n 113. \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," hair, when... \n \n Gordy's eyes meet Brandt's. The two men hold the look \n for a moment. If Brandt could speak, he'd be yelling at \n Gordy to stop, not to go on. And Gordy knows it. But \n Gordy's not stopping. Picks up Armstrong again and moves \n off toward the waterfront. \n \n"," Brandt's on the phone. He's pissed. \n \n BRANDT \n ... Senator, the failure of one \n operation shouldn't cause your \n committee to question financing \n everything else we're doing down \n there... \n \n DONALD UPDEGRAF, Brandt's number two, enters. \n \n BRANDT \n ... I know it looks bad, and I \n appreciate your support."," holding a smaller woman in a chokehold. Draws his gun. \n \n EMBASSY SECURITY GUARD \n Let her go! \n \n Gordy looks up at the nervous guard pointing his gun. \n Selena screams. \n \n SELENA \n Please help me! \n \n EMBASSY SECURITY GUARD \n Let her go! \n \n GORDY"," When Gordy glances back, Armstrong is gone. \n \n \n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \n \n Gordy disembarks amid the throng of passengers, when the \n FAT FEDERALE confronts him. \n \n FAT FEDERALE \n Senor Pitt? \n \n Gordy looks up in surprise at him and the thin federale \n backing him up. \n"," He smashes it into the base of Gordy's head, knocking \n Gordy out. \n \n The men run up. One man covers Gordy, while Ever and the \n other man rifle his pack and toss his pockets. They take \n his passport, wallet, and an NYFD T-shirt. And then \n they're gone. \n \n \n 92 CLOSE ON HUMMINGBIRD 92 \n","3 INT. FIREHOUSE - VARIOUS SHOTS 3 \n \n Everyone scrambles. The choreography's practiced, \n automatic. It's achieved without conversation. \n \n The channel surfer slides down the fire pole. He's \n followed by the man who was upstairs snoring. \n \n Junior rips a sheet from the teleprinter. He hands the \n printout to the snorer, the company's \"chauffeur.\" \n"," Brandt lets \"thinks\" sink in. \n \n PHIPPS \n I know it's hard for you right \n now, Mr. Pitt. We're all sorry. \n But why don't you go home. \n We're taking care of things. \n \n Beat. Brandt proffers a business card. \n \n BRANDT \n Here's my card. Call me any time. \n"],[" Colombia,' unquote... Two \n Colombian officials and an \n American military officer died \n in last Thursday's blast. Also \n killed were Anne Pitt, wife of a \n New York City firefighter, and \n their only child, four-year-old \n Matt... The President has vowed \n that the United States will avenge \n what he called 'this monstrous act \n of barbarism and cowardice'..."," son. \n \n \n 59 INT. LIVING ROOM - NIGHT 59 \n \n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \n slumped in a chair. \n \n \n 60 NEWS ANCHOR 60 \n \n NEWS ANCHOR (V.O.) \n ... The bombing that left a mother \n and son dead and New York City"," The customs Superior closes the door. Beat. \n \n IMMIGRATION SUPERIOR \n We know who you are, Mr. Pitt. \n \n GORDY \n Says so right there in my \n passport. \n \n IMMIGRATION SUPERIOR \n We're aware your wife and child \n were killed in the bombing in New \n York."," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin","258 GORDY 258 \n \n reaches the Woman and Boy now. Pulls them down. Covers \n them protectively with his body, when... \n \n \n 259 NEW ANGLE 259 \n \n KA-BOOM! A gigantic EXPLOSION lights up the night and \n utterly destroys the house. \n \n 90. \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," erupts behind Anne and Matt... \n \n We hear the ENORMOUS BANG of the explosion... \n \n 12. \n \n 39 WINDOWS 39 \n \n are sucked into millions of fragments, a hailstorm of \n glass... \n \n \n 40 GREAT CHUNK OF METAL 40 \n \n -- an engine block -- flies from the ball of flame... \n \n"," and fluttered to the ground nearby. The woman picks it \n up, and we see... \n \n It's the photo of Anne and Matt. \n \n The woman stares at the photo a moment, as... \n \n Gordy absorbs another blow. He tries to stand. \n \n GORDY \n You killed my wife and son -- \n \n Whack! The Wolf slams the butt of an AK-47 against"," Where's N.Y.P.D. on this? \n \n DRAY \n They know it's ours. They're \n helping with shoe-leather. \n \n Phipps' eyes go to the white sheets up the street. \n \n DRAY \n We got two dead bystanders, a \n mother and four-year-old son. The \n father's over there with a leg \n wound."," I know this is hard. I'm sorry I \n had to bother you. \n \n Phipps goes. Gordy looks over as the bodies of Anne and \n Matt are placed on gurneys and rolled away. Chalk \n outlines are all that remain of his family. Beat. \n \n MIKE \n We're gonna roll you to the \n hospital now and get that glass \n out. \n \n 17. \n"," I'm not one of them. I'm here for \n my own reasons. \n \n Selena watches him another moment. Decides he's telling \n the truth. She reaches into a skirt pocket, then extends \n her hand toward Gordy. He looks up. She's holding the \n photo of Anne and Matt. Beat. Gordy takes the photo. \n Looks at his wife and son. Selena sits next to him. \n Another beat. Then, off the photo... \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," Selena hesitates, choking back her emotions. \n \n SELENA \n ... my baby girl was hit by \n shrapnel... she bled to death in \n Claudio's arms. \n \n She looks into Gordy's eyes. The look says she \n understands and shares Gordy's pain because she's \n suffered her own painful loss. She looks away again. \n \n (CONTINUED) \n"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," BRANDT \n Mr. Pitt. \n \n Gordy just looks at him. \n \n BRANDT \n I'm very sorry for your loss... I \n lost people, too. \n \n PHIPPS \n ... Mike was in the motorcade that \n day... He's the chief U.S. \n intelligence officer overseeing \n Colombia. \n \n BRANDT"," nothing next to the thousands \n who've been slain. \n \n Gordy hears it. It only drives him to a deeper fury. \n \n GORDY \n They were my family. \n \n Gordy's blind with rage. Chokes her neck hard. \n Summoning all the power in him, first to shut off her air \n and blood, and then to continue squeezing, relishing her"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."],[" SAL \n How's the leg? \n \n RONNIE \n Cut's deep, but no major vessels \n were severed. He's got a load 'o \n silk holding it all together. \n \n Junior, who stepped off to talk to a cop, now comes back. \n \n JUNIOR \n Just came over the police radio... \n Consulate surveillance cameras \n caught the bomber in the act. He","49 ANGLE - PHIPPS 49 \n \n Walking back to the consulate. He approaches Brandt. \n \n PHIPPS \n Joe Phipps. F.B.I. Counter- \n terrorism task force. \n \n BRANDT \n Mike Brandt. \n \n PHIPPS \n What got this place blown up? \n \n BRANDT \n We'll have this discussion"," Gordy screams out his agony -- \n \n GORDY \n Noooooo!!! \n \n \n 45 EXT. COLOMBIAN CONSULATE 45 \n \n The blast detonated here. Some men from the Navigators \n are dead. MIKE BRANDT is not. Rises from the \n devastation, gun in hand, as SIRENS wail in the distance. \n \n"," Phipps addresses Gordy. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. \n \n JUMP CUT: \n \n \n 350 CONTINUE FLASHBACK 350 \n \n PHIPPS \n Did you see a cell phone when you \n ran into him? \n \n GORDY \n No. \n \n"," FBI agent JOE PHIPPS ducks under the police tape. REGGIE \n DRAY, a young agent, meets him. As they walk -- \n \n DRAY \n Device functioned in front of the \n Colombian Consulate just as a \n motorcade full of brass arrived. \n \n PHIPPS \n Who were the brass, and why were \n they here? \n \n (CONTINUED) \n"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," The customs Superior closes the door. Beat. \n \n IMMIGRATION SUPERIOR \n We know who you are, Mr. Pitt. \n \n GORDY \n Says so right there in my \n passport. \n \n IMMIGRATION SUPERIOR \n We're aware your wife and child \n were killed in the bombing in New \n York."," NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," Gordy runs out. Phipps and others follow. OFF Brandt... \n \n \n 356 INT. BATHROOM 356 \n \n Brandt bursts in. He searches. Finds Mauro's leather \n doll behind the toilet. The head's detached. Brandt \n looks inside, and... \n \n We see a block of reddish Semtex plastic explosive and a \n chemical fuse. \n \n BRANDT"," Colombia,' unquote... Two \n Colombian officials and an \n American military officer died \n in last Thursday's blast. Also \n killed were Anne Pitt, wife of a \n New York City firefighter, and \n their only child, four-year-old \n Matt... The President has vowed \n that the United States will avenge \n what he called 'this monstrous act \n of barbarism and cowardice'..."," FORENSIC EXPERT #1 \n Pieces of a pager oxidized with \n trace elements of Semtex. \n Probably the triggering device. \n They dial it up, probably from a \n cell phone, and boom... \n \n He picks up a microchip. \n \n FORENSIC EXPERT #1 \n ... This is the memory chip. I \n can build it into a working pager"," The cop tickets a vehicle, then walks west out of frame. \n \n PHIPPS \n The bomb's in the cart. \n \n \n 56 PHIPPS 56 \n \n reverses the video, freeze-frames on the cop. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. The guy doesn't \n have one in his hands here. Did \n you see a cell phone when you ran"," Name's Brandt. C.I.A. \n \n That gets Phipps' interest momentarily. Then, as they \n continue toward the consulate, he notices security \n cameras on the building. \n \n PHIPPS \n Check the surveillance cameras? \n \n DRAY \n We're pulling up the video now. \n \n PHIPPS \n (stops; looks around)"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," go in the tubes on the truck. WHUMP, WHUMP. \n \n \n 152 ANOTHER ANGLE 152 \n \n BOOM! BOOM! BOOM! A water tower, the Mompos fire \n station and the town's power supply are direct hits. \n \n WHUMP, WHUMP, WHUMP... \n \n \n 153 INT. JAIL - CELLS 153 \n"," into him? \n \n GORDY \n ... No. \n \n PHIPPS \n How much time passed between then \n and the explosion? \n \n GORDY \n ... Seconds... Five, ten... \n \n PHIPPS \n We think maybe he got into the \n brown Ford. You see him then? \n \n GORDY \n All I cared about was getting to"," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," DRAY \n Gordon Pitt's here. He says he \n saw a cop at the scene. \n \n \n 54 SAME SCENE - LATER 54 \n \n Gordy, accompanied by Mike and Ronnie, sits in front of a \n video monitor. Phipps and Dray look on. \n \n \n 55 ON SCREEN 55 \n \n a police cart pulls up outside the consulate. \n","269B THIRD SATELLITE IMAGE 269B \n \n a high-resolution, infrared enlargement. \n \n UPDEGRAF (O.S.) \n This is the explosive area two \n minutes later. We got a house \n blown to shit and burning. We got \n Colombians in cammies, a gringo \n down, a woman and kid, and some \n bodies. This guy --"],[" Gordy screams out his agony -- \n \n GORDY \n Noooooo!!! \n \n \n 45 EXT. COLOMBIAN CONSULATE 45 \n \n The blast detonated here. Some men from the Navigators \n are dead. MIKE BRANDT is not. Rises from the \n devastation, gun in hand, as SIRENS wail in the distance. \n \n"," SAL \n How's the leg? \n \n RONNIE \n Cut's deep, but no major vessels \n were severed. He's got a load 'o \n silk holding it all together. \n \n Junior, who stepped off to talk to a cop, now comes back. \n \n JUNIOR \n Just came over the police radio... \n Consulate surveillance cameras \n caught the bomber in the act. He"," Name's Brandt. C.I.A. \n \n That gets Phipps' interest momentarily. Then, as they \n continue toward the consulate, he notices security \n cameras on the building. \n \n PHIPPS \n Check the surveillance cameras? \n \n DRAY \n We're pulling up the video now. \n \n PHIPPS \n (stops; looks around)"," DRAY \n Gordon Pitt's here. He says he \n saw a cop at the scene. \n \n \n 54 SAME SCENE - LATER 54 \n \n Gordy, accompanied by Mike and Ronnie, sits in front of a \n video monitor. Phipps and Dray look on. \n \n \n 55 ON SCREEN 55 \n \n a police cart pulls up outside the consulate. \n"," bumped into Gordy -- in front of the consulate. His hat \n is pulled down over his eyes, almost concealing his \n tinted glasses. As the cop faces more toward the camera, \n the expert freeze-frames. To Phipps -- \n \n \n 53 FORENSIC EXPERT #2 53 \n \n FORENSIC EXPERT #2 \n That's as much face as we get. He \n was careful to duck the camera."," The customs Superior closes the door. Beat. \n \n IMMIGRATION SUPERIOR \n We know who you are, Mr. Pitt. \n \n GORDY \n Says so right there in my \n passport. \n \n IMMIGRATION SUPERIOR \n We're aware your wife and child \n were killed in the bombing in New \n York."," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many","239 FLASHBACK - SURVEILLANCE TAPE 239 \n \n The face of the cop outside the consulate. \n \n \n 240 MAN (PRESENT) 240 \n \n in the room. His face looms larger as he ADVANCES \n TOWARDS us. \n \n \n 241 FLASHBACK - COP'S FACE 241 \n","49 ANGLE - PHIPPS 49 \n \n Walking back to the consulate. He approaches Brandt. \n \n PHIPPS \n Joe Phipps. F.B.I. Counter- \n terrorism task force. \n \n BRANDT \n Mike Brandt. \n \n PHIPPS \n What got this place blown up? \n \n BRANDT \n We'll have this discussion"," Felix yanks the dangling cord and turns on the lights. \n The room's a mess. All kinds of rubbish. There's a \n washtub sink. There's a cot. \n \n GORDY \n This where Armstrong stays? \n \n FELIX \n This is where you stay... A boat \n will take you down river at seven. \n \n Felix closes the door. We hear a LOCK TURNING. Gordy","188 EMPTY STOREFRONT 188 \n \n They pass an empty storefront. A sign on the large, \n front plate glass window says \"Cine\" and \"Sabado.\" \n \n \n 189 BAR 189 \n \n They pass a bar. Felix watches it go by with something \n like a look of desire. Gordy registers the look and the \n connection to the bar. \n \n"," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," GORDY \n No problemo. \n \n Gordy peers out the window intently as they drive, \n looking for a lucky break, looking for The Wolf, \n searching the face of every man. He doesn't see The \n Wolf, but what he does see surprises him. The ELC \n Supervisor was right: Caguan's no Mompos. It's a third- \n world town, armed troops are visible, and there's a lot","83A EXT. ROW OF TOWNHOUSES (WASHINGTON, D.C.) - DAY 83A \n \n The four connected townhouses sit behind gates on a tree- \n lined street in Georgetown. A sign reads: Latin \n American Institute. \n \n \n 83B INT. LATIN AMERICAN INSTITUTE - BRANDT'S OFFICE - DAY 83B \n"," staircases lead from the balcony to ground level, where, \n across the slate-paved car court, a wrought-iron gate \n opens onto the street. \n \n Gordy hits the balcony a half-second after Selena. He \n grabs her. Selena swings the crowbar to break his arm. \n Gordy has to let go. Selena heads for the stairs leading \n to the ground. \n \n"," Your passport was stolen. \n \n GORDY \n In Mompos. \n \n ELC SUPERVISOR \n ... Mompos is a shithole. Not \n like Caguan... Why didn't \n Armstrong come? \n \n GORDY \n He was arrested in Ecuador. He \n got drunk and fooled around with a \n police officer's wife. \n"," Where? \n \n She doesn't answer. \n \n GORDY \n Where? \n \n SELENA \n ... Washington D.C. \n \n GORDY \n Where in Washington? \n \n SELENA \n ... He had pictures of a \n building... \n \n GORDY \n Which building? \n \n SELENA"," off, cocked-and-locked, as the other comes up. Gordy \n carefully produces the travel pass. The guerrilla looks \n it over. In butchered Spanish -- \n \n GORDY \n Yo trabajo con Felix. Felix -- \n (indicates) \n -- la cantina. Con Berta. \n \n The attractive woman we saw earlier playing with the \n children now walks up holding the hand of a small boy. A"," off and stops a short distance away, ready to open fire. \n \n Gordy shows the guerrillas his travel pass. One of them \n takes it. Reads. Looks Gordy over. Then starts to rip \n the pass in half, when... \n \n He stops. Grins. It's a big joke. He hands back the \n pass, searches the boat quickly and waves the panga on. \n \n OFF Gordy's relief as the panga heads on... \n \n","118 MAN IN YANKEES CAP - MOMENTS LATER 118 \n \n When Gordy returns, the man's dead. OFF Gordy, looking \n down at the NY logo on the cap... \n \n \n 119 EXT./INT. ANOTHER CHIVA - DAY 119 \n \n Gordy sees a sign for a town as the chiva rumbles along. \n \n He pulls out his map."],[" 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," Colombia,' unquote... Two \n Colombian officials and an \n American military officer died \n in last Thursday's blast. Also \n killed were Anne Pitt, wife of a \n New York City firefighter, and \n their only child, four-year-old \n Matt... The President has vowed \n that the United States will avenge \n what he called 'this monstrous act \n of barbarism and cowardice'..."," Phipps addresses Gordy. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. \n \n JUMP CUT: \n \n \n 350 CONTINUE FLASHBACK 350 \n \n PHIPPS \n Did you see a cell phone when you \n ran into him? \n \n GORDY \n No. \n \n"," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," Americans come down and shoot \n everyone all the time. \n \n FELIX \n Especially now, since the bomb in \n New York. \n \n (CONTINUED) \n \n 73. \n \n 192 CONTINUED: 192 \n \n GORDY \n Yeah, I heard about it. Who did \n it? \n","361 EXT. BUILDING'S TOP FLOOR 361 \n \n BOOM! A MASSIVE EXPLOSION spits flame out of the windows \n of the building's top floor. \n \n \n 362 PEOPLE 362 \n \n dive for cover. Debris showers the street. \n \n \n 363 GORDY 363 \n \n keeps moving. \n"," son. \n \n \n 59 INT. LIVING ROOM - NIGHT 59 \n \n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \n slumped in a chair. \n \n \n 60 NEWS ANCHOR 60 \n \n NEWS ANCHOR (V.O.) \n ... The bombing that left a mother \n and son dead and New York City"," GORDY \n Thirteen dead in a bus. \n (indicates another) \n A market. Twenty-seven dead. \n (another) \n A whole family... Anne and Matt \n didn't mean shit to them. \n (indicates The Wolf) \n Or him. \n \n Mike interrupts, trying to divert him to something else. \n \n (CONTINUED) \n","258 GORDY 258 \n \n reaches the Woman and Boy now. Pulls them down. Covers \n them protectively with his body, when... \n \n \n 259 NEW ANGLE 259 \n \n KA-BOOM! A gigantic EXPLOSION lights up the night and \n utterly destroys the house. \n \n 90. \n"," erupts behind Anne and Matt... \n \n We hear the ENORMOUS BANG of the explosion... \n \n 12. \n \n 39 WINDOWS 39 \n \n are sucked into millions of fragments, a hailstorm of \n glass... \n \n \n 40 GREAT CHUNK OF METAL 40 \n \n -- an engine block -- flies from the ball of flame... \n \n"," into him? \n \n GORDY \n ... No. \n \n PHIPPS \n How much time passed between then \n and the explosion? \n \n GORDY \n ... Seconds... Five, ten... \n \n PHIPPS \n We think maybe he got into the \n brown Ford. You see him then? \n \n GORDY \n All I cared about was getting to"," waves back, shrugs an apology to Anne as he starts across \n the street, when... \n \n \n 36 INTENSE FLASH 36 \n \n suddenly lights up the intersection. \n \n In SLOW MOTION: \n \n \n 37 SHOCK WAVE 37 \n \n wave rolls up 68th past Madison... \n \n \n 38 HUGE BALL OF FLAME 38 \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," federales SHOOT back. \n \n The blasts have caused fires in the building. Severed \n wires spark, creating more fire. Flames begin to spread \n through the tinder-dry structure. \n \n (CONTINUED) \n \n 62. \n \n 158 CONTINUED: 158 \n \n The guerrillas take out the soldiers and federales, with","250 BACK TO SCENE (PRESENT) 250 \n \n Gordy sees the Woman pull the boy close to her, lovingly. \n \n \n 251 FLASHBACK - NEW YORK 251 \n \n The BOMB EXPLODES, and Anne moves to protect Matt. \n \n \n 252 CLOSE ON GORDY (PRESENT) 252 \n"," Boom! An ENORMOUS EXPLOSION. And... \n \n 43. \n \n 102 EXT./INT. CHIVA - NIGHT 102 \n \n Gordy bolts awake from the nightmare with a scream. He \n looks around at the startled faces in the crowded bus, \n unsure where he is for a moment before he gets his \n bearings. The dream lingers, depressing him. \n \n"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," go in the tubes on the truck. WHUMP, WHUMP. \n \n \n 152 ANOTHER ANGLE 152 \n \n BOOM! BOOM! BOOM! A water tower, the Mompos fire \n station and the town's power supply are direct hits. \n \n WHUMP, WHUMP, WHUMP... \n \n \n 153 INT. JAIL - CELLS 153 \n"],[" NEWS ANCHOR (V.O.) \n In an e-mail to the New York \n Times, a Marxist extremist known \n only as 'The Wolf,' states that \n the bombing was, quote, 'not an \n act of terror but an act of war, \n aimed at stopping your C.I.A. \n murderers and their fascist puppets \n from committing further acts of \n repression against the people of"," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," Phipps addresses Gordy. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. \n \n JUMP CUT: \n \n \n 350 CONTINUE FLASHBACK 350 \n \n PHIPPS \n Did you see a cell phone when you \n ran into him? \n \n GORDY \n No. \n \n"," numb took on a new dimension today \n when a notorious Latin American \n terrorist took credit for the \n attack. \n \n 23. \n \n 61 GORDY 61 \n \n has roused from his despondency, TURNS UP the VOLUME as \n the report (containing visuals) continues -- \n \n \n 62 NEWS ANCHOR 62 \n"," NATIONAL SECURITY ADVISOR (V.O.) \n ... At this time, we believe the \n man responsible for carrying out \n the New York bombing, the \n terrorist known as The Wolf, is \n among the enemy dead. \n \n \n 79 NEW ANGLE 79 \n \n Big cheers now. Toasts all around. Everyone in the \n place is happy for Gordy, who sits there a moment trying"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," Americans come down and shoot \n everyone all the time. \n \n FELIX \n Especially now, since the bomb in \n New York. \n \n (CONTINUED) \n \n 73. \n \n 192 CONTINUED: 192 \n \n GORDY \n Yeah, I heard about it. Who did \n it? \n"," SAL \n How's the leg? \n \n RONNIE \n Cut's deep, but no major vessels \n were severed. He's got a load 'o \n silk holding it all together. \n \n Junior, who stepped off to talk to a cop, now comes back. \n \n JUNIOR \n Just came over the police radio... \n Consulate surveillance cameras \n caught the bomber in the act. He"," The cop tickets a vehicle, then walks west out of frame. \n \n PHIPPS \n The bomb's in the cart. \n \n \n 56 PHIPPS 56 \n \n reverses the video, freeze-frames on the cop. \n \n PHIPPS \n We think the bomb was triggered by \n a cell phone. The guy doesn't \n have one in his hands here. Did \n you see a cell phone when you ran"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," behind the brutal bombing in New \n York City ten days ago... We are \n presently evaluating after-action \n reports from Special Operations \n Group, but feel confident that we \n have accomplished our mission... \n \n Cheers throughout the bar. Mike quiets them. \n \n (CONTINUED) \n \n 32. \n \n 78 CONTINUED: 78 \n"," FORENSIC EXPERT #1 \n Pieces of a pager oxidized with \n trace elements of Semtex. \n Probably the triggering device. \n They dial it up, probably from a \n cell phone, and boom... \n \n He picks up a microchip. \n \n FORENSIC EXPERT #1 \n ... This is the memory chip. I \n can build it into a working pager"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," I think it's a public place. He \n said he wanted the people of \n America to feel the terror. \n 'Terror is all they understand.' \n He said it over and over... \n \n PHIPPS \n (to Dray) \n Double up on public venues: \n museums, theaters, transport... \n Put in all the extra undercover we \n can. \n"," Gordy runs out. Phipps and others follow. OFF Brandt... \n \n \n 356 INT. BATHROOM 356 \n \n Brandt bursts in. He searches. Finds Mauro's leather \n doll behind the toilet. The head's detached. Brandt \n looks inside, and... \n \n We see a block of reddish Semtex plastic explosive and a \n chemical fuse. \n \n BRANDT"," into him? \n \n GORDY \n ... No. \n \n PHIPPS \n How much time passed between then \n and the explosion? \n \n GORDY \n ... Seconds... Five, ten... \n \n PHIPPS \n We think maybe he got into the \n brown Ford. You see him then? \n \n GORDY \n All I cared about was getting to","269B THIRD SATELLITE IMAGE 269B \n \n a high-resolution, infrared enlargement. \n \n UPDEGRAF (O.S.) \n This is the explosive area two \n minutes later. We got a house \n blown to shit and burning. We got \n Colombians in cammies, a gringo \n down, a woman and kid, and some \n bodies. This guy --"," Now in casual clothes. He's looking over the beautiful \n and busy station. Contemplating the devastation and \n death that a bomb planted here would wreak. \n \n \n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \n \n A Lear stops by a convoy of black government Suburbans \n parked on the tarmac. FBI agents Joe Phipps and Reggie"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," Colombia,' unquote... Two \n Colombian officials and an \n American military officer died \n in last Thursday's blast. Also \n killed were Anne Pitt, wife of a \n New York City firefighter, and \n their only child, four-year-old \n Matt... The President has vowed \n that the United States will avenge \n what he called 'this monstrous act \n of barbarism and cowardice'..."],[" Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," SELENA \n No... \n \n \n 334 INT. LATIN AMERICAN INSTITUTE - \"THE WOLF\" ROOM - DAY 334 \n \n A small conference room devoted to everything having to \n do with the interagency interest in The Wolf. Photos of \n evidence, time lines, charts, etc. cover the walls. \n \n Gordy's tired, being debriefed by two FBI AGENTS. \n"," FBI AGENT #1 \n ... Did Claudio leave with anyone \n else? \n \n GORDY \n I was underground. I couldn't see \n anything. \n \n FBI AGENT #1 \n Did you hear anything about his \n contacts in the United States? \n \n GORDY \n No. \n \n"," up against a desk. \n \n ORTIZ-DOMINGUEZ \n Please... \n \n The FBI agents crash in. \n \n FBI SURVEILLANCE AGENT \n Mr. Pitt! \n \n Gordy just stares down at Ortiz-Dominguez. \n \n FBI SURVEILLANCE AGENT \n This isn't the way to do things. \n \n Gordy still doesn't move. \n"," GORDY \n No problemo. \n \n Gordy peers out the window intently as they drive, \n looking for a lucky break, looking for The Wolf, \n searching the face of every man. He doesn't see The \n Wolf, but what he does see surprises him. The ELC \n Supervisor was right: Caguan's no Mompos. It's a third- \n world town, armed troops are visible, and there's a lot","355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \n - DAY \n \n Gordy bursts in, sees Selena's not there. \n \n GORDY \n Where's Selena?! \n \n PHIPPS \n She went to see her son. \n \n GORDY \n She's lying! She's The Wolf! \n"," Felix is just loose enough. \n \n FELIX \n The Wolf, and they'll never catch \n him. \n \n GORDY \n Ever see him? \n \n FELIX \n Once. \n \n GORDY \n Where? \n \n FELIX \n (beat; eyes Gordy) \n If you know too much around here,"," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"," FBI SURVEILLANCE AGENT \n These guys're only mouthpieces. \n \n Beat. Then Gordy swings the bat. Hard. And... \n \n Destroys the computer monitor next to Ortiz-Dominguez. \n \n Gordy tosses the bat aside. To the shaking Latin -- \n \n GORDY \n How's that for collateral damage? \n \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many","310 EXT. ELC JUNGLE VILLAGE 310 \n \n The village is a silent, smoking ruin. Everyone who \n lived there is dead. Troops check the faces of the \n bodies of the men against the freeze-frame of The Wolf \n outside the Colombian consulate in New York. \n \n The L.O.H. lands. Brandt's met by the Ground Commander. \n \n (CONTINUED) \n"," FBI agent JOE PHIPPS ducks under the police tape. REGGIE \n DRAY, a young agent, meets him. As they walk -- \n \n DRAY \n Device functioned in front of the \n Colombian Consulate just as a \n motorcade full of brass arrived. \n \n PHIPPS \n Who were the brass, and why were \n they here? \n \n (CONTINUED) \n"," When Gordy glances back, Armstrong is gone. \n \n \n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \n \n Gordy disembarks amid the throng of passengers, when the \n FAT FEDERALE confronts him. \n \n FAT FEDERALE \n Senor Pitt? \n \n Gordy looks up in surprise at him and the thin federale \n backing him up. \n"," F.B.I.'s on the radio. Tell 'em \n everything you know. \n \n Gordy's her protector, intervenes. Grabs Brandt's arm. \n \n (CONTINUED) \n \n 112. \n \n 325 CONTINUED: 325 \n \n GORDY \n They both get asylum. And she"," FAT FEDERALE \n You'll have to come with us. \n \n GORDY \n Why? \n \n FAT FEDERALE \n Come with us, please. \n \n He clamps a hand on Gordy's arm. Gordy shakes it off and \n starts running. Almost immediately, he's tackled to the \n ground by the thin federale. Two more federales join in. \n","65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 \n \n An FBI SURVEILLANCE TEAM has taken over the office. \n Three agents work video and audio recording devices. \n \n A camera points out the window to a line of storefronts \n across the street. The lights are on in one building \n with a sign reading \"IPC\" (Indigenous People's Committee). \n \n The FBI agents listen to live audio from the IPC office."," OFF Felix, forced to acquiesce... \n \n \n 187 INT./EXT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY 187 \n \n Felix is driving. Again, Gordy uses the opportunity to \n look for The Wolf. It's a long-shot, and he knows it. \n But it's all he can do. \n \n"," He's alone with his frustration, with his rekindled \n hatred and rage. OFF Gordy, glaring at the photo of The \n Wolf on his wall... \n \n \n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \n CUSTOMS AREA - DAY \n \n Armed police lead Rottweilers through the newly-arrived"," The laser indicates The Wolf. \n \n UPDEGRAF (O.S.) \n -- is giving all the orders. \n \n BRANDT (O.S.) \n ... I don't fucking believe it. \n That lucky son-of-a-bitch found \n The Wolf. \n \n UPDEGRAF (O.S.) \n ... He's paying for it now. \n \n FOLLOW the laser TO:","139 GORDY 139 \n \n lands inside a warehouse room amid sacks of rice, beans \n and coffee. The building is dark and dusty. He lies \n still and listens. FOOTSTEPS approach across the tin \n roof overhead. Gordy burrows into the bags of rice, \n pulls them over him. \n \n 56. \n \n 140 FEDERALE 140 \n"],[" sleeps. He's an object of some curiosity -- not only a \n gringo, but a virtual Gulliver in comparison to the \n small-statured Colombians pressed in around him. \n \n \n 99 EXT. FINCA (COLOMBIA) - DAY 99 \n \n A sprawling farm/estate deep in the countryside. Beyond \n the hacienda, we see a military compound containing tents \n and three heavily camouflaged helicopter shelters. A"," BRANDT \n Mr. Pitt. \n \n Gordy just looks at him. \n \n BRANDT \n I'm very sorry for your loss... I \n lost people, too. \n \n PHIPPS \n ... Mike was in the motorcade that \n day... He's the chief U.S. \n intelligence officer overseeing \n Colombia. \n \n BRANDT"," 94. \n \n 268 CONTINUED: 268 \n \n GORDY \n ... Thanks. \n \n Selena watches him a moment, troubled by something. \n \n SELENA \n The men in jail with you in \n Mompos... They say you talked to a \n man from the C.I.A. \n \n GORDY"," the realization that the man is followed by a number of \n people, including women and children. As they pass \n Gordy, it's apparent they're refugees from their haunted \n expressions and crude backpacks heavy with possessions... \n \n Gordy addresses the passing people. Indicates where he's \n standing. \n \n GORDY \n Aqui? Colombia?... \n \n No one replies. Then a small COLOMBIAN GIRL comes up and"," recently arrived Light Observation Helicopter (LOH) sits \n on a chopper pad with its rotors still turning. \n \n \n 100 INT. HACIENDA - DAY 100 \n \n Full of manned hi-tech command-and-control and \n surveillance equipment. A Colombian military operations \n officer, ROCHA, waits with an aide. \n \n Brandt arrives with Updegraf. \n \n BRANDT"," face-paint and full-body military camouflage gear and \n pointing twin cocked-and-locked CAR-15 assault rifles at \n the heads of the startled guerrillas. \n \n 52. \n \n 125 EXT. CIA HACIENDA - DAY 125 \n \n Brandt stubs a butt as a Colombian SOG group does killer \n training nearby. Updegraf opens the door. To Brandt -- \n"," 14. \n \n 47 CONTINUED: 47 \n \n DRAY \n No one's talking yet, but it \n smells high-level. There were \n Colombians and Americans in the \n cars. Three of 'em ate it. Guy \n on the phone -- \n \n He indicates Brandt, talking on a cell phone. \n \n DRAY \n -- is one of the survivors."," gets his attention. She runs back up the trail a short \n distance and stops. She draws a line in the dirt. \n \n COLOMBIAN GIRL \n Panama. \n \n She jumps backward over the line. \n \n (CONTINUED) \n \n 40. \n \n 93 CONTINUED: 93 \n \n COLOMBIAN GIRL","343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \n - DAY \n \n Selena watches as Phipps plays a surveillance video of \n Union Station. Phipps suddenly freezes the image. Zooms \n in on a man in the middle of the crowd. Claudio. \n \n PHIPPS \n That's him, isn't it? \n \n SELENA"," C.I.A., F.B.I., D.E.A., Colombian \n military, U.S. military, right- \n wing death squads -- and the only \n thing they've all managed to do is \n destroy a beautiful country and \n inflict suffering on the real \n people... Hey, I'm Colombian, and \n I'll never go back... \n \n OFF Gordy's packed wall... \n \n"," Intelligence sources say the \n identity and whereabouts of The \n Wolf remain a mystery. They \n believe he has worked closely with \n radical elements in Latin America \n for more than twenty years and \n have linked him to numerous \n terrorist bombings, including the \n 1983 downing of a Peruvian \n airliner, which killed forty-two \n people, eleven of them \n Americans... The head of the Latin"," Gordy screams out his agony -- \n \n GORDY \n Noooooo!!! \n \n \n 45 EXT. COLOMBIAN CONSULATE 45 \n \n The blast detonated here. Some men from the Navigators \n are dead. MIKE BRANDT is not. Rises from the \n devastation, gun in hand, as SIRENS wail in the distance. \n \n","269B THIRD SATELLITE IMAGE 269B \n \n a high-resolution, infrared enlargement. \n \n UPDEGRAF (O.S.) \n This is the explosive area two \n minutes later. We got a house \n blown to shit and burning. We got \n Colombians in cammies, a gringo \n down, a woman and kid, and some \n bodies. This guy --"," None of these people have papers? \n \n MAN IN YANKEES CAP \n Some have the wrong papers. Some \n have none... \n \n The man puts a finger to his lips, hushing Gordy. \n They've come abreast of the checkpoint, which can be seen \n in the distance through the trees. Colombian soldiers \n have the chiva blocked as they perform their inspection. \n The chiva's DIESEL GROWLS loudly. When suddenly... \n \n"," talks on satellite phone inside camp headquarters. \n \n \n 280 MAURO 280 \n \n sits next to Selena on the porch of a house. He plays \n with the shells of her bracelet as she stares off into \n the night. \n \n \n 281 EXT. CIA FINCA - NIGHT 281 \n \n The Blackhawks, black and menacing, sit on an illuminated"," Don't worry, Mr. Pitt, we're gonna \n get the son-of-a-bitch. \n \n GORDY \n You know where he is? \n \n BRANDT \n We believe The Wolf's in hiding \n in an area of Colombia controlled \n by the E.L.C., extreme Marxist \n guerrillas... He thinks he's in \n a safe haven. \n"," Your passport was stolen. \n \n GORDY \n In Mompos. \n \n ELC SUPERVISOR \n ... Mompos is a shithole. Not \n like Caguan... Why didn't \n Armstrong come? \n \n GORDY \n He was arrested in Ecuador. He \n got drunk and fooled around with a \n police officer's wife. \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," 3. Gordy pins up various Colombia-related articles and \n pictures on the wall, including the surveillance camera still of \n The Wolf from the front page of The New York Post. \n \n OROSCO (V.O.) \n ... The government got scared. In \n 1998, to jump start peace talks, \n it gave a coalition of guerrilla \n groups temporary control over much \n of southern Colombia... The first \n communist stronghold on an \n American continent..."," The ferry pulls up to the dock. The dock street is a \n culture clash of shanty bars and Amazon Indian traders, \n of big-wheel SUVs and mule carts. There's a definite air \n of menace. \n \n ARMSTRONG \n Federales are looking for someone. \n \n Gordy follows Armstrong's look to two plain-clothes \n federales, one fat and one thin, standing near the dock \n watching the boat pull up. \n"],[" He's alone with his frustration, with his rekindled \n hatred and rage. OFF Gordy, glaring at the photo of The \n Wolf on his wall... \n \n \n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \n CUSTOMS AREA - DAY \n \n Armed police lead Rottweilers through the newly-arrived"," New York City. \n \n ARMSTRONG \n I don't like New York City. \n Buildings're too big. What kinda \n work you in? \n \n GORDY \n (hesitates, then) \n Coffee. I buy beans. \n \n ARMSTRONG \n Can't drink caffeine. Makes my \n stomach do the rumba. I like that"," Been busy. \n \n MIKE \n Yeah. I can see that. \n \n Gordy's obsessed, totally consumed by his project. He \n points at a picture of heavily-armed guerrillas. \n \n GORDY \n E.L.C. attack platoon... These \n assholes kill innocent people all \n the time in Colombia. \n \n Gordy indicates a newspaper article. \n"," the realization that the man is followed by a number of \n people, including women and children. As they pass \n Gordy, it's apparent they're refugees from their haunted \n expressions and crude backpacks heavy with possessions... \n \n Gordy addresses the passing people. Indicates where he's \n standing. \n \n GORDY \n Aqui? Colombia?... \n \n No one replies. Then a small COLOMBIAN GIRL comes up and"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," OROSCO \n You interested in the big picture \n or all the unpleasant details? \n \n GORDY \n My family died because of what's \n going on down there. I want to \n know all I can. \n \n Orosco searches for a starting point. Then -- \n \n OROSCO \n Well, basically, the situation in \n Colombia sucks... \n \n As Orosco continues..."," FELIX \n There's beer at the plantation. \n \n GORDY \n (thinking fast) \n There's no Berta at the \n plantation. I like drinking beer \n around pretty girls, not a bunch \n of guys with automatic rifles. \n \n FELIX \n To hell with Berta. \n \n GORDY \n What happened? Last night you \n were in love with her. \n"," it can get you killed. \n \n Gordy's gotten all he'll get from Felix. He feigns \n nonchalance, smiles. \n \n GORDY \n Tell me what doesn't get you \n killed around here. \n \n Gordy takes a swig of beer. When... \n \n Gordy sees the Beaten Man from the jail in Mompos. The \n man has just walked in with another guerrilla. \n"," None of these people have papers? \n \n MAN IN YANKEES CAP \n Some have the wrong papers. Some \n have none... \n \n The man puts a finger to his lips, hushing Gordy. \n They've come abreast of the checkpoint, which can be seen \n in the distance through the trees. Colombian soldiers \n have the chiva blocked as they perform their inspection. \n The chiva's DIESEL GROWLS loudly. When suddenly... \n \n"," commercial guy with the sombrero \n and the mule, though. Headed \n upstream, eh? Where to? \n \n GORDY \n Caguan. \n \n ARMSTRONG \n ... You've never been to Caguan, \n eh? \n \n GORDY \n How do you know? \n \n ARMSTRONG \n 'Cause no one in their right mind"," gets his attention. She runs back up the trail a short \n distance and stops. She draws a line in the dirt. \n \n COLOMBIAN GIRL \n Panama. \n \n She jumps backward over the line. \n \n (CONTINUED) \n \n 40. \n \n 93 CONTINUED: 93 \n \n COLOMBIAN GIRL"," The ferry's the only means of travel south, and it's \n packed. Gordy picks his way through. The only other \n gringo on the boat is a geek in a plaid shirt and gimme \n hat that says \"Deerborn.\" The geek, PHILIP ARMSTRONG, \n looks like a talker, and Gordy tries to avoid eye \n contact. He's too late. \n \n ARMSTRONG"," over thirty-five years. For most \n of that time, it was winning... \n \n \n 71 NEW YORK PUBLIC LIBRARY 71 \n \n 2. At the New York Public Library, Gordy uses microfilm \n files and computer access to the web to search out \n information on Colombia and The Wolf. \n \n OROSCO (V.O.) \n ... Suddenly the guerrillas began"," Gordy barely avoids being seen as the guerrillas cross \n the room. At the bar, the bartender puts out two crates \n of beer. The guerrillas take the beer and head out. No \n money's changed hands. When they're gone, to Felix -- \n \n GORDY \n We'd better get back, huh? \n \n FELIX \n (checks his watch) \n ... Shit. It's late."," two men can't go have a beer and \n look at women's breasts because \n of pink elephants?... Nothing \n makes any sense down here. \n \n (CONTINUED) \n \n 79. \n \n 206 CONTINUED: 206 \n \n Felix pulls out his .9mm. Gordy doesn't blink an eye. \n \n GORDY"," My cousin, Ever. \n \n Ever and Gordy exchange nods. \n \n GORDY \n How far's Colombia? \n \n The Cab Driver indicates distant mountains. \n \n (CONTINUED) \n \n 38. \n \n 88 CONTINUED: 88 \n \n CAB DRIVER \n Beyond those mountains... The \n trail is very dangerous, but do"," hair, when... \n \n Gordy's eyes meet Brandt's. The two men hold the look \n for a moment. If Brandt could speak, he'd be yelling at \n Gordy to stop, not to go on. And Gordy knows it. But \n Gordy's not stopping. Picks up Armstrong again and moves \n off toward the waterfront. \n \n"," would ever go back. Caguan's in \n the guerrilla zone run by the \n E.L.C. E.L.C. as in 'Extra \n Loathsome Communists.' They don't \n care, and they kill. I'm going \n there myself. But I have a 'get \n outta jail free' card. \n \n Armstrong doffs his cap, undoes a safety pin securing a"," Beat. Gordy sits. \n \n GORDY \n The Wolf killed my wife and son \n in New York. \n \n (CONTINUED) \n \n 59. \n \n 145 CONTINUED: 145 \n \n ARMSTRONG \n ... Oh, you're that guy, eh? I'm \n sorry, man... And what, you came"," Gordy takes it. Just sits there a long moment, then -- \n \n GORDY \n What kind of twisted people do \n things like this? \n \n Beat. Brandt and Phipps don't have an answer. \n \n 27. \n \n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \n \n Gordy talks to a Latin reporter, ERNIE OROSCO. \n"],[" the cell containing their two captured comrades. Beat. \n The HINGES BLOW. The beaten man and the rebel with him \n are freed, and the guerrillas quickly retreat the way \n they came. \n \n Gordy sees flames spreading into the cell area. \n \n \n 160 GUERRILLAS 160 \n \n exit the fiery jail past Brandt. We see Brandt's not \n dead. \n \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," This guy didn't do the bombing, \n Gordo. He's just trying to get \n the people who did. \n \n Beat. Gordy eases up. Then, after a moment, defeated -- \n \n GORDY \n I didn't see anything except the \n explosion. \n \n Beat. Phipps sees that's all he's gonna get. \n \n PHIPPS"," Gordy can see the can is sleeved around a grenade. \n There's no pin in the grenade. The can keeps the \n grenade's arming spoon in place. The trip wire's \n designed to yank the can off, allowing the grenade to \n explode at chest level... And the can's almost off. \n \n Gordy burns through the monofilament trip wire. Then \n carefully slides the Coke can back over the grenade. \n \n"," 64. \n \n 170 CONTINUED: 170 \n \n Still stunned and bleeding, Brandt looks from where he \n lies on the ground as... \n \n Gordy bursts out of the inferno carrying Armstrong. \n They're singed and smoking, but they're alive. Gordy \n drops Armstrong, pats himself and Armstrong down, \n knocking out the burning embers on their clothes and"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," Just in time... \n \n And we realize that he'd planned on the diversion, as... \n \n The water jet breaks through. The hole's still small. \n Gordy begins to widen it. \n \n 84. \n \n 223 EXT. PLANTATION 223 \n \n Felix, the Beaten Man and the other guerrillas resume \n their march toward the storeroom. \n"," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," FELIX \n There's beer at the plantation. \n \n GORDY \n (thinking fast) \n There's no Berta at the \n plantation. I like drinking beer \n around pretty girls, not a bunch \n of guys with automatic rifles. \n \n FELIX \n To hell with Berta. \n \n GORDY \n What happened? Last night you \n were in love with her. \n"," toward the girl, when... \n \n Gordy sees the thin federale enter the front door. The \n thin federale sees him at the same time. Begins moving \n in on him. \n \n Gordy moves faster toward the girl. And... \n \n The girl unwittingly does him a favor by taking off the \n cap and setting it on the bar, where it's easier to grab, \n and then turns her attention to Armstrong's antics. \n"," The kid's about to hit it. Gordy shouts -- \n \n GORDY \n No! Alto! \n \n The young man hears the alarm in Gordy's voice and \n stops... But not before he plants his next step, and... \n \n The trip wire bows against his shin, and... \n \n Gordy ducks, covers the Man in the Yankees Cap, and... \n \n Nothing happens. The young man just stands there, frozen"," the blast-hole. \n \n OLDER MAN \n Mina. \n \n Gordy realizes the old man's saying \"land mine.\" To the \n young woman -- \n \n GORDY \n No! \n \n Gordy moves to catch her. Just manages to stop her as \n she reaches the far bank. Gordy points to where the land \n mine detonated. \n \n GORDY"," Matt die, but now he can't do it. He's a firefighter. \n He saves lives. If he kills Selena, Gordy crosses into \n her world, into Brandt's world, into the brutal nightmare \n destroying Colombia and all the places like it, and becomes \n part of that sadness and death... And... \n \n Gordy relaxes the chokehold enough so she can breathe. \n Selena gasps for air. The impulse to murder has left"," the grenade before it drops to the road. And then... \n \n Carefully, slowly -- praying that each bump doesn't jar \n the grenade off the pin -- with his other arm shaking and \n screaming in pain as he maintains a grip on the transfer \n case -- Gordy eases the grenade back onto his stomach, \n where he gets a better grip. Jams the grenade back. \n Then grabs onto the undercarriage once more, in time to"," Gordy drops out the bathroom window. \n \n \n 209 EXT./INT. LAND CRUISER - MOMENTS LATER 209 \n \n Gordy gets the grenade from the tool box. He slides it \n just inside the top of his pants, with the spoon hooked \n over the waistband. He finds some wire. Then searches \n for something else. Finds a piece of string and checks"," moves to the door and tries it. It's definitely locked. \n Through a small window, he can see the lights in the \n sheds and the ever-vigilant nighttime ELC sentries \n patrolling the grounds. The DIESELS ROAR in the b.g. \n \n Gordy turns back. Readjusts the grenade digging into his \n belly, then hooks it back inside his pants. He turns off \n the light. Moves to the adobe wall opposite the door."," SAL \n How's the leg? \n \n RONNIE \n Cut's deep, but no major vessels \n were severed. He's got a load 'o \n silk holding it all together. \n \n Junior, who stepped off to talk to a cop, now comes back. \n \n JUNIOR \n Just came over the police radio... \n Consulate surveillance cameras \n caught the bomber in the act. He"," few casualties to themselves. They make their way toward \n the cell area. \n \n EXPLODING AMMO and stored FUEL CANS accelerate the fire. \n \n \n 159 NEW ANGLE 159 \n \n The guerrillas reach the cells. Two men see Gordy and \n draw down on him. The others move to the next cell. \n \n Guerrillas plant small explosive charges on the hinges of"," questions. And we're gonna get \n answers... And you're staying \n right here till our bomber's dead. \n \n Brandt goes. Moments later, a TORTURED SCREAM is heard \n on the other side of the brick wall, waking Armstrong \n with a start. \n \n \n 148 EXT. MOMPOS - VARIOUS SHOTS - NIGHT 148 \n"," Gordy suddenly hears a woman's gentle SINGING. He looks \n in the direction of the sound, and... \n \n Gordy sees the attractive Woman and the boy approaching \n on the road. She's singing a gentle song in Spanish. \n \n Gordy's eyes flash with alarm. He glances at the house. \n \n \n 247 CLOSEUP - GRENADE 247 \n \n The lighter fluid continues dissolving the rubber bands,"],[" Selena hesitates, choking back her emotions. \n \n SELENA \n ... my baby girl was hit by \n shrapnel... she bled to death in \n Claudio's arms. \n \n She looks into Gordy's eyes. The look says she \n understands and shares Gordy's pain because she's \n suffered her own painful loss. She looks away again. \n \n (CONTINUED) \n"," SELENA \n Claudio used to be a teacher. I \n was a medical aid worker. We met \n in Guatemala, in an Indian village \n called Guamaunco. We were married \n there. Sophia, our daughter was \n born there. Claudio was kind and \n loving, and we were happy... We \n were there four years when the \n civil war broke out... The \n guerrillas were all around us, but"," SHOOTS Claudio dead from the mouth of the alleyway down \n the block. The first SHOT CRACKS the back of Claudio's \n helmet. The second SHOT punches through and exits his \n visor in a bright red mist of blood. \n \n \n 378 SELENA 378 \n \n bolts. \n \n \n 379 GORDY 379 \n \n goes after her. \n","343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \n - DAY \n \n Selena watches as Phipps plays a surveillance video of \n Union Station. Phipps suddenly freezes the image. Zooms \n in on a man in the middle of the crowd. Claudio. \n \n PHIPPS \n That's him, isn't it? \n \n SELENA"," in leathers and a helmet. He takes the fall better than \n Selena. Gets to his feet. Looks for the guns they \n dropped. Before Claudio can get to a gun, Gordy's on \n him. They grapple. Gordy pounds Claudio hard. Once. \n Twice. When... \n \n \n 375 SELENA 375 \n \n side-kicks Gordy. He sags. She front-kicks a heel into"," He just manages to grab Selena and yank her off the bike. \n \n Selena's arms are wrapped around Claudio -- when Gordy \n rips her out of the saddle, Claudio goes, too. The three \n of them tumble to the ground as the speeding Ducati \n spins, flips and disintegrates. \n \n 124. \n \n 374 CLAUDIO 374 \n"," 95. \n \n 268 CONTINUED: (2) 268 \n \n SELENA \n Claudio joined the guerrillas. \n When that war ended, we moved to \n the next war, and the next... Each \n fight has only deepened his \n hatred. And poisoned his soul. \n (beat) \n He's unable to love anything \n anymore..."," is scratch. But Gordy's oblivious. They're alone in the \n courtyard. Body to body. Head to head. He's pumped \n with fury and hatred. He tightens the chokehold. Hisses \n in her ear -- \n \n GORDY \n You killed them. \n \n SELENA \n (beat; with \n contempt) \n One woman, one boy -- they mean"," his spine and between his shoulder blades. Gordy lets go \n of Claudio and drops. Selena's relentless, kicks Gordy \n repeatedly as... \n \n \n 376 CLAUDIO 376 \n \n gets the pistol. Turns. Aims the gun two-handed at \n Gordy's head, and BANG! \n \n \n 377 DRAY 377 \n"," SELENA \n I tried to stop him. \n \n She holds Gordy's eyes a moment. Her look is grim, \n haunted. \n \n SELENA \n He's gone back. \n \n GORDY \n (beat; realizes) \n The United States? Another bomb? \n \n SELENA \n Yes. \n \n GORDY"," SELENA \n My name is Selena. \n \n GORDY \n ... His wife? \n \n SELENA \n Yes. \n \n \n Beat. The sea shells clack. Gordy loses consciousness \n again, and everything goes... \n \n \n 266 BLACK 266 \n \n The CLACKING sound CONTINUES. And... \n \n"," Selena looks over at her son sleeping in Gordy's arms. \n She lovingly brushes the hair off his forehead, rattling \n her seashells. The leather doll is about to fall from \n Mauro's fingers. Selena takes the doll and puts it into \n her bag. Then looks out at the passing scenery. OFF \n Selena, in the land of her husband's enemy -- \n \n","359 EXT. LATIN AMERICAN INSTITUTE - STREET - VARIOUS ANGLES 359 \n \n Selena and the agents cross the street toward the safe \n house. \n \n Claudio GUNS the BIKE toward them. \n \n Selena hears the BIKE. Sees Claudio coming. Uses the \n front edge of her hand to strike the female agent hard in \n the throat. The agent falls to her knees trying to suck"," renovation. Without stopping, she tears through the \n plastic covering the doorway to seal in dust from the \n rest of the house. She topples what she can into \n Gordy's way. Throws nails down behind her. Grabs a \n circular saw and hurls it back at Gordy, just missing him \n and shattering a large wall mirror. \n \n Selena's a soldier, taught to pick up and use whatever \n weapons she finds as she moves through a battlefield --"," Claudio. \n \n (CONTINUED) \n \n 91. \n \n 261 CONTINUED: 261 \n \n The Wolf glances over. Meets her eyes a moment. Sees \n the photo in her hand. Glances up into her eyes again. \n They hold the look. A whole conversation exchanged \n without words. Then The Wolf turns back to Gordy, lying","353 EXT. LATIN AMERICAN INSTITUTE - DAY 353 \n \n Selena emerges with the two CIA agents. \n \n \n 354 ANGLE - DOWN BLOCK 354 \n \n Claudio sits on his parked motorcycle. He sees Selena \n emerge. Drops his helmet visor and STARTS the BIKE. \n \n 121. \n"," breaks toward an open door of the house. \n \n \n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \n \n Selena blasts into the bottom floor, runs through a \n playroom. Gordy's right behind her. \n \n \n 387 SELENA 387 \n \n mounts a stairwell. A girl's descending. Selena grabs a"," toward Mompos. \n \n GORDY \n Can you walk? \n \n SELENA \n It's just my arm. \n \n Gordy admires this woman's bravery. Selena stands. \n Mauro's clutching her skirt. Gordy looks at him. \n \n GORDY \n How do you say 'hello'? \n"," Gordy's now moving parallel to Claudio and Selena, \n sprinting hard toward another one-way street, which \n crosses the alley ahead. He doesn't know if he'll \n intercept the bike, but it's his only shot. \n \n \n 367 EXT. STREET 367 \n \n Claudio GUNS the BIKE down the second street, parallel to \n Gordy's alley. He and Selena reach an intersection with"," Selena flips through it. Stops at a photo. \n \n \n 338 CLOSE ON PHOTO 338 \n \n It's of the redesigned lobby of Union Station. \n \n \n 339 BACK TO SCENE 339 \n \n Selena glances up. \n \n SELENA \n That's it! \n \n BRANDT"],[" Feet jam into boots. Yellow trousers are hauled up and \n hitched with suspenders. \n \n Yellow jackets are whipped on. \n \n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \n \n Firefighters take their stations on the truck. Headsets \n go on. As the fire company's lieutenant, Gordy rides \n shotgun. The chauffeur hands him the printout. As the"," The laser indicates The Wolf. \n \n UPDEGRAF (O.S.) \n -- is giving all the orders. \n \n BRANDT (O.S.) \n ... I don't fucking believe it. \n That lucky son-of-a-bitch found \n The Wolf. \n \n UPDEGRAF (O.S.) \n ... He's paying for it now. \n \n FOLLOW the laser TO:"," We can fix anything, but these \n keep dying on us... You'll start \n now. I'll have tools brought to \n you. \n (beat) \n Armstrong's a magician with them. \n Let's hope you have his skill. \n \n Felix walks over to a guerrilla with an AK-47 and speaks \n to him. Then goes. Whereupon the guerrilla crosses to \n Gordy and takes up a sentry position over him. \n"," two men can't go have a beer and \n look at women's breasts because \n of pink elephants?... Nothing \n makes any sense down here. \n \n (CONTINUED) \n \n 79. \n \n 206 CONTINUED: 206 \n \n Felix pulls out his .9mm. Gordy doesn't blink an eye. \n \n GORDY"," In here, the MUSIC'S LOUD ROCK 'N' ROLL. Gringo music \n for a gringo bar. The place is busy, with plenty of \n local \"hostesses\" for the men. Even Armstrong, standing \n half-crocked at the bar, is flanked by two scantily-clad \n women. He's got a spoon hanging off his nose. So does one \n of the girls. Armstrong's trying to hang a spoon on the \n other. \n"," Gordy barely avoids being seen as the guerrillas cross \n the room. At the bar, the bartender puts out two crates \n of beer. The guerrillas take the beer and head out. No \n money's changed hands. When they're gone, to Felix -- \n \n GORDY \n We'd better get back, huh? \n \n FELIX \n (checks his watch) \n ... Shit. It's late."," They've had a lot more than two beers. Felix has, \n anyway. He's drunk. He's also in love with a waitress \n on his lap, a cute gordita named BERTA. He pats her. \n \n FELIX \n This is mine. This is the reason \n I come here... right, Berta? Me \n amas? \n \n BERTA \n (playing along)"," NATIONAL SECURITY ADVISOR (V.O.) \n ... At this time, we believe the \n man responsible for carrying out \n the New York bombing, the \n terrorist known as The Wolf, is \n among the enemy dead. \n \n \n 79 NEW ANGLE 79 \n \n Big cheers now. Toasts all around. Everyone in the \n place is happy for Gordy, who sits there a moment trying"," it can get you killed. \n \n Gordy's gotten all he'll get from Felix. He feigns \n nonchalance, smiles. \n \n GORDY \n Tell me what doesn't get you \n killed around here. \n \n Gordy takes a swig of beer. When... \n \n Gordy sees the Beaten Man from the jail in Mompos. The \n man has just walked in with another guerrilla. \n"," FELIX \n There's beer at the plantation. \n \n GORDY \n (thinking fast) \n There's no Berta at the \n plantation. I like drinking beer \n around pretty girls, not a bunch \n of guys with automatic rifles. \n \n FELIX \n To hell with Berta. \n \n GORDY \n What happened? Last night you \n were in love with her. \n"," would ever go back. Caguan's in \n the guerrilla zone run by the \n E.L.C. E.L.C. as in 'Extra \n Loathsome Communists.' They don't \n care, and they kill. I'm going \n there myself. But I have a 'get \n outta jail free' card. \n \n Armstrong doffs his cap, undoes a safety pin securing a"," Felix really wants to, but still hesitates. \n \n GORDY \n With the spare parts, I'll have \n the generators running in two \n hours... We have time for a \n couple beers. \n \n Beat. Finally -- \n \n FELIX \n Okay. Just a beer. Maybe two. \n \n \n 192 INT. BAR - NIGHT 192 \n"," Gordy slips into the bar. Spots Armstrong through the \n crowd. Sees Armstrong's not wearing his cap, when... \n \n The girl with the spoon on her nose turns slightly, \n revealing she's wearing the cap. It's on backwards, but \n now Gordy can see the \"Deerborn\" logo clearly. \n \n Gordy wants the guerrilla travel pass inside the cap. \n It's a desperate move, but he's got no choice. Starts"," the grenade before it drops to the road. And then... \n \n Carefully, slowly -- praying that each bump doesn't jar \n the grenade off the pin -- with his other arm shaking and \n screaming in pain as he maintains a grip on the transfer \n case -- Gordy eases the grenade back onto his stomach, \n where he gets a better grip. Jams the grenade back. \n Then grabs onto the undercarriage once more, in time to"," 46. \n \n 113 EXPLOSION 113 \n \n BOOM! An EXPLOSION rips into him. \n \n \n 114 GORDY AND OTHERS 114 \n \n stop mid-stream, but one of the group, a young woman, \n believing the blast was caused by the pursuing military, \n continues struggling to cross. An OLDER MAN looks, sees"," in position, his leg still bowing the line. \n \n (CONTINUED) \n \n 48. \n \n 117 CONTINUED: 117 \n \n Using the Zippo again to light his way, Gordy advances to \n the young man. He follows the trip wire to where a Coca- \n Cola can hangs from a nearby tree. On closer inspection,"," Gordy can see the can is sleeved around a grenade. \n There's no pin in the grenade. The can keeps the \n grenade's arming spoon in place. The trip wire's \n designed to yank the can off, allowing the grenade to \n explode at chest level... And the can's almost off. \n \n Gordy burns through the monofilament trip wire. Then \n carefully slides the Coke can back over the grenade. \n \n"," The man goes. Outside, we hear him SHOUT orders to the \n guerrillas guarding the plantation. The Beaten Man turns \n to Felix. Felix is terrified. In a pleading tone -- \n \n FELIX \n (in Spanish) \n He can't be far. You'll catch -- \n \n BANG! The Beaten Man SHOOTS Felix in the head. Then \n exits. OFF Felix, dead, his blood mixing with the water \n still streaming across the floor..."," (to Rocha) \n The man whose wife and son died in \n New York. One of your units found \n his passport and credit cards on \n some gunrunners near Panama. \n Gunrunners say they left him \n alive. \n \n BRANDT \n What, he thinks he can get The \n Wolf himself? \n \n ROCHA \n We have too much time and too many"," Gordy stops. Pops the lid. Spoons out a dollop. \n \n GORDY \n Open up. \n \n He sticks the spoon in Junior's mouth. Junior eats. \n Junior loves it. Gordy smiles. \n \n GORDY \n Screw the twenty-first century. \n \n The FIRE BELL SOUNDS. \n \n"]],"string":"[\n [\n \" Gordy takes it. Just sits there a long moment, then -- \\n \\n GORDY \\n What kind of twisted people do \\n things like this? \\n \\n Beat. Brandt and Phipps don't have an answer. \\n \\n 27. \\n \\n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \\n \\n Gordy talks to a Latin reporter, ERNIE OROSCO. \\n\",\n \" (hesitates, then) \\n Yes. \\n \\n PHIPPS \\n He was there yesterday. Just \\n stood there and left... So far, \\n the dogs haven't found anything, \\n so maybe we're ahead of him. \\n \\n BRANDT \\n What's he waiting for? \\n \\n SELENA \\n He takes his time. Like he told \\n you, he enjoys it.\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" that way, Gordo. \\n \\n Junior spots a news camera crew focusing on Gordy's \\n grief, calls at a cop. \\n \\n JUNIOR \\n Get those goddamn people outta \\n here! \\n \\n Phipps, approaching with Dray, addresses the same cop. \\n \\n PHIPPS \\n Put that tape out fifty more \\n feet. \\n \\n The cop begins moving the camera crew back. Phipps\",\n \"332 INT./EXT. LOCKUP GARAGE - DAY 332 \\n \\n Claudio opens the door of a cheap rental garage in an old \\n commercial strip. He steps inside. There's a rental van \\n and a big Ducati motorbike against a wall. Claudio \\n straps a black bag onto the bike, then rolls it out and \\n shuts the garage. Pulls on helmet and STARTS the BIKE. \\n As Claudio speeds into traffic -- \\n \\n\",\n \" off and stops a short distance away, ready to open fire. \\n \\n Gordy shows the guerrillas his travel pass. One of them \\n takes it. Reads. Looks Gordy over. Then starts to rip \\n the pass in half, when... \\n \\n He stops. Grins. It's a big joke. He hands back the \\n pass, searches the boat quickly and waves the panga on. \\n \\n OFF Gordy's relief as the panga heads on... \\n \\n\",\n \" When Gordy glances back, Armstrong is gone. \\n \\n \\n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \\n \\n Gordy disembarks amid the throng of passengers, when the \\n FAT FEDERALE confronts him. \\n \\n FAT FEDERALE \\n Senor Pitt? \\n \\n Gordy looks up in surprise at him and the thin federale \\n backing him up. \\n\",\n \" relieve the muscle-tearing strain on his arm. \\n \\n \\n 230 ABOVE GORDY'S WORLD 230 \\n \\n the Suburban passes the \\\"Cine.\\\" The movie's over, just \\n letting out. \\n \\n 231 EXT. GUERRILLA HOUSE - NIGHT 231 \\n \\n The Suburban pulls up to the well-guarded house Gordy saw\",\n \" Si, amor. \\n \\n Somebody whistles for a drink, and Berta goes. \\n \\n FELIX \\n ... She's hot, isn't she? \\n \\n GORDY \\n Yeah. \\n \\n Long beat. Gordy makes the play he's been contemplating. \\n \\n GORDY \\n Armstrong said to watch my butt \\n around here. I guess the fucking\",\n \" to absorb the news, then buries his face in his hands. \\n \\n \\n 80 INT. FIREHOUSE - TRUCK BAY - NIGHT 80 \\n \\n The Dalmatian whizzes on the hydrant outside. \\n \\n Sal plays chess in the open door with the neighbor kid. \\n \\n Ronnie polishes chrome on the truck. \\n \\n Gordy holds up the broken remains of his ice cream maker \\n as Junior looks on. \\n\",\n \" finally hung the spoon on the second girl's nose. \\n \\n ARMSTRONG \\n Yahtzee! \\n \\n And now Armstong also realizes something's up. Turns and \\n sees Gordy. Sees the cap in Gordy's hand as the Fat \\n Federale addresses Gordy -- \\n \\n FAT FEDERALE \\n Come along, Mr. Pitt. \\n\",\n \" Feet jam into boots. Yellow trousers are hauled up and \\n hitched with suspenders. \\n \\n Yellow jackets are whipped on. \\n \\n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \\n \\n Firefighters take their stations on the truck. Headsets \\n go on. As the fire company's lieutenant, Gordy rides \\n shotgun. The chauffeur hands him the printout. As the\",\n \" toward them and yelling. \\n \\n GORDY \\n Get back! \\n \\n \\n 253 INSERT - GRENADE 253 \\n \\n The rubber bands are about to break. \\n \\n \\n 254 BACK TO SCENE 254 \\n \\n The Woman sees Gordy. Screams toward the house -- \\n \\n WOMAN \\n Claudio!! \\n \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" clean, well-ordered office is nicely appointed, with a \\n big-screen Sony and leather furniture. The TV's TUNED TO \\n CNN. A photo on the wall depicts him as a younger man \\n wearing guerrilla cammies bearing with an ELC patch and \\n holding an AK-47. A brass nameplate reading \\\"Supervisor\\\" \\n rests on a neat desk, behind which stands the man himself \\n -- a hardened, former guerrilla fighter proud of his\",\n \" It appears the entire neighborhood's crammed against the \\n chain-link fence around the court, yelling and cheering \\n as a team of local kids from the NYFD Athletic League \\n plays a team of local kids from the NYPD Athletic League. \\n \\n Gordy's an NYFD coach, exhorts his team at the top of his \\n lungs. \\n \\n The rivalry's intense. The game close. The noise \\n deafening. Bets are going down. \\n\",\n \" up against a desk. \\n \\n ORTIZ-DOMINGUEZ \\n Please... \\n \\n The FBI agents crash in. \\n \\n FBI SURVEILLANCE AGENT \\n Mr. Pitt! \\n \\n Gordy just stares down at Ortiz-Dominguez. \\n \\n FBI SURVEILLANCE AGENT \\n This isn't the way to do things. \\n \\n Gordy still doesn't move. \\n\",\n \" - DAY \\n \\n Phipps flips to the last photo in the book. \\n \\n SELENA \\n ... No... \\n \\n He reaches for another book. As he does, he topples a \\n stack. Selena's eyes fix on one book cover. \\n \\n SELENA \\n He had that book! Let me see it! \\n \\n Phipps hands it to her. It's a guidebook to Washington.\",\n \"371 EXT. STREET 371 \\n \\n The driver of the car finally backs up. Claudio aims the \\n DUCATI through a narrow gap and ZOOMS on. \\n \\n \\n 372 INT. TOWN HOUSE GARAGE 372 \\n \\n Gordy blows into the second story of the garage, a \\n converted old-time carriage barn. He's in the old\"\n ],\n [\n \"258 GORDY 258 \\n \\n reaches the Woman and Boy now. Pulls them down. Covers \\n them protectively with his body, when... \\n \\n \\n 259 NEW ANGLE 259 \\n \\n KA-BOOM! A gigantic EXPLOSION lights up the night and \\n utterly destroys the house. \\n \\n 90. \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" and fluttered to the ground nearby. The woman picks it \\n up, and we see... \\n \\n It's the photo of Anne and Matt. \\n \\n The woman stares at the photo a moment, as... \\n \\n Gordy absorbs another blow. He tries to stand. \\n \\n GORDY \\n You killed my wife and son -- \\n \\n Whack! The Wolf slams the butt of an AK-47 against\",\n \" He realizes the horror of what will happen. And... \\n \\n (CONTINUED) \\n \\n 89. \\n \\n 252 CONTINUED: 252 \\n \\n WIDER \\n \\n Gordy bursts from his hiding place. \\n \\n GORDY \\n No! Stop! Alto! \\n \\n The Woman and Boy look over in alarm, see Gordy running\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" Gordy turns to them. Looks into the faces of these men, \\n the people closest to him in the world. Beat. Then -- \\n \\n GORDY \\n It's good to be home. \\n \\n Gordy's still in pain, still missing the wife and son \\n he'll never see again. But Gordy's gonna be alright. \\n \\n Mauro's gonna be with him. There'll be fires to put out\",\n \" I know this is hard. I'm sorry I \\n had to bother you. \\n \\n Phipps goes. Gordy looks over as the bodies of Anne and \\n Matt are placed on gurneys and rolled away. Chalk \\n outlines are all that remain of his family. Beat. \\n \\n MIKE \\n We're gonna roll you to the \\n hospital now and get that glass \\n out. \\n \\n 17. \\n\",\n \" Gordy's not gonna go down easy, though. \\n \\n Even as only one against four, Gordy's a formidable \\n challenge. He's strong, and he's committed all the way. \\n He's not getting kicked out of this country again. It's \\n not a clean or artful fight. There's no karate. It's \\n four men trying to tackle a bull, and... \\n \\n The bull gets away. \\n \\n\",\n \" 108. \\n \\n 310 CONTINUED: 310 \\n \\n GROUND COMMANDER \\n No sign of The Wolf. Two people, \\n possibly a third, got away. \\n They're in the river. \\n \\n Brandt moves back to the L.O.H., gets in. A moment \\n later, the chopper's up and away. \\n \\n\",\n \" Gordy lowers the family through the floor hole. \\n \\n \\n 16 EXT. TENEMENT 16 \\n \\n Gordy carries the family's small child outside. He \\n passes the child to its grateful parents, while... \\n \\n The rescued Firefighter sits on a curb looking at a hero \\n and shaking his head in disbelief and admiration. \\n \\n\",\n \" her, she'll never want to look at \\n another man again... \\n \\n Gordy drives past the house as the Beaten Man and the \\n guerrilla with him get out of the Suburban and start \\n carrying the beer inside. And a moment later... \\n \\n Felix comes around with a start. \\n \\n FELIX \\n What the fuck are you doing?! \\n \\n He unholsters the 9mm and points it at Gordy. \\n\",\n \" Beat. Gordy sits. \\n \\n GORDY \\n The Wolf killed my wife and son \\n in New York. \\n \\n (CONTINUED) \\n \\n 59. \\n \\n 145 CONTINUED: 145 \\n \\n ARMSTRONG \\n ... Oh, you're that guy, eh? I'm \\n sorry, man... And what, you came\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" nothing next to the thousands \\n who've been slain. \\n \\n Gordy hears it. It only drives him to a deeper fury. \\n \\n GORDY \\n They were my family. \\n \\n Gordy's blind with rage. Chokes her neck hard. \\n Summoning all the power in him, first to shut off her air \\n and blood, and then to continue squeezing, relishing her\",\n \" FELIX \\n There's beer at the plantation. \\n \\n GORDY \\n (thinking fast) \\n There's no Berta at the \\n plantation. I like drinking beer \\n around pretty girls, not a bunch \\n of guys with automatic rifles. \\n \\n FELIX \\n To hell with Berta. \\n \\n GORDY \\n What happened? Last night you \\n were in love with her. \\n\",\n \" need to talk to him. \\n \\n Beat. Mike nods. To Gordy -- \\n \\n PHIPPS \\n Mr. Pitt, if you can you tell \\n me... What'd you see? \\n \\n GORDY \\n (looks up; beat) \\n What'd I see? I saw my family \\n die. \\n \\n Mike puts a restraining hand on Gordy. \\n \\n MIKE\",\n \" to absorb the news, then buries his face in his hands. \\n \\n \\n 80 INT. FIREHOUSE - TRUCK BAY - NIGHT 80 \\n \\n The Dalmatian whizzes on the hydrant outside. \\n \\n Sal plays chess in the open door with the neighbor kid. \\n \\n Ronnie polishes chrome on the truck. \\n \\n Gordy holds up the broken remains of his ice cream maker \\n as Junior looks on. \\n\",\n \" that way, Gordo. \\n \\n Junior spots a news camera crew focusing on Gordy's \\n grief, calls at a cop. \\n \\n JUNIOR \\n Get those goddamn people outta \\n here! \\n \\n Phipps, approaching with Dray, addresses the same cop. \\n \\n PHIPPS \\n Put that tape out fifty more \\n feet. \\n \\n The cop begins moving the camera crew back. Phipps\"\n ],\n [\n \" SELENA \\n Claudio used to be a teacher. I \\n was a medical aid worker. We met \\n in Guatemala, in an Indian village \\n called Guamaunco. We were married \\n there. Sophia, our daughter was \\n born there. Claudio was kind and \\n loving, and we were happy... We \\n were there four years when the \\n civil war broke out... The \\n guerrillas were all around us, but\",\n \" Selena looks over at her son sleeping in Gordy's arms. \\n She lovingly brushes the hair off his forehead, rattling \\n her seashells. The leather doll is about to fall from \\n Mauro's fingers. Selena takes the doll and puts it into \\n her bag. Then looks out at the passing scenery. OFF \\n Selena, in the land of her husband's enemy -- \\n \\n\",\n \" Selena hesitates, choking back her emotions. \\n \\n SELENA \\n ... my baby girl was hit by \\n shrapnel... she bled to death in \\n Claudio's arms. \\n \\n She looks into Gordy's eyes. The look says she \\n understands and shares Gordy's pain because she's \\n suffered her own painful loss. She looks away again. \\n \\n (CONTINUED) \\n\",\n \" falls hard. Gets back to her feet quickly and starts to \\n run, when... \\n \\n Gordy hits her like a linebacker. Slams Selena against a \\n brick wall. Gets behind her and slips a mighty arm \\n around her thin neck. Selena squirms hard, kicks \\n backward, going for the balls, kneecaps, insteps, doing \\n whatever she can to hurt Gordy and get free. But she's\",\n \"391 SELENA 391 \\n \\n blows through a swinging door into the kitchen, slamming \\n into a Hispanic maid, who's coming to investigate all \\n the noise. Both women tumble. Selena gets right back \\n on her feet. She breaks out a window with the crowbar \\n and exits onto a fire escape as Gordy blasts in from the \\n dining room. \\n \\n\",\n \" renovation. Without stopping, she tears through the \\n plastic covering the doorway to seal in dust from the \\n rest of the house. She topples what she can into \\n Gordy's way. Throws nails down behind her. Grabs a \\n circular saw and hurls it back at Gordy, just missing him \\n and shattering a large wall mirror. \\n \\n Selena's a soldier, taught to pick up and use whatever \\n weapons she finds as she moves through a battlefield --\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" He's a war orphan. I adopted him. \\n \\n Beat. Gordy finishes checking the bullet wound. \\n \\n GORDY \\n You're lucky. \\n \\n He uses part of his shirt to make a pressure bandage. As \\n he ties it around Selena's arm, she looks around. \\n \\n SELENA \\n I know where we are. There's a \\n secret trail nearby that leads\",\n \" breaks toward an open door of the house. \\n \\n \\n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \\n \\n Selena blasts into the bottom floor, runs through a \\n playroom. Gordy's right behind her. \\n \\n \\n 387 SELENA 387 \\n \\n mounts a stairwell. A girl's descending. Selena grabs a\",\n \" SELENA \\n My name is Selena. \\n \\n GORDY \\n ... His wife? \\n \\n SELENA \\n Yes. \\n \\n \\n Beat. The sea shells clack. Gordy loses consciousness \\n again, and everything goes... \\n \\n \\n 266 BLACK 266 \\n \\n The CLACKING sound CONTINUES. And... \\n \\n\",\n \" The fire escape ends at a top floor window. Selena \\n BREAKS out the GLASS with the crowbar and goes in. \\n \\n \\n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \\n \\n Selena's in a teenager's bedroom. The teenager's got \\n headphones on, oblivious to everything. Selena darts \\n through a bathroom into a second bedroom. \\n \\n\",\n \" I'm not one of them. I'm here for \\n my own reasons. \\n \\n Selena watches him another moment. Decides he's telling \\n the truth. She reaches into a skirt pocket, then extends \\n her hand toward Gordy. He looks up. She's holding the \\n photo of Anne and Matt. Beat. Gordy takes the photo. \\n Looks at his wife and son. Selena sits next to him. \\n Another beat. Then, off the photo... \\n\",\n \" in leathers and a helmet. He takes the fall better than \\n Selena. Gets to his feet. Looks for the guns they \\n dropped. Before Claudio can get to a gun, Gordy's on \\n him. They grapple. Gordy pounds Claudio hard. Once. \\n Twice. When... \\n \\n \\n 375 SELENA 375 \\n \\n side-kicks Gordy. He sags. She front-kicks a heel into\",\n \" But Mauro squirms free, and immediately, Mauro runs back \\n to his mother. Selena uses sign language to tell him \\n everything's okay. OFF Gordy's surprised look -- \\n \\n SELENA \\n He can't hear or speak. \\n \\n Gordy just looks at them a moment. Then moves to Selena. \\n Re: Mauro, as Gordy examines her arm -- \\n \\n SELENA\",\n \" Selena looks at Gordy a moment. She signs \\\"hello\\\" for \\n him, her seashells clacking as she does it. \\n \\n Gordy taps Mauro to get his attention. Tries out the sign \\n for \\\"hello.\\\" The boy just looks at him... then reaches \\n out and takes Gordy's hand, shows him the correct way to \\n do it. Gordy tries again. Mauro nods \\\"yes\\\" and smiles. \\n Gordy smiles back. \\n\",\n \" But that's not what Selena's thinking. She attacks with \\n the crowbar, and Gordy can only retreat in the face of \\n the vicious onslaught. He finds a nearby garbage can. \\n It's full, heavy, but he manages to lift it, spilling \\n garbage as he uses the can to block the blows from the \\n crowbar. The CROWBAR THWOCKS into the can over and over, \\n the sound ECHOING LOUDLY in the small courtyard.\",\n \" is scratch. But Gordy's oblivious. They're alone in the \\n courtyard. Body to body. Head to head. He's pumped \\n with fury and hatred. He tightens the chokehold. Hisses \\n in her ear -- \\n \\n GORDY \\n You killed them. \\n \\n SELENA \\n (beat; with \\n contempt) \\n One woman, one boy -- they mean\",\n \" Beat. Selena's overwhelmed by the experience of seeing \\n her husband on the tape, by her betrayal of him. She \\n grows queasy. Leans on the table for support. \\n \\n PHIPPS \\n Are you okay? \\n \\n (CONTINUED) \\n \\n 118. \\n \\n 343 CONTINUED: 343 \\n \\n SELENA\",\n \" The black becomes a BLUR. The BLUR becomes a hazy \\n glimpse of Selena. She's sitting on the metal bed frame \\n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \\n it's made by SEA SHELLS that dangle from a bracelet on \\n Selena's wrist. The shells knock together as she washes \\n Gordy's wounds. \\n \\n (CONTINUED) \\n\",\n \" Sounds of GUNFIRE. EXPLOSIONS in the compound flicker \\n light through the dense foliage. Selena leads Gordy to \\n a bush and pulls back leaves, revealing Mauro, cowering \\n fearfully, clutching an old leather doll to his chest. \\n Selena takes Mauro's hand, grabs a small pack lying next \\n to him, then leads Gordy off through the jungle. \\n \\n\"\n ],\n [\n \" The chopper door opens. Brandt's inside. \\n \\n \\n 325 INT. BLACKHAWK - MOMENTS LATER 325 \\n \\n Everyone's aboard and buckled in. Everyone's tired. The \\n chopper lifts off. Selena's glaring at Brandt, who \\n pushes a headset at her, shouts over the ENGINE WHINE -- \\n \\n BRANDT\",\n \" questions. And we're gonna get \\n answers... And you're staying \\n right here till our bomber's dead. \\n \\n Brandt goes. Moments later, a TORTURED SCREAM is heard \\n on the other side of the brick wall, waking Armstrong \\n with a start. \\n \\n \\n 148 EXT. MOMPOS - VARIOUS SHOTS - NIGHT 148 \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" Brandt's on the phone. He's pissed. \\n \\n BRANDT \\n ... Senator, the failure of one \\n operation shouldn't cause your \\n committee to question financing \\n everything else we're doing down \\n there... \\n \\n DONALD UPDEGRAF, Brandt's number two, enters. \\n \\n BRANDT \\n ... I know it looks bad, and I \\n appreciate your support.\",\n \" hair, when... \\n \\n Gordy's eyes meet Brandt's. The two men hold the look \\n for a moment. If Brandt could speak, he'd be yelling at \\n Gordy to stop, not to go on. And Gordy knows it. But \\n Gordy's not stopping. Picks up Armstrong again and moves \\n off toward the waterfront. \\n \\n\",\n \" 108. \\n \\n 310 CONTINUED: 310 \\n \\n GROUND COMMANDER \\n No sign of The Wolf. Two people, \\n possibly a third, got away. \\n They're in the river. \\n \\n Brandt moves back to the L.O.H., gets in. A moment \\n later, the chopper's up and away. \\n \\n\",\n \" (hesitates, then) \\n Yes. \\n \\n PHIPPS \\n He was there yesterday. Just \\n stood there and left... So far, \\n the dogs haven't found anything, \\n so maybe we're ahead of him. \\n \\n BRANDT \\n What's he waiting for? \\n \\n SELENA \\n He takes his time. Like he told \\n you, he enjoys it.\",\n \" The 4x4 catapults completely over the guerrillas' truck, \\n disintegrating into spare parts and dead occupants, as... \\n \\n \\n 167 GUERRILLAS 167 \\n \\n ROAR off. \\n \\n \\n 168 EXT./INT. JAIL 168 \\n \\n A severely-dazed Brandt, bleeding from the nose and ears, \\n slowly gets to his knees, crawls out of the burning\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" get back to you. \\n \\n \\n 84 INT. GORDY'S APARTMENT - LIVING ROOM - DAY 84 \\n \\n Gordy's mood is dark. It's not improved by hearing the \\n bullshit in Updegraf's reply. \\n \\n GORDY \\n Tell him not to bother. \\n \\n He slams down the phone. Rips up Brandt's business card.\",\n \" Beat. Phipps sees it's pointless to insist. To Dray -- \\n \\n PHIPPS \\n Take care of it. \\n \\n (CONTINUED) \\n \\n 26. \\n \\n 68 CONTINUED: 68 \\n \\n Dray heads out, passing Mike Brandt, who enters. \\n \\n PHIPPS \\n Gordy, this is Mike Brandt. \\n\",\n \" People react to the sounds of the MORTAR ATTACK on the \\n town. The lights go out. Brandt, Rocha and their men \\n quickly lock the guerrillas in their cell and head out. \\n \\n \\n 154 EXT. JAIL 154 \\n \\n As MORTARS CONTINUE to fall on the rest of the town, the \\n unit of guerrilla infiltrators open up on the front of \\n the jail with LAW ROCKETS.\",\n \"417 CONTINUED: 417 \\n \\n BRANDT \\n We got the bitch. \\n \\n Gordy hits him. One of the jackhammer blows he slammed \\n into Claudio in the bunker. A hard fist deep in the gut \\n that drives all the wind from Brandt and drops him to his \\n knees. Beat. Gordy's voice is cold and hard -- \\n \\n GORDY\",\n \" the cell containing their two captured comrades. Beat. \\n The HINGES BLOW. The beaten man and the rebel with him \\n are freed, and the guerrillas quickly retreat the way \\n they came. \\n \\n Gordy sees flames spreading into the cell area. \\n \\n \\n 160 GUERRILLAS 160 \\n \\n exit the fiery jail past Brandt. We see Brandt's not \\n dead. \\n \\n\",\n \" Brandt lets \\\"thinks\\\" sink in. \\n \\n PHIPPS \\n I know it's hard for you right \\n now, Mr. Pitt. We're all sorry. \\n But why don't you go home. \\n We're taking care of things. \\n \\n Beat. Brandt proffers a business card. \\n \\n BRANDT \\n Here's my card. Call me any time. \\n\",\n \" UPDEGRAF (O.S.) \\n Houses, barracks, school for the \\n kids, cooking sheds, H.Q., \\n latrines, gun pits... \\n \\n BRANDT (O.S.) \\n They're not just hiding The Wolf. \\n \\n UPDEGRAF (O.S.) \\n Here it is on the map... \\n \\n PULL BACK to reveal: \\n \\n\",\n \"147 CONTINUED: 147 \\n \\n There's a flurry of activity outside the cell area. The \\n door opens. Soldiers enter with some federales. \\n \\n Gordy watches the soldiers move past his cell. Rocha is \\n with them. And then... \\n \\n Brandt appears at the bars, looks in at Gordy. \\n \\n BRANDT \\n Enjoy your trip? \\n\",\n \" BRANDT \\n Mr. Pitt. \\n \\n Gordy just looks at him. \\n \\n BRANDT \\n I'm very sorry for your loss... I \\n lost people, too. \\n \\n PHIPPS \\n ... Mike was in the motorcade that \\n day... He's the chief U.S. \\n intelligence officer overseeing \\n Colombia. \\n \\n BRANDT\",\n \" Gordy stands, approaches. \\n \\n BRANDT \\n We asked you to leave it to us. \\n \\n GORDY \\n And you guys still haven't got \\n him. \\n \\n BRANDT \\n It's not over yet... The guys next \\n door are in The Wolf's elite \\n bodyguard unit. Where he goes, \\n they go. We're gonna ask\",\n \" Matt die, but now he can't do it. He's a firefighter. \\n He saves lives. If he kills Selena, Gordy crosses into \\n her world, into Brandt's world, into the brutal nightmare \\n destroying Colombia and all the places like it, and becomes \\n part of that sadness and death... And... \\n \\n Gordy relaxes the chokehold enough so she can breathe. \\n Selena gasps for air. The impulse to murder has left\"\n ],\n [\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" Hey, yo, dude, here's a seat, man! \\n \\n GORDY \\n No, that's okay -- \\n \\n But Armstrong's already throwing a bag off the bench. \\n \\n ARMSTRONG \\n I was hoping for someone I could \\n communicate with. \\n \\n He sees Gordy hasn't moved. \\n \\n ARMSTRONG \\n Only room's at the back near the\",\n \" In here, the MUSIC'S LOUD ROCK 'N' ROLL. Gringo music \\n for a gringo bar. The place is busy, with plenty of \\n local \\\"hostesses\\\" for the men. Even Armstrong, standing \\n half-crocked at the bar, is flanked by two scantily-clad \\n women. He's got a spoon hanging off his nose. So does one \\n of the girls. Armstrong's trying to hang a spoon on the \\n other. \\n\",\n \" Whereupon Armstrong shouts drunkenly at Gordy -- \\n \\n ARMSTRONG \\n Police catch you trying to steal \\n my hat, you asshole?! \\n \\n He staggers toward Gordy. Grabs the hat. \\n \\n ARMSTRONG \\n Fucking hat thief! \\n \\n Armstrong takes a drunken swing at Gordy, but... \\n \\n Instead of hitting Gordy, Armstrong accidentally-on-\",\n \" a spoon on. \\n \\n Gordy reaches the bar, snags the cap. Glances back, sees \\n the thin federale closing in, turns to run out the back, \\n when... \\n \\n A strong hand stops him. The hand belongs to the Fat \\n Federale. And now the thin federale's there, too, \\n wielding a stun gun where Gordy can see it. People in \\n the bar fall silent. Everyone but Armstrong, who's\",\n \" Beat. Armstrong sees the look on Gordy's face. By way \\n of a warning -- \\n \\n ARMSTRONG \\n If you can't kill them, don't even \\n talk to them. \\n \\n The GUERRILLAS are MURMURING in the other cell. One of \\n them LAUGHS. OFF Gordy, listening to the LAUGHING... \\n \\n\",\n \" Felix leads him towards a Land Cruiser. \\n \\n FELIX \\n Armstrong should have called \\n sooner. We don't like changes \\n here... If I didn't need the \\n equipment fixed, I'd send you \\n back. \\n \\n (CONTINUED) \\n \\n 67. \\n \\n 176 CONTINUED: 176 \\n \\n They reach the Land Cruiser. \\n\",\n \" hair, when... \\n \\n Gordy's eyes meet Brandt's. The two men hold the look \\n for a moment. If Brandt could speak, he'd be yelling at \\n Gordy to stop, not to go on. And Gordy knows it. But \\n Gordy's not stopping. Picks up Armstrong again and moves \\n off toward the waterfront. \\n \\n\",\n \" New York City. \\n \\n ARMSTRONG \\n I don't like New York City. \\n Buildings're too big. What kinda \\n work you in? \\n \\n GORDY \\n (hesitates, then) \\n Coffee. I buy beans. \\n \\n ARMSTRONG \\n Can't drink caffeine. Makes my \\n stomach do the rumba. I like that\",\n \" would ever go back. Caguan's in \\n the guerrilla zone run by the \\n E.L.C. E.L.C. as in 'Extra \\n Loathsome Communists.' They don't \\n care, and they kill. I'm going \\n there myself. But I have a 'get \\n outta jail free' card. \\n \\n Armstrong doffs his cap, undoes a safety pin securing a\",\n \" I'm not one of them. I'm here for \\n my own reasons. \\n \\n Selena watches him another moment. Decides he's telling \\n the truth. She reaches into a skirt pocket, then extends \\n her hand toward Gordy. He looks up. She's holding the \\n photo of Anne and Matt. Beat. Gordy takes the photo. \\n Looks at his wife and son. Selena sits next to him. \\n Another beat. Then, off the photo... \\n\",\n \" The ferry's the only means of travel south, and it's \\n packed. Gordy picks his way through. The only other \\n gringo on the boat is a geek in a plaid shirt and gimme \\n hat that says \\\"Deerborn.\\\" The geek, PHILIP ARMSTRONG, \\n looks like a talker, and Gordy tries to avoid eye \\n contact. He's too late. \\n \\n ARMSTRONG\",\n \" ARMSTRONG \\n I'll call ahead and tell Felix I'm \\n not coming, and you're my \\n replacement. He'll meet you in \\n Caguan and take you to the \\n plantation... What do you know \\n about diesel engines? \\n \\n GORDY \\n All the fire trucks are diesels. \\n \\n ARMSTRONG \\n You'll have to be Austrian, eh?\",\n \" relieve the muscle-tearing strain on his arm. \\n \\n \\n 230 ABOVE GORDY'S WORLD 230 \\n \\n the Suburban passes the \\\"Cine.\\\" The movie's over, just \\n letting out. \\n \\n 231 EXT. GUERRILLA HOUSE - NIGHT 231 \\n \\n The Suburban pulls up to the well-guarded house Gordy saw\",\n \" We can fix anything, but these \\n keep dying on us... You'll start \\n now. I'll have tools brought to \\n you. \\n (beat) \\n Armstrong's a magician with them. \\n Let's hope you have his skill. \\n \\n Felix walks over to a guerrilla with an AK-47 and speaks \\n to him. Then goes. Whereupon the guerrilla crosses to \\n Gordy and takes up a sentry position over him. \\n\",\n \" Armstrong carefully returns the card to the hat. And now \\n his voice takes on a noticeably more measured tone -- \\n \\n ARMSTRONG \\n If you don't have one of these, \\n you don't want to be up there, \\n Gordy. \\n \\n Beat. Gordy's contemplating the warning, when his eyes \\n go to a small, sleepy boy standing nearby on the cramped \\n deck, leaning against his father. Gordy reaches over and\",\n \" licking at him, but Gordy's undeterred. He heaves again, \\n and... \\n \\n This time, the door gives. Gordy picks up Armstrong's \\n cap, then picks up Armstrong, who's starting to come \\n around. Puts Armstrong over his shoulders in a fireman's \\n carry. \\n \\n GORDY \\n Don't breathe. \\n \\n ARMSTRONG \\n (weakly)\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" falls hard. Gets back to her feet quickly and starts to \\n run, when... \\n \\n Gordy hits her like a linebacker. Slams Selena against a \\n brick wall. Gets behind her and slips a mighty arm \\n around her thin neck. Selena squirms hard, kicks \\n backward, going for the balls, kneecaps, insteps, doing \\n whatever she can to hurt Gordy and get free. But she's\",\n \" clean, well-ordered office is nicely appointed, with a \\n big-screen Sony and leather furniture. The TV's TUNED TO \\n CNN. A photo on the wall depicts him as a younger man \\n wearing guerrilla cammies bearing with an ELC patch and \\n holding an AK-47. A brass nameplate reading \\\"Supervisor\\\" \\n rests on a neat desk, behind which stands the man himself \\n -- a hardened, former guerrilla fighter proud of his\"\n ],\n [\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" The laser indicates The Wolf. \\n \\n UPDEGRAF (O.S.) \\n -- is giving all the orders. \\n \\n BRANDT (O.S.) \\n ... I don't fucking believe it. \\n That lucky son-of-a-bitch found \\n The Wolf. \\n \\n UPDEGRAF (O.S.) \\n ... He's paying for it now. \\n \\n FOLLOW the laser TO:\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \"310 EXT. ELC JUNGLE VILLAGE 310 \\n \\n The village is a silent, smoking ruin. Everyone who \\n lived there is dead. Troops check the faces of the \\n bodies of the men against the freeze-frame of The Wolf \\n outside the Colombian consulate in New York. \\n \\n The L.O.H. lands. Brandt's met by the Ground Commander. \\n \\n (CONTINUED) \\n\",\n \" Selena flips through it. Stops at a photo. \\n \\n \\n 338 CLOSE ON PHOTO 338 \\n \\n It's of the redesigned lobby of Union Station. \\n \\n \\n 339 BACK TO SCENE 339 \\n \\n Selena glances up. \\n \\n SELENA \\n That's it! \\n \\n BRANDT\",\n \" GORDY \\n No problemo. \\n \\n Gordy peers out the window intently as they drive, \\n looking for a lucky break, looking for The Wolf, \\n searching the face of every man. He doesn't see The \\n Wolf, but what he does see surprises him. The ELC \\n Supervisor was right: Caguan's no Mompos. It's a third- \\n world town, armed troops are visible, and there's a lot\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" He takes a big breath and holds it. Mauro understands \\n and does the same. They go under. So does Selena. \\n \\n \\n 312 INT. L.O.H. 312 \\n \\n The Pilot scans the river with his night-vision goggles. \\n Brandt studies the night-vision monitor in front of him. \\n There's nothing but river. \\n \\n They zoom by the two fuel cans, but see nothing. \\n \\n\",\n \" He's alone with his frustration, with his rekindled \\n hatred and rage. OFF Gordy, glaring at the photo of The \\n Wolf on his wall... \\n \\n \\n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \\n CUSTOMS AREA - DAY \\n \\n Armed police lead Rottweilers through the newly-arrived\",\n \"343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \\n - DAY \\n \\n Selena watches as Phipps plays a surveillance video of \\n Union Station. Phipps suddenly freezes the image. Zooms \\n in on a man in the middle of the crowd. Claudio. \\n \\n PHIPPS \\n That's him, isn't it? \\n \\n SELENA\",\n \" Felix is just loose enough. \\n \\n FELIX \\n The Wolf, and they'll never catch \\n him. \\n \\n GORDY \\n Ever see him? \\n \\n FELIX \\n Once. \\n \\n GORDY \\n Where? \\n \\n FELIX \\n (beat; eyes Gordy) \\n If you know too much around here,\",\n \"236 INSIDE 236 \\n \\n is a group of ELC guerrillas, including the Beaten Man, \\n packing suitcases, etc. Leaving in a hurry. \\n \\n \\n 237 GORDY 237 \\n \\n scans the faces. Except for the Beaten Man, no face is \\n familiar. A man with his BACK TO us stands, and there's \\n nothing familiar about him, either. When... \\n \\n\",\n \" (hesitates, then) \\n Yes. \\n \\n PHIPPS \\n He was there yesterday. Just \\n stood there and left... So far, \\n the dogs haven't found anything, \\n so maybe we're ahead of him. \\n \\n BRANDT \\n What's he waiting for? \\n \\n SELENA \\n He takes his time. Like he told \\n you, he enjoys it.\",\n \" When Gordy glances back, Armstrong is gone. \\n \\n \\n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \\n \\n Gordy disembarks amid the throng of passengers, when the \\n FAT FEDERALE confronts him. \\n \\n FAT FEDERALE \\n Senor Pitt? \\n \\n Gordy looks up in surprise at him and the thin federale \\n backing him up. \\n\",\n \" would ever go back. Caguan's in \\n the guerrilla zone run by the \\n E.L.C. E.L.C. as in 'Extra \\n Loathsome Communists.' They don't \\n care, and they kill. I'm going \\n there myself. But I have a 'get \\n outta jail free' card. \\n \\n Armstrong doffs his cap, undoes a safety pin securing a\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" They reach the storeroom. Water's pouring out under the \\n door. Felix unlocks the door and opens it to find... \\n \\n \\n 224 INT. STOREROOM 224 \\n \\n Gordy's gone. The Beaten Man signals two men to go out \\n the hole. To the other man -- \\n \\n BEATEN MAN \\n (in Spanish) \\n Organize the others. Find him. \\n\",\n \" Claudio. \\n \\n (CONTINUED) \\n \\n 91. \\n \\n 261 CONTINUED: 261 \\n \\n The Wolf glances over. Meets her eyes a moment. Sees \\n the photo in her hand. Glances up into her eyes again. \\n They hold the look. A whole conversation exchanged \\n without words. Then The Wolf turns back to Gordy, lying\"\n ],\n [\n \" Selena flips through it. Stops at a photo. \\n \\n \\n 338 CLOSE ON PHOTO 338 \\n \\n It's of the redesigned lobby of Union Station. \\n \\n \\n 339 BACK TO SCENE 339 \\n \\n Selena glances up. \\n \\n SELENA \\n That's it! \\n \\n BRANDT\",\n \" - DAY \\n \\n Phipps flips to the last photo in the book. \\n \\n SELENA \\n ... No... \\n \\n He reaches for another book. As he does, he topples a \\n stack. Selena's eyes fix on one book cover. \\n \\n SELENA \\n He had that book! Let me see it! \\n \\n Phipps hands it to her. It's a guidebook to Washington.\",\n \" I'm not one of them. I'm here for \\n my own reasons. \\n \\n Selena watches him another moment. Decides he's telling \\n the truth. She reaches into a skirt pocket, then extends \\n her hand toward Gordy. He looks up. She's holding the \\n photo of Anne and Matt. Beat. Gordy takes the photo. \\n Looks at his wife and son. Selena sits next to him. \\n Another beat. Then, off the photo... \\n\",\n \" falls hard. Gets back to her feet quickly and starts to \\n run, when... \\n \\n Gordy hits her like a linebacker. Slams Selena against a \\n brick wall. Gets behind her and slips a mighty arm \\n around her thin neck. Selena squirms hard, kicks \\n backward, going for the balls, kneecaps, insteps, doing \\n whatever she can to hurt Gordy and get free. But she's\",\n \" Beat. Selena's overwhelmed by the experience of seeing \\n her husband on the tape, by her betrayal of him. She \\n grows queasy. Leans on the table for support. \\n \\n PHIPPS \\n Are you okay? \\n \\n (CONTINUED) \\n \\n 118. \\n \\n 343 CONTINUED: 343 \\n \\n SELENA\",\n \" renovation. Without stopping, she tears through the \\n plastic covering the doorway to seal in dust from the \\n rest of the house. She topples what she can into \\n Gordy's way. Throws nails down behind her. Grabs a \\n circular saw and hurls it back at Gordy, just missing him \\n and shattering a large wall mirror. \\n \\n Selena's a soldier, taught to pick up and use whatever \\n weapons she finds as she moves through a battlefield --\",\n \" The fire escape ends at a top floor window. Selena \\n BREAKS out the GLASS with the crowbar and goes in. \\n \\n \\n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \\n \\n Selena's in a teenager's bedroom. The teenager's got \\n headphones on, oblivious to everything. Selena darts \\n through a bathroom into a second bedroom. \\n \\n\",\n \" The chopper door opens. Brandt's inside. \\n \\n \\n 325 INT. BLACKHAWK - MOMENTS LATER 325 \\n \\n Everyone's aboard and buckled in. Everyone's tired. The \\n chopper lifts off. Selena's glaring at Brandt, who \\n pushes a headset at her, shouts over the ENGINE WHINE -- \\n \\n BRANDT\",\n \" Who are you? What are you doing \\n in here? \\n \\n \\n 399 SELENA 399 \\n \\n sees an open rooftop door at the top of a flight of \\n stairs and charges upward without answering. \\n \\n \\n 400 GORDY'S 400 \\n \\n in the hallway a second later. Meets the Woman In \\n Gardening Clothes, who's now come up the stairs. She\",\n \"391 SELENA 391 \\n \\n blows through a swinging door into the kitchen, slamming \\n into a Hispanic maid, who's coming to investigate all \\n the noise. Both women tumble. Selena gets right back \\n on her feet. She breaks out a window with the crowbar \\n and exits onto a fire escape as Gordy blasts in from the \\n dining room. \\n \\n\",\n \" breaks toward an open door of the house. \\n \\n \\n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \\n \\n Selena blasts into the bottom floor, runs through a \\n playroom. Gordy's right behind her. \\n \\n \\n 387 SELENA 387 \\n \\n mounts a stairwell. A girl's descending. Selena grabs a\",\n \" 115. \\n \\n 333 CONTINUED: 333 \\n \\n SELENA \\n No... No... No... \\n \\n That book's done. \\n \\n SELENA \\n I'm sorry. \\n \\n PHIPPS \\n That's okay. \\n \\n He grabs another. Opens it to the first photo. \\n\",\n \" Selena hesitates, choking back her emotions. \\n \\n SELENA \\n ... my baby girl was hit by \\n shrapnel... she bled to death in \\n Claudio's arms. \\n \\n She looks into Gordy's eyes. The look says she \\n understands and shares Gordy's pain because she's \\n suffered her own painful loss. She looks away again. \\n \\n (CONTINUED) \\n\",\n \" But Mauro squirms free, and immediately, Mauro runs back \\n to his mother. Selena uses sign language to tell him \\n everything's okay. OFF Gordy's surprised look -- \\n \\n SELENA \\n He can't hear or speak. \\n \\n Gordy just looks at them a moment. Then moves to Selena. \\n Re: Mauro, as Gordy examines her arm -- \\n \\n SELENA\",\n \" Matt die, but now he can't do it. He's a firefighter. \\n He saves lives. If he kills Selena, Gordy crosses into \\n her world, into Brandt's world, into the brutal nightmare \\n destroying Colombia and all the places like it, and becomes \\n part of that sadness and death... And... \\n \\n Gordy relaxes the chokehold enough so she can breathe. \\n Selena gasps for air. The impulse to murder has left\",\n \" well-trained and determined firefighter. And \\n he's not far back. One tumble, and he'll catch her. \\n Selena strains harder. \\n \\n \\n 404 SELENA 404 \\n \\n vaults a gap. Moments later, Gordy vaults it. \\n \\n 405 SELENA 405 \\n \\n finally runs out of roof. She looks down. A fire escape\",\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" I'm sorry... I think I'm going to \\n be sick. \\n \\n Brandt opens a door to a bathroom. \\n \\n BRANDT \\n In here. \\n \\n Selena grabs her pack and rushes in. When the door's \\n closed, Phipps turns to Dray, indicates monitor. \\n \\n PHIPPS \\n Get copies of this freeze frame to \\n all the undercover people and the\",\n \" The black becomes a BLUR. The BLUR becomes a hazy \\n glimpse of Selena. She's sitting on the metal bed frame \\n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \\n it's made by SEA SHELLS that dangle from a bracelet on \\n Selena's wrist. The shells knock together as she washes \\n Gordy's wounds. \\n \\n (CONTINUED) \\n\",\n \" He's a war orphan. I adopted him. \\n \\n Beat. Gordy finishes checking the bullet wound. \\n \\n GORDY \\n You're lucky. \\n \\n He uses part of his shirt to make a pressure bandage. As \\n he ties it around Selena's arm, she looks around. \\n \\n SELENA \\n I know where we are. There's a \\n secret trail nearby that leads\"\n ],\n [\n \" SHOOTS Claudio dead from the mouth of the alleyway down \\n the block. The first SHOT CRACKS the back of Claudio's \\n helmet. The second SHOT punches through and exits his \\n visor in a bright red mist of blood. \\n \\n \\n 378 SELENA 378 \\n \\n bolts. \\n \\n \\n 379 GORDY 379 \\n \\n goes after her. \\n\",\n \" the middle of the back and explodes her heart on its way \\n through her body. She's dead on her feet. Her body \\n crumples to the ground and empties its blood in a large \\n pool that quickly spreads over the slate. \\n \\n \\n 416 OTHER AGENTS 416 \\n \\n move in to help the guard as Phipps holsters his pistol. \\n He walks to Gordy. The two men share a long, silent\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \"414 NEW ANGLE 414 \\n \\n The GUN FIRES, just as the crowbar hits Selena, spoiling \\n her aim. The bullet creases the guard's arm. Selena \\n recovers. And the next BULLET... \\n \\n \\n 415 ANOTHER ANGLE 415 \\n \\n Isn't hers. It's from Phipps' GUN. It takes Selena in\",\n \" Quickly lashes it on with some wire. Then cranks on the \\n master valve. High-pressure water streams from the hose. \\n \\n Gordy sneaks a peek out the window. The Beaten Man's \\n still questioning Felix. The sound of the hose water is \\n being covered by the DIESELS. \\n \\n Gordy crosses the room, extending the hose to the hole \\n he's made in the wall. He aims the stream at the hole.\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" and fluttered to the ground nearby. The woman picks it \\n up, and we see... \\n \\n It's the photo of Anne and Matt. \\n \\n The woman stares at the photo a moment, as... \\n \\n Gordy absorbs another blow. He tries to stand. \\n \\n GORDY \\n You killed my wife and son -- \\n \\n Whack! The Wolf slams the butt of an AK-47 against\",\n \" But that's not what Selena's thinking. She attacks with \\n the crowbar, and Gordy can only retreat in the face of \\n the vicious onslaught. He finds a nearby garbage can. \\n It's full, heavy, but he manages to lift it, spilling \\n garbage as he uses the can to block the blows from the \\n crowbar. The CROWBAR THWOCKS into the can over and over, \\n the sound ECHOING LOUDLY in the small courtyard.\",\n \" Gordy runs out. Phipps and others follow. OFF Brandt... \\n \\n \\n 356 INT. BATHROOM 356 \\n \\n Brandt bursts in. He searches. Finds Mauro's leather \\n doll behind the toilet. The head's detached. Brandt \\n looks inside, and... \\n \\n We see a block of reddish Semtex plastic explosive and a \\n chemical fuse. \\n \\n BRANDT\",\n \" toward them and yelling. \\n \\n GORDY \\n Get back! \\n \\n \\n 253 INSERT - GRENADE 253 \\n \\n The rubber bands are about to break. \\n \\n \\n 254 BACK TO SCENE 254 \\n \\n The Woman sees Gordy. Screams toward the house -- \\n \\n WOMAN \\n Claudio!! \\n \\n\",\n \" his spine and between his shoulder blades. Gordy lets go \\n of Claudio and drops. Selena's relentless, kicks Gordy \\n repeatedly as... \\n \\n \\n 376 CLAUDIO 376 \\n \\n gets the pistol. Turns. Aims the gun two-handed at \\n Gordy's head, and BANG! \\n \\n \\n 377 DRAY 377 \\n\",\n \"411 ANOTHER ANGLE 41 \\n \\n In the same moment, Gordy grabs the crowbar from the \\n ground. \\n \\n \\n 412 SELENA 412 \\n \\n flicks off the safety and points the gun again. \\n \\n \\n 413 GORDY 413 \\n \\n hurls the crowbar with all his might, and... \\n \\n\",\n \" screams. Swipes at him with the digging tool, making \\n three deep scratches in his face. Gordy doesn't stop. \\n \\n \\n 401 OMITTED 401 \\n \\n \\n 402 EXT. TOWN HOUSE - ROOF/ADJOINING ROOFTOPS 402 \\n \\n This is where the woman was gardening, tending a rooftop\",\n \" is scratch. But Gordy's oblivious. They're alone in the \\n courtyard. Body to body. Head to head. He's pumped \\n with fury and hatred. He tightens the chokehold. Hisses \\n in her ear -- \\n \\n GORDY \\n You killed them. \\n \\n SELENA \\n (beat; with \\n contempt) \\n One woman, one boy -- they mean\",\n \"391 SELENA 391 \\n \\n blows through a swinging door into the kitchen, slamming \\n into a Hispanic maid, who's coming to investigate all \\n the noise. Both women tumble. Selena gets right back \\n on her feet. She breaks out a window with the crowbar \\n and exits onto a fire escape as Gordy blasts in from the \\n dining room. \\n \\n\",\n \" falls hard. Gets back to her feet quickly and starts to \\n run, when... \\n \\n Gordy hits her like a linebacker. Slams Selena against a \\n brick wall. Gets behind her and slips a mighty arm \\n around her thin neck. Selena squirms hard, kicks \\n backward, going for the balls, kneecaps, insteps, doing \\n whatever she can to hurt Gordy and get free. But she's\",\n \" renovation. Without stopping, she tears through the \\n plastic covering the doorway to seal in dust from the \\n rest of the house. She topples what she can into \\n Gordy's way. Throws nails down behind her. Grabs a \\n circular saw and hurls it back at Gordy, just missing him \\n and shattering a large wall mirror. \\n \\n Selena's a soldier, taught to pick up and use whatever \\n weapons she finds as she moves through a battlefield --\",\n \" a spoon on. \\n \\n Gordy reaches the bar, snags the cap. Glances back, sees \\n the thin federale closing in, turns to run out the back, \\n when... \\n \\n A strong hand stops him. The hand belongs to the Fat \\n Federale. And now the thin federale's there, too, \\n wielding a stun gun where Gordy can see it. People in \\n the bar fall silent. Everyone but Armstrong, who's\",\n \" (hesitates, then) \\n Yes. \\n \\n PHIPPS \\n He was there yesterday. Just \\n stood there and left... So far, \\n the dogs haven't found anything, \\n so maybe we're ahead of him. \\n \\n BRANDT \\n What's he waiting for? \\n \\n SELENA \\n He takes his time. Like he told \\n you, he enjoys it.\"\n ],\n [\n \" Gordy turns to them. Looks into the faces of these men, \\n the people closest to him in the world. Beat. Then -- \\n \\n GORDY \\n It's good to be home. \\n \\n Gordy's still in pain, still missing the wife and son \\n he'll never see again. But Gordy's gonna be alright. \\n \\n Mauro's gonna be with him. There'll be fires to put out\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" NATIONAL SECURITY ADVISOR (V.O.) \\n ... At this time, we believe the \\n man responsible for carrying out \\n the New York bombing, the \\n terrorist known as The Wolf, is \\n among the enemy dead. \\n \\n \\n 79 NEW ANGLE 79 \\n \\n Big cheers now. Toasts all around. Everyone in the \\n place is happy for Gordy, who sits there a moment trying\",\n \" licking at him, but Gordy's undeterred. He heaves again, \\n and... \\n \\n This time, the door gives. Gordy picks up Armstrong's \\n cap, then picks up Armstrong, who's starting to come \\n around. Puts Armstrong over his shoulders in a fireman's \\n carry. \\n \\n GORDY \\n Don't breathe. \\n \\n ARMSTRONG \\n (weakly)\",\n \" and lives to save and basketball games and the multitude \\n of miseries and joys the firefighters in Spanish Harlem \\n see each and every day. \\n \\n As we PULL BACK, OUT and AWAY from the old brick edifice \\n from which the big red truck will come, bringing help... \\n \\n \\n FADE OUT. \\n \\n \\n THE END \\n \\n\",\n \" Feet jam into boots. Yellow trousers are hauled up and \\n hitched with suspenders. \\n \\n Yellow jackets are whipped on. \\n \\n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \\n \\n Firefighters take their stations on the truck. Headsets \\n go on. As the fire company's lieutenant, Gordy rides \\n shotgun. The chauffeur hands him the printout. As the\",\n \" two men can't go have a beer and \\n look at women's breasts because \\n of pink elephants?... Nothing \\n makes any sense down here. \\n \\n (CONTINUED) \\n \\n 79. \\n \\n 206 CONTINUED: 206 \\n \\n Felix pulls out his .9mm. Gordy doesn't blink an eye. \\n \\n GORDY\",\n \" night. And then, I don't care if \\n there's a typhoon, I want those \\n fucking rotors turning. \\n \\n Beat. Updegraf goes. Brandt crumples the fax and \\n pitches it. Then sees he got fax ink on his hands. OFF \\n Brandt, holding his mitts out in the rain, trying to wash \\n off the stains... \\n \\n\",\n \" in position, his leg still bowing the line. \\n \\n (CONTINUED) \\n \\n 48. \\n \\n 117 CONTINUED: 117 \\n \\n Using the Zippo again to light his way, Gordy advances to \\n the young man. He follows the trip wire to where a Coca- \\n Cola can hangs from a nearby tree. On closer inspection,\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" a spoon on. \\n \\n Gordy reaches the bar, snags the cap. Glances back, sees \\n the thin federale closing in, turns to run out the back, \\n when... \\n \\n A strong hand stops him. The hand belongs to the Fat \\n Federale. And now the thin federale's there, too, \\n wielding a stun gun where Gordy can see it. People in \\n the bar fall silent. Everyone but Armstrong, who's\",\n \" Gordy takes it. Just sits there a long moment, then -- \\n \\n GORDY \\n What kind of twisted people do \\n things like this? \\n \\n Beat. Brandt and Phipps don't have an answer. \\n \\n 27. \\n \\n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \\n \\n Gordy talks to a Latin reporter, ERNIE OROSCO. \\n\",\n \" and fluttered to the ground nearby. The woman picks it \\n up, and we see... \\n \\n It's the photo of Anne and Matt. \\n \\n The woman stares at the photo a moment, as... \\n \\n Gordy absorbs another blow. He tries to stand. \\n \\n GORDY \\n You killed my wife and son -- \\n \\n Whack! The Wolf slams the butt of an AK-47 against\",\n \" Gordy slips into the bar. Spots Armstrong through the \\n crowd. Sees Armstrong's not wearing his cap, when... \\n \\n The girl with the spoon on her nose turns slightly, \\n revealing she's wearing the cap. It's on backwards, but \\n now Gordy can see the \\\"Deerborn\\\" logo clearly. \\n \\n Gordy wants the guerrilla travel pass inside the cap. \\n It's a desperate move, but he's got no choice. Starts\",\n \" As he readjusts his shirt to cover the spoon... \\n \\n \\n 215 EXT. PLANTATION - DIESEL GENERATORS - NIGHT 215 \\n \\n Felix is right there supervising for himself as Gordy \\n finishes working. Gordy stands. He stares hopefully at \\n the MACHINE. Then pushes the starter, and... VRROOM! \\n The heat lights in the second row of sheds brighten. \\n\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" 30. \\n \\n 76 CONTINUED: 76 \\n \\n MIKE \\n Hey, we never turned down free \\n beer, and rookie's buying, you \\n believe that? He certified today, \\n he's off probation. \\n \\n GORDY \\n (still looking at \\n wall) \\n Ronnie couldn't find a fire with \\n both hands.\",\n \" Gordy raises the can. Thwock! Thwock! The can's all \\n dents. There's garbage everywhere. She feints high and \\n then swings low again, a wicked blow to the knee. Gordy \\n stumbles badly this time. Selena breaks for the gate. \\n Gordy sees her and, with all his might slings the can \\n across the slate pavers, and... \\n \\n The can takes Selena's legs out from under her. She\",\n \" Gordy barely avoids being seen as the guerrillas cross \\n the room. At the bar, the bartender puts out two crates \\n of beer. The guerrillas take the beer and head out. No \\n money's changed hands. When they're gone, to Felix -- \\n \\n GORDY \\n We'd better get back, huh? \\n \\n FELIX \\n (checks his watch) \\n ... Shit. It's late.\"\n ],\n [\n \" waves back, shrugs an apology to Anne as he starts across \\n the street, when... \\n \\n \\n 36 INTENSE FLASH 36 \\n \\n suddenly lights up the intersection. \\n \\n In SLOW MOTION: \\n \\n \\n 37 SHOCK WAVE 37 \\n \\n wave rolls up 68th past Madison... \\n \\n \\n 38 HUGE BALL OF FLAME 38 \\n\",\n \" Phipps addresses Gordy. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. \\n \\n JUMP CUT: \\n \\n \\n 350 CONTINUE FLASHBACK 350 \\n \\n PHIPPS \\n Did you see a cell phone when you \\n ran into him? \\n \\n GORDY \\n No. \\n \\n\",\n \" Boom! An ENORMOUS EXPLOSION. And... \\n \\n 43. \\n \\n 102 EXT./INT. CHIVA - NIGHT 102 \\n \\n Gordy bolts awake from the nightmare with a scream. He \\n looks around at the startled faces in the crowded bus, \\n unsure where he is for a moment before he gets his \\n bearings. The dream lingers, depressing him. \\n \\n\",\n \" The cop tickets a vehicle, then walks west out of frame. \\n \\n PHIPPS \\n The bomb's in the cart. \\n \\n \\n 56 PHIPPS 56 \\n \\n reverses the video, freeze-frames on the cop. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. The guy doesn't \\n have one in his hands here. Did \\n you see a cell phone when you ran\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" son. \\n \\n \\n 59 INT. LIVING ROOM - NIGHT 59 \\n \\n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \\n slumped in a chair. \\n \\n \\n 60 NEWS ANCHOR 60 \\n \\n NEWS ANCHOR (V.O.) \\n ... The bombing that left a mother \\n and son dead and New York City\",\n \" erupts behind Anne and Matt... \\n \\n We hear the ENORMOUS BANG of the explosion... \\n \\n 12. \\n \\n 39 WINDOWS 39 \\n \\n are sucked into millions of fragments, a hailstorm of \\n glass... \\n \\n \\n 40 GREAT CHUNK OF METAL 40 \\n \\n -- an engine block -- flies from the ball of flame... \\n \\n\",\n \"250 BACK TO SCENE (PRESENT) 250 \\n \\n Gordy sees the Woman pull the boy close to her, lovingly. \\n \\n \\n 251 FLASHBACK - NEW YORK 251 \\n \\n The BOMB EXPLODES, and Anne moves to protect Matt. \\n \\n \\n 252 CLOSE ON GORDY (PRESENT) 252 \\n\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" go in the tubes on the truck. WHUMP, WHUMP. \\n \\n \\n 152 ANOTHER ANGLE 152 \\n \\n BOOM! BOOM! BOOM! A water tower, the Mompos fire \\n station and the town's power supply are direct hits. \\n \\n WHUMP, WHUMP, WHUMP... \\n \\n \\n 153 INT. JAIL - CELLS 153 \\n\",\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" the blast-hole. \\n \\n OLDER MAN \\n Mina. \\n \\n Gordy realizes the old man's saying \\\"land mine.\\\" To the \\n young woman -- \\n \\n GORDY \\n No! \\n \\n Gordy moves to catch her. Just manages to stop her as \\n she reaches the far bank. Gordy points to where the land \\n mine detonated. \\n \\n GORDY\",\n \"258 GORDY 258 \\n \\n reaches the Woman and Boy now. Pulls them down. Covers \\n them protectively with his body, when... \\n \\n \\n 259 NEW ANGLE 259 \\n \\n KA-BOOM! A gigantic EXPLOSION lights up the night and \\n utterly destroys the house. \\n \\n 90. \\n\",\n \"361 EXT. BUILDING'S TOP FLOOR 361 \\n \\n BOOM! A MASSIVE EXPLOSION spits flame out of the windows \\n of the building's top floor. \\n \\n \\n 362 PEOPLE 362 \\n \\n dive for cover. Debris showers the street. \\n \\n \\n 363 GORDY 363 \\n \\n keeps moving. \\n\",\n \" in that spot. And steps onto it. \\n \\n Searching the ground and scratching at it with the \\n machete before each step, Gordy inches toward the Man in \\n the Yankees Cap. Three steps from the river... \\n \\n (CONTINUED) \\n \\n 47. \\n \\n 115 CONTINUED: 115 \\n \\n He finds a small, round anti-personnel mine the size of a\",\n \" into him? \\n \\n GORDY \\n ... No. \\n \\n PHIPPS \\n How much time passed between then \\n and the explosion? \\n \\n GORDY \\n ... Seconds... Five, ten... \\n \\n PHIPPS \\n We think maybe he got into the \\n brown Ford. You see him then? \\n \\n GORDY \\n All I cared about was getting to\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" the grenade before it drops to the road. And then... \\n \\n Carefully, slowly -- praying that each bump doesn't jar \\n the grenade off the pin -- with his other arm shaking and \\n screaming in pain as he maintains a grip on the transfer \\n case -- Gordy eases the grenade back onto his stomach, \\n where he gets a better grip. Jams the grenade back. \\n Then grabs onto the undercarriage once more, in time to\",\n \" Colombia,' unquote... Two \\n Colombian officials and an \\n American military officer died \\n in last Thursday's blast. Also \\n killed were Anne Pitt, wife of a \\n New York City firefighter, and \\n their only child, four-year-old \\n Matt... The President has vowed \\n that the United States will avenge \\n what he called 'this monstrous act \\n of barbarism and cowardice'...\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\"\n ],\n [\n \" Felix is just loose enough. \\n \\n FELIX \\n The Wolf, and they'll never catch \\n him. \\n \\n GORDY \\n Ever see him? \\n \\n FELIX \\n Once. \\n \\n GORDY \\n Where? \\n \\n FELIX \\n (beat; eyes Gordy) \\n If you know too much around here,\",\n \" GORDY \\n No problemo. \\n \\n Gordy peers out the window intently as they drive, \\n looking for a lucky break, looking for The Wolf, \\n searching the face of every man. He doesn't see The \\n Wolf, but what he does see surprises him. The ELC \\n Supervisor was right: Caguan's no Mompos. It's a third- \\n world town, armed troops are visible, and there's a lot\",\n \" Claudio. \\n \\n (CONTINUED) \\n \\n 91. \\n \\n 261 CONTINUED: 261 \\n \\n The Wolf glances over. Meets her eyes a moment. Sees \\n the photo in her hand. Glances up into her eyes again. \\n They hold the look. A whole conversation exchanged \\n without words. Then The Wolf turns back to Gordy, lying\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" THE WOLF \\n You bastard! \\n \\n The Wolf's alive and unhurt. Angrily punts Gordy again. \\n \\n THE WOLF \\n You think you can kill The Wolf?! \\n \\n A boot in the face this time. \\n \\n THE WOLF \\n You think you can kill The Wolf?! \\n \\n A piece of paper has fallen from one of Gordy's pockets\",\n \" The laser indicates The Wolf. \\n \\n UPDEGRAF (O.S.) \\n -- is giving all the orders. \\n \\n BRANDT (O.S.) \\n ... I don't fucking believe it. \\n That lucky son-of-a-bitch found \\n The Wolf. \\n \\n UPDEGRAF (O.S.) \\n ... He's paying for it now. \\n \\n FOLLOW the laser TO:\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" He's alone with his frustration, with his rekindled \\n hatred and rage. OFF Gordy, glaring at the photo of The \\n Wolf on his wall... \\n \\n \\n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \\n CUSTOMS AREA - DAY \\n \\n Armed police lead Rottweilers through the newly-arrived\",\n \" Beat. Gordy sits. \\n \\n GORDY \\n The Wolf killed my wife and son \\n in New York. \\n \\n (CONTINUED) \\n \\n 59. \\n \\n 145 CONTINUED: 145 \\n \\n ARMSTRONG \\n ... Oh, you're that guy, eh? I'm \\n sorry, man... And what, you came\",\n \" The Wolf slaps his palm for emphasis. \\n \\n THE WOLF (V.O.) \\n ... Venceremos. \\n \\n The tape ends. Mike shakes his head. \\n \\n MIKE \\n This guy, Quaddafi, that Bin \\n Laden... We never get these \\n assholes. \\n \\n OFF Gordy, his spark of life suddenly extinguished... \\n \\n\",\n \" wearing a camo floppy hat and a hunter's mesh face mask \\n with a strange-smiling face painted on it in camo earth \\n tones. The Wolf's body is hidden shadow, the voice \\n digitally altered to a deep bass growl. \\n \\n THE WOLF (V.O.) \\n You thought you killed me. You \\n didn't. I'm still here... \\n \\n We see Gordy's demeanor shift, retreating to the\",\n \"86 CONTINUED: 86 \\n \\n IMMIGRATION SUPERIOR \\n It's The Wolf you're after, yes? \\n \\n Gordy stops, turns back. He says nothing, but the look \\n on his face speaks volumes. \\n \\n IMMIGRATION SUPERIOR \\n ... Then I've just done you a \\n bigger favor than you know. \\n\",\n \"177 CONTINUED: 177 \\n \\n A long beat. The ELC Supervisor hands the travel pass \\n back to Gordy. In a hard tone to Felix -- \\n \\n ELC SUPERVISOR \\n (in Spanish) \\n He's your responsibility. Don't \\n let him out of your sight. \\n \\n FELIX \\n Si. Gracias. \\n\",\n \" Don't worry, Mr. Pitt, we're gonna \\n get the son-of-a-bitch. \\n \\n GORDY \\n You know where he is? \\n \\n BRANDT \\n We believe The Wolf's in hiding \\n in an area of Colombia controlled \\n by the E.L.C., extreme Marxist \\n guerrillas... He thinks he's in \\n a safe haven. \\n\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" slides the pistol into his shoulder holster. He checks \\n his watch. Loud, to Updegraf -- \\n \\n BRANDT \\n It's time to make The Wolf howl. \\n \\n He takes a last drag on his cigarette, passes the butt to \\n Updegraf to finish and gets in the rear of the L.O.H. as \\n Updegraf scoots clear. \\n \\n \\n 283 L.O.H. 283 \\n\",\n \" Gordy stands, approaches. \\n \\n BRANDT \\n We asked you to leave it to us. \\n \\n GORDY \\n And you guys still haven't got \\n him. \\n \\n BRANDT \\n It's not over yet... The guys next \\n door are in The Wolf's elite \\n bodyguard unit. Where he goes, \\n they go. We're gonna ask\",\n \" GUERRILLA \\n Bath time... You stink, gringo. \\n \\n The guerrillas laugh. Gordy throws the soap in the mud. \\n Gets to his feet. Points his face up into the soothing \\n rain... When he hears ARGUING and looks over to see... \\n \\n \\n 272 WOLF AND SELENA 272 \\n \\n are inside a small house nearby, obviously fighting about\",\n \" SELENA \\n No... \\n \\n \\n 334 INT. LATIN AMERICAN INSTITUTE - \\\"THE WOLF\\\" ROOM - DAY 334 \\n \\n A small conference room devoted to everything having to \\n do with the interagency interest in The Wolf. Photos of \\n evidence, time lines, charts, etc. cover the walls. \\n \\n Gordy's tired, being debriefed by two FBI AGENTS. \\n\"\n ],\n [\n \" Gordy can see the can is sleeved around a grenade. \\n There's no pin in the grenade. The can keeps the \\n grenade's arming spoon in place. The trip wire's \\n designed to yank the can off, allowing the grenade to \\n explode at chest level... And the can's almost off. \\n \\n Gordy burns through the monofilament trip wire. Then \\n carefully slides the Coke can back over the grenade. \\n \\n\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" Gordy runs out. Phipps and others follow. OFF Brandt... \\n \\n \\n 356 INT. BATHROOM 356 \\n \\n Brandt bursts in. He searches. Finds Mauro's leather \\n doll behind the toilet. The head's detached. Brandt \\n looks inside, and... \\n \\n We see a block of reddish Semtex plastic explosive and a \\n chemical fuse. \\n \\n BRANDT\",\n \" Gordy pounds out the back of the bar into a littered \\n courtyard, where he's surrounded by ten-foot walls. \\n \\n \\n 133 FEDERALES 133 \\n \\n blast through the bar. \\n \\n \\n 134 GORDY 134 \\n \\n runs, jumps, launches off a beer keg, and... \\n \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \"179 CONTINUED: 179 \\n \\n FELIX \\n ... Coffee beans? Shit. \\n Armstrong didn't tell you much... \\n \\n \\n 180 INT./EXT. LAND CRUISER - PLANTATION - DAY 180 \\n \\n They approach a hacienda and outbuildings. The \\n accoutrements of agriculture are present -- tractors,\",\n \" Lighter fluid drops onto the rubber bands. Gordy \\n squeezes out as much as he can onto them. \\n \\n Then Gordy gets the hell out of there. He finds cover. \\n Ducks down. And waits. \\n \\n \\n 245 CLOSEUP - GRENADE 245 \\n \\n The lighter fluid is dissolving the rubber bands. \\n \\n \\n 246 BACK TO SCENE 246 \\n\",\n \" Spread out and drying beneath them is a half-acre or two \\n of converted cocaine. \\n \\n \\n 184 IN ANOTHER SHED 184 \\n \\n workers pack and wrap one-kilo bricks of coke for \\n shipment. \\n \\n 70. \\n \\n 185 GORDY AND FELIX 185 \\n \\n approach the two giant diesel generators. \\n \\n FELIX\",\n \" and we're blind. \\n \\n BRANDT \\n (beat; pissed) \\n Got any good news? \\n \\n UPDEGRAF \\n Yeah. The creeks are rivers \\n around Caguan. Unless The Wolf's \\n a fish, he's not moving... And \\n there's fresh coffee. \\n \\n BRANDT \\n Only good thing down here... Put \\n everyone on red till tomorrow\",\n \" it can get you killed. \\n \\n Gordy's gotten all he'll get from Felix. He feigns \\n nonchalance, smiles. \\n \\n GORDY \\n Tell me what doesn't get you \\n killed around here. \\n \\n Gordy takes a swig of beer. When... \\n \\n Gordy sees the Beaten Man from the jail in Mompos. The \\n man has just walked in with another guerrilla. \\n\",\n \" Quickly lashes it on with some wire. Then cranks on the \\n master valve. High-pressure water streams from the hose. \\n \\n Gordy sneaks a peek out the window. The Beaten Man's \\n still questioning Felix. The sound of the hose water is \\n being covered by the DIESELS. \\n \\n Gordy crosses the room, extending the hose to the hole \\n he's made in the wall. He aims the stream at the hole.\",\n \"155 EXT./INT. JAIL 155 \\n \\n KA-BOOM! The front door and wall of the jail \\n disintegrate under the multiple LAW attack. \\n \\n \\n 156 NEW ANGLE 156 \\n \\n Brandt, Rocha and the soldiers, approaching the front \\n door inside, are hammered by the massive concussion of \\n the BLAST and flung across the room, apparently dead. \\n \\n\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" 14. \\n \\n 47 CONTINUED: 47 \\n \\n DRAY \\n No one's talking yet, but it \\n smells high-level. There were \\n Colombians and Americans in the \\n cars. Three of 'em ate it. Guy \\n on the phone -- \\n \\n He indicates Brandt, talking on a cell phone. \\n \\n DRAY \\n -- is one of the survivors.\",\n \" Gordy drops out the bathroom window. \\n \\n \\n 209 EXT./INT. LAND CRUISER - MOMENTS LATER 209 \\n \\n Gordy gets the grenade from the tool box. He slides it \\n just inside the top of his pants, with the spoon hooked \\n over the waistband. He finds some wire. Then searches \\n for something else. Finds a piece of string and checks\",\n \" ARMSTRONG \\n I'll call ahead and tell Felix I'm \\n not coming, and you're my \\n replacement. He'll meet you in \\n Caguan and take you to the \\n plantation... What do you know \\n about diesel engines? \\n \\n GORDY \\n All the fire trucks are diesels. \\n \\n ARMSTRONG \\n You'll have to be Austrian, eh?\",\n \" moves to the door and tries it. It's definitely locked. \\n Through a small window, he can see the lights in the \\n sheds and the ever-vigilant nighttime ELC sentries \\n patrolling the grounds. The DIESELS ROAR in the b.g. \\n \\n Gordy turns back. Readjusts the grenade digging into his \\n belly, then hooks it back inside his pants. He turns off \\n the light. Moves to the adobe wall opposite the door.\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" Gordy screams out his agony -- \\n \\n GORDY \\n Noooooo!!! \\n \\n \\n 45 EXT. COLOMBIAN CONSULATE 45 \\n \\n The blast detonated here. Some men from the Navigators \\n are dead. MIKE BRANDT is not. Rises from the \\n devastation, gun in hand, as SIRENS wail in the distance. \\n \\n\"\n ],\n [\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" Where? \\n \\n She doesn't answer. \\n \\n GORDY \\n Where? \\n \\n SELENA \\n ... Washington D.C. \\n \\n GORDY \\n Where in Washington? \\n \\n SELENA \\n ... He had pictures of a \\n building... \\n \\n GORDY \\n Which building? \\n \\n SELENA\",\n \" 14. \\n \\n 47 CONTINUED: 47 \\n \\n DRAY \\n No one's talking yet, but it \\n smells high-level. There were \\n Colombians and Americans in the \\n cars. Three of 'em ate it. Guy \\n on the phone -- \\n \\n He indicates Brandt, talking on a cell phone. \\n \\n DRAY \\n -- is one of the survivors.\",\n \"310 EXT. ELC JUNGLE VILLAGE 310 \\n \\n The village is a silent, smoking ruin. Everyone who \\n lived there is dead. Troops check the faces of the \\n bodies of the men against the freeze-frame of The Wolf \\n outside the Colombian consulate in New York. \\n \\n The L.O.H. lands. Brandt's met by the Ground Commander. \\n \\n (CONTINUED) \\n\",\n \" GORDY \\n No problemo. \\n \\n Gordy peers out the window intently as they drive, \\n looking for a lucky break, looking for The Wolf, \\n searching the face of every man. He doesn't see The \\n Wolf, but what he does see surprises him. The ELC \\n Supervisor was right: Caguan's no Mompos. It's a third- \\n world town, armed troops are visible, and there's a lot\",\n \" Selena flips through it. Stops at a photo. \\n \\n \\n 338 CLOSE ON PHOTO 338 \\n \\n It's of the redesigned lobby of Union Station. \\n \\n \\n 339 BACK TO SCENE 339 \\n \\n Selena glances up. \\n \\n SELENA \\n That's it! \\n \\n BRANDT\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" Don't worry, Mr. Pitt, we're gonna \\n get the son-of-a-bitch. \\n \\n GORDY \\n You know where he is? \\n \\n BRANDT \\n We believe The Wolf's in hiding \\n in an area of Colombia controlled \\n by the E.L.C., extreme Marxist \\n guerrillas... He thinks he's in \\n a safe haven. \\n\",\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" NATIONAL SECURITY ADVISOR (V.O.) \\n ... At this time, we believe the \\n man responsible for carrying out \\n the New York bombing, the \\n terrorist known as The Wolf, is \\n among the enemy dead. \\n \\n \\n 79 NEW ANGLE 79 \\n \\n Big cheers now. Toasts all around. Everyone in the \\n place is happy for Gordy, who sits there a moment trying\",\n \" He's alone with his frustration, with his rekindled \\n hatred and rage. OFF Gordy, glaring at the photo of The \\n Wolf on his wall... \\n \\n \\n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \\n CUSTOMS AREA - DAY \\n \\n Armed police lead Rottweilers through the newly-arrived\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" and we're blind. \\n \\n BRANDT \\n (beat; pissed) \\n Got any good news? \\n \\n UPDEGRAF \\n Yeah. The creeks are rivers \\n around Caguan. Unless The Wolf's \\n a fish, he's not moving... And \\n there's fresh coffee. \\n \\n BRANDT \\n Only good thing down here... Put \\n everyone on red till tomorrow\",\n \"343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \\n - DAY \\n \\n Selena watches as Phipps plays a surveillance video of \\n Union Station. Phipps suddenly freezes the image. Zooms \\n in on a man in the middle of the crowd. Claudio. \\n \\n PHIPPS \\n That's him, isn't it? \\n \\n SELENA\",\n \" with earpieces patrol public structures. Some lead dogs \\n that sniff for explosives. \\n \\n 116. \\n \\n 336A EXT. WASHINGTON, D.C. - STREETS - DAY 336A \\n \\n Claudio weaves the Ducati through heavy traffic. \\n \\n \\n 337 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 337\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" SELENA \\n No... \\n \\n \\n 334 INT. LATIN AMERICAN INSTITUTE - \\\"THE WOLF\\\" ROOM - DAY 334 \\n \\n A small conference room devoted to everything having to \\n do with the interagency interest in The Wolf. Photos of \\n evidence, time lines, charts, etc. cover the walls. \\n \\n Gordy's tired, being debriefed by two FBI AGENTS. \\n\",\n \" would ever go back. Caguan's in \\n the guerrilla zone run by the \\n E.L.C. E.L.C. as in 'Extra \\n Loathsome Communists.' They don't \\n care, and they kill. I'm going \\n there myself. But I have a 'get \\n outta jail free' card. \\n \\n Armstrong doffs his cap, undoes a safety pin securing a\"\n ],\n [\n \" his spine and between his shoulder blades. Gordy lets go \\n of Claudio and drops. Selena's relentless, kicks Gordy \\n repeatedly as... \\n \\n \\n 376 CLAUDIO 376 \\n \\n gets the pistol. Turns. Aims the gun two-handed at \\n Gordy's head, and BANG! \\n \\n \\n 377 DRAY 377 \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" SHOOTS Claudio dead from the mouth of the alleyway down \\n the block. The first SHOT CRACKS the back of Claudio's \\n helmet. The second SHOT punches through and exits his \\n visor in a bright red mist of blood. \\n \\n \\n 378 SELENA 378 \\n \\n bolts. \\n \\n \\n 379 GORDY 379 \\n \\n goes after her. \\n\",\n \"417 CONTINUED: 417 \\n \\n BRANDT \\n We got the bitch. \\n \\n Gordy hits him. One of the jackhammer blows he slammed \\n into Claudio in the bunker. A hard fist deep in the gut \\n that drives all the wind from Brandt and drops him to his \\n knees. Beat. Gordy's voice is cold and hard -- \\n \\n GORDY\",\n \" He just manages to grab Selena and yank her off the bike. \\n \\n Selena's arms are wrapped around Claudio -- when Gordy \\n rips her out of the saddle, Claudio goes, too. The three \\n of them tumble to the ground as the speeding Ducati \\n spins, flips and disintegrates. \\n \\n 124. \\n \\n 374 CLAUDIO 374 \\n\",\n \" toward them and yelling. \\n \\n GORDY \\n Get back! \\n \\n \\n 253 INSERT - GRENADE 253 \\n \\n The rubber bands are about to break. \\n \\n \\n 254 BACK TO SCENE 254 \\n \\n The Woman sees Gordy. Screams toward the house -- \\n \\n WOMAN \\n Claudio!! \\n \\n\",\n \" Quickly lashes it on with some wire. Then cranks on the \\n master valve. High-pressure water streams from the hose. \\n \\n Gordy sneaks a peek out the window. The Beaten Man's \\n still questioning Felix. The sound of the hose water is \\n being covered by the DIESELS. \\n \\n Gordy crosses the room, extending the hose to the hole \\n he's made in the wall. He aims the stream at the hole.\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" is scratch. But Gordy's oblivious. They're alone in the \\n courtyard. Body to body. Head to head. He's pumped \\n with fury and hatred. He tightens the chokehold. Hisses \\n in her ear -- \\n \\n GORDY \\n You killed them. \\n \\n SELENA \\n (beat; with \\n contempt) \\n One woman, one boy -- they mean\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" He makes Gordy pay for the punches. Lands blow after \\n blow on Gordy's face. Beats the living shit out of \\n him... and leaves him unconscious on the dirt floor. \\n \\n \\n 263 BLACK 263 \\n \\n we hear a gentle CLACKING sound. It's unidentifiable. \\n \\n \\n 264 GORDY'S POV 264 \\n\",\n \" in leathers and a helmet. He takes the fall better than \\n Selena. Gets to his feet. Looks for the guns they \\n dropped. Before Claudio can get to a gun, Gordy's on \\n him. They grapple. Gordy pounds Claudio hard. Once. \\n Twice. When... \\n \\n \\n 375 SELENA 375 \\n \\n side-kicks Gordy. He sags. She front-kicks a heel into\",\n \" Claudio. \\n \\n (CONTINUED) \\n \\n 91. \\n \\n 261 CONTINUED: 261 \\n \\n The Wolf glances over. Meets her eyes a moment. Sees \\n the photo in her hand. Glances up into her eyes again. \\n They hold the look. A whole conversation exchanged \\n without words. Then The Wolf turns back to Gordy, lying\",\n \" Gordy's skull. Gordy drops hard. The Wolf reverses the \\n AK. Points it at Gordy's head, about to pull the \\n trigger, when... \\n \\n The Woman lays a hand on The Wolf's arm. \\n \\n WOMAN \\n Claudio. \\n \\n The Wolf doesn't take his eyes off Gordy. The Woman \\n squeezes his arm. Implores him -- \\n \\n WOMAN\",\n \" Whereupon Armstrong shouts drunkenly at Gordy -- \\n \\n ARMSTRONG \\n Police catch you trying to steal \\n my hat, you asshole?! \\n \\n He staggers toward Gordy. Grabs the hat. \\n \\n ARMSTRONG \\n Fucking hat thief! \\n \\n Armstrong takes a drunken swing at Gordy, but... \\n \\n Instead of hitting Gordy, Armstrong accidentally-on-\",\n \" you in Mompos is dying. He was \\n burned in your explosion. \\n \\n Gordy just looks at him. \\n \\n The Wolf signals a bodyguard, who crosses to Gordy and \\n frees his leg from the chain. \\n \\n THE WOLF \\n You want to kill me? Come and \\n kill me. \\n \\n The bodyguards are smiling. Gordy hesitates, then \\n springs for The Wolf, and... \\n\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" away. \\n \\n \\n 341 INT. VAN 341 \\n \\n Agents press the man hard to the floorboards. His bag's \\n tossed. It's empty. The guy's clean. It's not Claudio. \\n OFF the agents, holding an innocent man... \\n \\n \\n 342 OMITTED 342 \\n \\n\",\n \" THROUGH another small window, he can see it's dark in \\n this direction. \\n \\n Gordy rummages through the refuse lying around the room. \\n We see some rubber tubing. We see some rope. Gordy \\n finally finds a piece of sharp metal. He moves to the \\n wall with the window. With the DIESELS covering the \\n noise, Gordy starts chiseling away at the adobe. \\n \\n\",\n \"371 EXT. STREET 371 \\n \\n The driver of the car finally backs up. Claudio aims the \\n DUCATI through a narrow gap and ZOOMS on. \\n \\n \\n 372 INT. TOWN HOUSE GARAGE 372 \\n \\n Gordy blows into the second story of the garage, a \\n converted old-time carriage barn. He's in the old\"\n ],\n [\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" Claudio. \\n \\n (CONTINUED) \\n \\n 91. \\n \\n 261 CONTINUED: 261 \\n \\n The Wolf glances over. Meets her eyes a moment. Sees \\n the photo in her hand. Glances up into her eyes again. \\n They hold the look. A whole conversation exchanged \\n without words. Then The Wolf turns back to Gordy, lying\",\n \" something. Selena emphasizes her argument by slapping \\n her hand. The Wolf storms off, and we hear a DOOR SLAM. \\n Selena is left alone, disconsolate, framed in the window. \\n She looks up and sees Gordy outside. Her eyes meet his. \\n OFF their look... \\n \\n 99. \\n \\n 273 EXT. CIA HACIENDA - FRONT PORCH - NIGHT 273 \\n\",\n \" SELENA \\n No... \\n \\n \\n 334 INT. LATIN AMERICAN INSTITUTE - \\\"THE WOLF\\\" ROOM - DAY 334 \\n \\n A small conference room devoted to everything having to \\n do with the interagency interest in The Wolf. Photos of \\n evidence, time lines, charts, etc. cover the walls. \\n \\n Gordy's tired, being debriefed by two FBI AGENTS. \\n\",\n \" renovation. Without stopping, she tears through the \\n plastic covering the doorway to seal in dust from the \\n rest of the house. She topples what she can into \\n Gordy's way. Throws nails down behind her. Grabs a \\n circular saw and hurls it back at Gordy, just missing him \\n and shattering a large wall mirror. \\n \\n Selena's a soldier, taught to pick up and use whatever \\n weapons she finds as she moves through a battlefield --\",\n \" Selena hesitates, choking back her emotions. \\n \\n SELENA \\n ... my baby girl was hit by \\n shrapnel... she bled to death in \\n Claudio's arms. \\n \\n She looks into Gordy's eyes. The look says she \\n understands and shares Gordy's pain because she's \\n suffered her own painful loss. She looks away again. \\n \\n (CONTINUED) \\n\",\n \" falls hard. Gets back to her feet quickly and starts to \\n run, when... \\n \\n Gordy hits her like a linebacker. Slams Selena against a \\n brick wall. Gets behind her and slips a mighty arm \\n around her thin neck. Selena squirms hard, kicks \\n backward, going for the balls, kneecaps, insteps, doing \\n whatever she can to hurt Gordy and get free. But she's\",\n \" The laser indicates The Wolf. \\n \\n UPDEGRAF (O.S.) \\n -- is giving all the orders. \\n \\n BRANDT (O.S.) \\n ... I don't fucking believe it. \\n That lucky son-of-a-bitch found \\n The Wolf. \\n \\n UPDEGRAF (O.S.) \\n ... He's paying for it now. \\n \\n FOLLOW the laser TO:\",\n \" GUERRILLA \\n Bath time... You stink, gringo. \\n \\n The guerrillas laugh. Gordy throws the soap in the mud. \\n Gets to his feet. Points his face up into the soothing \\n rain... When he hears ARGUING and looks over to see... \\n \\n \\n 272 WOLF AND SELENA 272 \\n \\n are inside a small house nearby, obviously fighting about\",\n \" Beat. Selena's overwhelmed by the experience of seeing \\n her husband on the tape, by her betrayal of him. She \\n grows queasy. Leans on the table for support. \\n \\n PHIPPS \\n Are you okay? \\n \\n (CONTINUED) \\n \\n 118. \\n \\n 343 CONTINUED: 343 \\n \\n SELENA\",\n \" wearing a camo floppy hat and a hunter's mesh face mask \\n with a strange-smiling face painted on it in camo earth \\n tones. The Wolf's body is hidden shadow, the voice \\n digitally altered to a deep bass growl. \\n \\n THE WOLF (V.O.) \\n You thought you killed me. You \\n didn't. I'm still here... \\n \\n We see Gordy's demeanor shift, retreating to the\",\n \" The black becomes a BLUR. The BLUR becomes a hazy \\n glimpse of Selena. She's sitting on the metal bed frame \\n nursing Gordy's wounds. The CLACKING sound CONTINUES -- \\n it's made by SEA SHELLS that dangle from a bracelet on \\n Selena's wrist. The shells knock together as she washes \\n Gordy's wounds. \\n \\n (CONTINUED) \\n\",\n \" breaks toward an open door of the house. \\n \\n \\n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \\n \\n Selena blasts into the bottom floor, runs through a \\n playroom. Gordy's right behind her. \\n \\n \\n 387 SELENA 387 \\n \\n mounts a stairwell. A girl's descending. Selena grabs a\",\n \"351 FLASHBACK - ELC JUNGLE VILLAGE 351 \\n \\n Selena and Claudio argue inside the house. Selena slaps \\n the back of one hand into the palm of the other. \\n \\n \\n 352 FLASHBACK - THE WOLF'S VIDEO TAPE 352 \\n \\n The Wolf does the same hand slap. \\n \\n\",\n \" Selena flips through it. Stops at a photo. \\n \\n \\n 338 CLOSE ON PHOTO 338 \\n \\n It's of the redesigned lobby of Union Station. \\n \\n \\n 339 BACK TO SCENE 339 \\n \\n Selena glances up. \\n \\n SELENA \\n That's it! \\n \\n BRANDT\",\n \" The chopper door opens. Brandt's inside. \\n \\n \\n 325 INT. BLACKHAWK - MOMENTS LATER 325 \\n \\n Everyone's aboard and buckled in. Everyone's tired. The \\n chopper lifts off. Selena's glaring at Brandt, who \\n pushes a headset at her, shouts over the ENGINE WHINE -- \\n \\n BRANDT\",\n \" Gordy's on the bed. The guard lets Selena in. She \\n crosses toward the food tray near Gordy... but she's not \\n there for the tray. Moves past it to Gordy's leg and, to \\n Gordy's surprise, begins unlocking the shackle. \\n \\n SELENA \\n We're going with you. \\n \\n When Gordy's free -- \\n \\n GORDY \\n How do we get out?\",\n \" The fire escape ends at a top floor window. Selena \\n BREAKS out the GLASS with the crowbar and goes in. \\n \\n \\n 396 INT. TOWN HOUSE - VARIOUS SHOTS 396 \\n \\n Selena's in a teenager's bedroom. The teenager's got \\n headphones on, oblivious to everything. Selena darts \\n through a bathroom into a second bedroom. \\n \\n\",\n \" But Mauro squirms free, and immediately, Mauro runs back \\n to his mother. Selena uses sign language to tell him \\n everything's okay. OFF Gordy's surprised look -- \\n \\n SELENA \\n He can't hear or speak. \\n \\n Gordy just looks at them a moment. Then moves to Selena. \\n Re: Mauro, as Gordy examines her arm -- \\n \\n SELENA\",\n \" is scratch. But Gordy's oblivious. They're alone in the \\n courtyard. Body to body. Head to head. He's pumped \\n with fury and hatred. He tightens the chokehold. Hisses \\n in her ear -- \\n \\n GORDY \\n You killed them. \\n \\n SELENA \\n (beat; with \\n contempt) \\n One woman, one boy -- they mean\"\n ],\n [\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" Phipps addresses Gordy. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. \\n \\n JUMP CUT: \\n \\n \\n 350 CONTINUE FLASHBACK 350 \\n \\n PHIPPS \\n Did you see a cell phone when you \\n ran into him? \\n \\n GORDY \\n No. \\n \\n\",\n \" The cop tickets a vehicle, then walks west out of frame. \\n \\n PHIPPS \\n The bomb's in the cart. \\n \\n \\n 56 PHIPPS 56 \\n \\n reverses the video, freeze-frames on the cop. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. The guy doesn't \\n have one in his hands here. Did \\n you see a cell phone when you ran\",\n \" I think it's a public place. He \\n said he wanted the people of \\n America to feel the terror. \\n 'Terror is all they understand.' \\n He said it over and over... \\n \\n PHIPPS \\n (to Dray) \\n Double up on public venues: \\n museums, theaters, transport... \\n Put in all the extra undercover we \\n can. \\n\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" Gordy runs out. Phipps and others follow. OFF Brandt... \\n \\n \\n 356 INT. BATHROOM 356 \\n \\n Brandt bursts in. He searches. Finds Mauro's leather \\n doll behind the toilet. The head's detached. Brandt \\n looks inside, and... \\n \\n We see a block of reddish Semtex plastic explosive and a \\n chemical fuse. \\n \\n BRANDT\",\n \" SAL \\n How's the leg? \\n \\n RONNIE \\n Cut's deep, but no major vessels \\n were severed. He's got a load 'o \\n silk holding it all together. \\n \\n Junior, who stepped off to talk to a cop, now comes back. \\n \\n JUNIOR \\n Just came over the police radio... \\n Consulate surveillance cameras \\n caught the bomber in the act. He\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" go in the tubes on the truck. WHUMP, WHUMP. \\n \\n \\n 152 ANOTHER ANGLE 152 \\n \\n BOOM! BOOM! BOOM! A water tower, the Mompos fire \\n station and the town's power supply are direct hits. \\n \\n WHUMP, WHUMP, WHUMP... \\n \\n \\n 153 INT. JAIL - CELLS 153 \\n\",\n \" I'm not one of them. I'm here for \\n my own reasons. \\n \\n Selena watches him another moment. Decides he's telling \\n the truth. She reaches into a skirt pocket, then extends \\n her hand toward Gordy. He looks up. She's holding the \\n photo of Anne and Matt. Beat. Gordy takes the photo. \\n Looks at his wife and son. Selena sits next to him. \\n Another beat. Then, off the photo... \\n\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" Americans come down and shoot \\n everyone all the time. \\n \\n FELIX \\n Especially now, since the bomb in \\n New York. \\n \\n (CONTINUED) \\n \\n 73. \\n \\n 192 CONTINUED: 192 \\n \\n GORDY \\n Yeah, I heard about it. Who did \\n it? \\n\",\n \" more bombs... and more families \\n like yours will pay the price. \\n \\n The Wolf wants to pique him, but this is pouring gasoline \\n onto fire. Gordy explodes off the ground. The \\n suddenness and fury of the rush catch The Wolf off guard. \\n Gordy drives him backward. Slams him against a wall. \\n Then hooks an arm around the back of The Wolf's neck and \\n drives the other fist like a piston into his abdomen.\",\n \" into him? \\n \\n GORDY \\n ... No. \\n \\n PHIPPS \\n How much time passed between then \\n and the explosion? \\n \\n GORDY \\n ... Seconds... Five, ten... \\n \\n PHIPPS \\n We think maybe he got into the \\n brown Ford. You see him then? \\n \\n GORDY \\n All I cared about was getting to\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" FORENSIC EXPERT #1 \\n Pieces of a pager oxidized with \\n trace elements of Semtex. \\n Probably the triggering device. \\n They dial it up, probably from a \\n cell phone, and boom... \\n \\n He picks up a microchip. \\n \\n FORENSIC EXPERT #1 \\n ... This is the memory chip. I \\n can build it into a working pager\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" behind the brutal bombing in New \\n York City ten days ago... We are \\n presently evaluating after-action \\n reports from Special Operations \\n Group, but feel confident that we \\n have accomplished our mission... \\n \\n Cheers throughout the bar. Mike quiets them. \\n \\n (CONTINUED) \\n \\n 32. \\n \\n 78 CONTINUED: 78 \\n\",\n \" GORDY \\n Why are you still here? \\n \\n SELENA \\n Because I know he was a good man, \\n who's been consumed by rage \\n because of what he lost... Just \\n like you. \\n \\n GORDY \\n I'm not like him. \\n \\n SELENA \\n Not yet. \\n \\n GORDY \\n He kills innocent people.\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\"\n ],\n [\n \" Felix really wants to, but still hesitates. \\n \\n GORDY \\n With the spare parts, I'll have \\n the generators running in two \\n hours... We have time for a \\n couple beers. \\n \\n Beat. Finally -- \\n \\n FELIX \\n Okay. Just a beer. Maybe two. \\n \\n \\n 192 INT. BAR - NIGHT 192 \\n\",\n \" are getting out, including the Beaten Man. Felix meets \\n them. The Beaten Man exchanges words with Felix. Felix \\n indicates Gordy's room. As the Beaten Man continues to \\n question Felix... \\n \\n Gordy realizes he's fucked. He can't get through the \\n wall fast enough. His eyes go to water dripping from a \\n pipe leading to the washtub sink. He moves to it. Finds \\n the water pipe underneath that feeds the tap. Cranks\",\n \" it can get you killed. \\n \\n Gordy's gotten all he'll get from Felix. He feigns \\n nonchalance, smiles. \\n \\n GORDY \\n Tell me what doesn't get you \\n killed around here. \\n \\n Gordy takes a swig of beer. When... \\n \\n Gordy sees the Beaten Man from the jail in Mompos. The \\n man has just walked in with another guerrilla. \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" in position, his leg still bowing the line. \\n \\n (CONTINUED) \\n \\n 48. \\n \\n 117 CONTINUED: 117 \\n \\n Using the Zippo again to light his way, Gordy advances to \\n the young man. He follows the trip wire to where a Coca- \\n Cola can hangs from a nearby tree. On closer inspection,\",\n \" As he readjusts his shirt to cover the spoon... \\n \\n \\n 215 EXT. PLANTATION - DIESEL GENERATORS - NIGHT 215 \\n \\n Felix is right there supervising for himself as Gordy \\n finishes working. Gordy stands. He stares hopefully at \\n the MACHINE. Then pushes the starter, and... VRROOM! \\n The heat lights in the second row of sheds brighten. \\n\",\n \" two men can't go have a beer and \\n look at women's breasts because \\n of pink elephants?... Nothing \\n makes any sense down here. \\n \\n (CONTINUED) \\n \\n 79. \\n \\n 206 CONTINUED: 206 \\n \\n Felix pulls out his .9mm. Gordy doesn't blink an eye. \\n \\n GORDY\",\n \" Gordy barely avoids being seen as the guerrillas cross \\n the room. At the bar, the bartender puts out two crates \\n of beer. The guerrillas take the beer and head out. No \\n money's changed hands. When they're gone, to Felix -- \\n \\n GORDY \\n We'd better get back, huh? \\n \\n FELIX \\n (checks his watch) \\n ... Shit. It's late.\",\n \" We can fix anything, but these \\n keep dying on us... You'll start \\n now. I'll have tools brought to \\n you. \\n (beat) \\n Armstrong's a magician with them. \\n Let's hope you have his skill. \\n \\n Felix walks over to a guerrilla with an AK-47 and speaks \\n to him. Then goes. Whereupon the guerrilla crosses to \\n Gordy and takes up a sentry position over him. \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" FELIX \\n There's beer at the plantation. \\n \\n GORDY \\n (thinking fast) \\n There's no Berta at the \\n plantation. I like drinking beer \\n around pretty girls, not a bunch \\n of guys with automatic rifles. \\n \\n FELIX \\n To hell with Berta. \\n \\n GORDY \\n What happened? Last night you \\n were in love with her. \\n\",\n \" There's a beat. Felix glances at Gordy. Decides it's \\n safe to confide. \\n \\n FELIX \\n ... I had a dream... I fed her \\n lobster, got her drunk, and she \\n rejected me for another man. \\n (off Gordy's look) \\n Dreams tell the future. \\n \\n GORDY \\n ... That wasn't a dream, that was \\n the alcohol talking... You saying\",\n \" Gordy turns to them. Looks into the faces of these men, \\n the people closest to him in the world. Beat. Then -- \\n \\n GORDY \\n It's good to be home. \\n \\n Gordy's still in pain, still missing the wife and son \\n he'll never see again. But Gordy's gonna be alright. \\n \\n Mauro's gonna be with him. There'll be fires to put out\",\n \" Quickly lashes it on with some wire. Then cranks on the \\n master valve. High-pressure water streams from the hose. \\n \\n Gordy sneaks a peek out the window. The Beaten Man's \\n still questioning Felix. The sound of the hose water is \\n being covered by the DIESELS. \\n \\n Gordy crosses the room, extending the hose to the hole \\n he's made in the wall. He aims the stream at the hole.\",\n \"179 CONTINUED: 179 \\n \\n FELIX \\n ... Coffee beans? Shit. \\n Armstrong didn't tell you much... \\n \\n \\n 180 INT./EXT. LAND CRUISER - PLANTATION - DAY 180 \\n \\n They approach a hacienda and outbuildings. The \\n accoutrements of agriculture are present -- tractors,\",\n \" her, she'll never want to look at \\n another man again... \\n \\n Gordy drives past the house as the Beaten Man and the \\n guerrilla with him get out of the Suburban and start \\n carrying the beer inside. And a moment later... \\n \\n Felix comes around with a start. \\n \\n FELIX \\n What the fuck are you doing?! \\n \\n He unholsters the 9mm and points it at Gordy. \\n\",\n \" licking at him, but Gordy's undeterred. He heaves again, \\n and... \\n \\n This time, the door gives. Gordy picks up Armstrong's \\n cap, then picks up Armstrong, who's starting to come \\n around. Puts Armstrong over his shoulders in a fireman's \\n carry. \\n \\n GORDY \\n Don't breathe. \\n \\n ARMSTRONG \\n (weakly)\",\n \" Felix is just loose enough. \\n \\n FELIX \\n The Wolf, and they'll never catch \\n him. \\n \\n GORDY \\n Ever see him? \\n \\n FELIX \\n Once. \\n \\n GORDY \\n Where? \\n \\n FELIX \\n (beat; eyes Gordy) \\n If you know too much around here,\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\"\n ],\n [\n \" Everybody out! Clear this floor! \\n Now! \\n \\n \\n 357 INT. STAIRWELL 357 \\n \\n Gordy jumps downstairs, four steps at a time. \\n \\n \\n 358 INT. CORRIDORS 358 \\n \\n Institute personnel evacuate offices. \\n \\n\",\n \"330 CONTINUED: 330 \\n \\n GORDY \\n Where're we going? \\n \\n BRANDT \\n Inter-agency headquarters for our \\n efforts in Latin America. \\n \\n PHIPPS \\n It's secure, and we can coordinate \\n all departments here. \\n \\n OFF which, as they're swallowed up by the dark garage -- \\n \\n\",\n \" fuck with the rungs. Just swings over the edge of the \\n roof, grabs the side-rails lightly with his hands, \\n squeezes the rails with the insides of his boots and lets \\n gravity take over. \\n \\n \\n 406 EXT. EMBASSY - COURTYARD 406 \\n \\n The fire escape leads down to a second-story balcony \\n running around the inside wall of the courtyard. Twin\",\n \" stops him. \\n \\n PHIPPS \\n My people will debrief you in \\n another room... We'll take the boy \\n to a safe house across the \\n street... He'll be well cared for. \\n \\n Gordy exchanges a look with Selena. Beat. She nods her \\n reluctant approval. Gordy hands the boy to an agent. \\n \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" licking at him, but Gordy's undeterred. He heaves again, \\n and... \\n \\n This time, the door gives. Gordy picks up Armstrong's \\n cap, then picks up Armstrong, who's starting to come \\n around. Puts Armstrong over his shoulders in a fireman's \\n carry. \\n \\n GORDY \\n Don't breathe. \\n \\n ARMSTRONG \\n (weakly)\",\n \"331 INT. LATIN AMERICAN INSTITUTE - VARIOUS SHOTS - DAY 331 \\n \\n Brandt, Phipps, Dray, Selena and Gordy -- along with the \\n rest of the entourage -- walk through the interagency \\n nerve center. Gordy carries Mauro, still asleep. \\n \\n They stop at the door to a large conference room. \\n Selena's ushered in. Gordy starts to follow. Phipps\",\n \" Name's Brandt. C.I.A. \\n \\n That gets Phipps' interest momentarily. Then, as they \\n continue toward the consulate, he notices security \\n cameras on the building. \\n \\n PHIPPS \\n Check the surveillance cameras? \\n \\n DRAY \\n We're pulling up the video now. \\n \\n PHIPPS \\n (stops; looks around)\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" Dray are among those waiting by the cars. The Lear's \\n door pops, and Gordy, carrying a sleeping Mauro, emerges \\n with Selena. Brandt and a medic follow. \\n \\n \\n 328 INT. GOVERNMENT SUBURBAN - MOMENTS LATER 328 \\n \\n Driving. \\n (CONTINUED) \\n \\n 113. \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" hair, when... \\n \\n Gordy's eyes meet Brandt's. The two men hold the look \\n for a moment. If Brandt could speak, he'd be yelling at \\n Gordy to stop, not to go on. And Gordy knows it. But \\n Gordy's not stopping. Picks up Armstrong again and moves \\n off toward the waterfront. \\n \\n\",\n \" Brandt's on the phone. He's pissed. \\n \\n BRANDT \\n ... Senator, the failure of one \\n operation shouldn't cause your \\n committee to question financing \\n everything else we're doing down \\n there... \\n \\n DONALD UPDEGRAF, Brandt's number two, enters. \\n \\n BRANDT \\n ... I know it looks bad, and I \\n appreciate your support.\",\n \" holding a smaller woman in a chokehold. Draws his gun. \\n \\n EMBASSY SECURITY GUARD \\n Let her go! \\n \\n Gordy looks up at the nervous guard pointing his gun. \\n Selena screams. \\n \\n SELENA \\n Please help me! \\n \\n EMBASSY SECURITY GUARD \\n Let her go! \\n \\n GORDY\",\n \" When Gordy glances back, Armstrong is gone. \\n \\n \\n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \\n \\n Gordy disembarks amid the throng of passengers, when the \\n FAT FEDERALE confronts him. \\n \\n FAT FEDERALE \\n Senor Pitt? \\n \\n Gordy looks up in surprise at him and the thin federale \\n backing him up. \\n\",\n \" He smashes it into the base of Gordy's head, knocking \\n Gordy out. \\n \\n The men run up. One man covers Gordy, while Ever and the \\n other man rifle his pack and toss his pockets. They take \\n his passport, wallet, and an NYFD T-shirt. And then \\n they're gone. \\n \\n \\n 92 CLOSE ON HUMMINGBIRD 92 \\n\",\n \"3 INT. FIREHOUSE - VARIOUS SHOTS 3 \\n \\n Everyone scrambles. The choreography's practiced, \\n automatic. It's achieved without conversation. \\n \\n The channel surfer slides down the fire pole. He's \\n followed by the man who was upstairs snoring. \\n \\n Junior rips a sheet from the teleprinter. He hands the \\n printout to the snorer, the company's \\\"chauffeur.\\\" \\n\",\n \" Brandt lets \\\"thinks\\\" sink in. \\n \\n PHIPPS \\n I know it's hard for you right \\n now, Mr. Pitt. We're all sorry. \\n But why don't you go home. \\n We're taking care of things. \\n \\n Beat. Brandt proffers a business card. \\n \\n BRANDT \\n Here's my card. Call me any time. \\n\"\n ],\n [\n \" Colombia,' unquote... Two \\n Colombian officials and an \\n American military officer died \\n in last Thursday's blast. Also \\n killed were Anne Pitt, wife of a \\n New York City firefighter, and \\n their only child, four-year-old \\n Matt... The President has vowed \\n that the United States will avenge \\n what he called 'this monstrous act \\n of barbarism and cowardice'...\",\n \" son. \\n \\n \\n 59 INT. LIVING ROOM - NIGHT 59 \\n \\n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \\n slumped in a chair. \\n \\n \\n 60 NEWS ANCHOR 60 \\n \\n NEWS ANCHOR (V.O.) \\n ... The bombing that left a mother \\n and son dead and New York City\",\n \" The customs Superior closes the door. Beat. \\n \\n IMMIGRATION SUPERIOR \\n We know who you are, Mr. Pitt. \\n \\n GORDY \\n Says so right there in my \\n passport. \\n \\n IMMIGRATION SUPERIOR \\n We're aware your wife and child \\n were killed in the bombing in New \\n York.\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \"258 GORDY 258 \\n \\n reaches the Woman and Boy now. Pulls them down. Covers \\n them protectively with his body, when... \\n \\n \\n 259 NEW ANGLE 259 \\n \\n KA-BOOM! A gigantic EXPLOSION lights up the night and \\n utterly destroys the house. \\n \\n 90. \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" erupts behind Anne and Matt... \\n \\n We hear the ENORMOUS BANG of the explosion... \\n \\n 12. \\n \\n 39 WINDOWS 39 \\n \\n are sucked into millions of fragments, a hailstorm of \\n glass... \\n \\n \\n 40 GREAT CHUNK OF METAL 40 \\n \\n -- an engine block -- flies from the ball of flame... \\n \\n\",\n \" and fluttered to the ground nearby. The woman picks it \\n up, and we see... \\n \\n It's the photo of Anne and Matt. \\n \\n The woman stares at the photo a moment, as... \\n \\n Gordy absorbs another blow. He tries to stand. \\n \\n GORDY \\n You killed my wife and son -- \\n \\n Whack! The Wolf slams the butt of an AK-47 against\",\n \" Where's N.Y.P.D. on this? \\n \\n DRAY \\n They know it's ours. They're \\n helping with shoe-leather. \\n \\n Phipps' eyes go to the white sheets up the street. \\n \\n DRAY \\n We got two dead bystanders, a \\n mother and four-year-old son. The \\n father's over there with a leg \\n wound.\",\n \" I know this is hard. I'm sorry I \\n had to bother you. \\n \\n Phipps goes. Gordy looks over as the bodies of Anne and \\n Matt are placed on gurneys and rolled away. Chalk \\n outlines are all that remain of his family. Beat. \\n \\n MIKE \\n We're gonna roll you to the \\n hospital now and get that glass \\n out. \\n \\n 17. \\n\",\n \" I'm not one of them. I'm here for \\n my own reasons. \\n \\n Selena watches him another moment. Decides he's telling \\n the truth. She reaches into a skirt pocket, then extends \\n her hand toward Gordy. He looks up. She's holding the \\n photo of Anne and Matt. Beat. Gordy takes the photo. \\n Looks at his wife and son. Selena sits next to him. \\n Another beat. Then, off the photo... \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" Selena hesitates, choking back her emotions. \\n \\n SELENA \\n ... my baby girl was hit by \\n shrapnel... she bled to death in \\n Claudio's arms. \\n \\n She looks into Gordy's eyes. The look says she \\n understands and shares Gordy's pain because she's \\n suffered her own painful loss. She looks away again. \\n \\n (CONTINUED) \\n\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" BRANDT \\n Mr. Pitt. \\n \\n Gordy just looks at him. \\n \\n BRANDT \\n I'm very sorry for your loss... I \\n lost people, too. \\n \\n PHIPPS \\n ... Mike was in the motorcade that \\n day... He's the chief U.S. \\n intelligence officer overseeing \\n Colombia. \\n \\n BRANDT\",\n \" nothing next to the thousands \\n who've been slain. \\n \\n Gordy hears it. It only drives him to a deeper fury. \\n \\n GORDY \\n They were my family. \\n \\n Gordy's blind with rage. Chokes her neck hard. \\n Summoning all the power in him, first to shut off her air \\n and blood, and then to continue squeezing, relishing her\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\"\n ],\n [\n \" SAL \\n How's the leg? \\n \\n RONNIE \\n Cut's deep, but no major vessels \\n were severed. He's got a load 'o \\n silk holding it all together. \\n \\n Junior, who stepped off to talk to a cop, now comes back. \\n \\n JUNIOR \\n Just came over the police radio... \\n Consulate surveillance cameras \\n caught the bomber in the act. He\",\n \"49 ANGLE - PHIPPS 49 \\n \\n Walking back to the consulate. He approaches Brandt. \\n \\n PHIPPS \\n Joe Phipps. F.B.I. Counter- \\n terrorism task force. \\n \\n BRANDT \\n Mike Brandt. \\n \\n PHIPPS \\n What got this place blown up? \\n \\n BRANDT \\n We'll have this discussion\",\n \" Gordy screams out his agony -- \\n \\n GORDY \\n Noooooo!!! \\n \\n \\n 45 EXT. COLOMBIAN CONSULATE 45 \\n \\n The blast detonated here. Some men from the Navigators \\n are dead. MIKE BRANDT is not. Rises from the \\n devastation, gun in hand, as SIRENS wail in the distance. \\n \\n\",\n \" Phipps addresses Gordy. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. \\n \\n JUMP CUT: \\n \\n \\n 350 CONTINUE FLASHBACK 350 \\n \\n PHIPPS \\n Did you see a cell phone when you \\n ran into him? \\n \\n GORDY \\n No. \\n \\n\",\n \" FBI agent JOE PHIPPS ducks under the police tape. REGGIE \\n DRAY, a young agent, meets him. As they walk -- \\n \\n DRAY \\n Device functioned in front of the \\n Colombian Consulate just as a \\n motorcade full of brass arrived. \\n \\n PHIPPS \\n Who were the brass, and why were \\n they here? \\n \\n (CONTINUED) \\n\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" The customs Superior closes the door. Beat. \\n \\n IMMIGRATION SUPERIOR \\n We know who you are, Mr. Pitt. \\n \\n GORDY \\n Says so right there in my \\n passport. \\n \\n IMMIGRATION SUPERIOR \\n We're aware your wife and child \\n were killed in the bombing in New \\n York.\",\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" Gordy runs out. Phipps and others follow. OFF Brandt... \\n \\n \\n 356 INT. BATHROOM 356 \\n \\n Brandt bursts in. He searches. Finds Mauro's leather \\n doll behind the toilet. The head's detached. Brandt \\n looks inside, and... \\n \\n We see a block of reddish Semtex plastic explosive and a \\n chemical fuse. \\n \\n BRANDT\",\n \" Colombia,' unquote... Two \\n Colombian officials and an \\n American military officer died \\n in last Thursday's blast. Also \\n killed were Anne Pitt, wife of a \\n New York City firefighter, and \\n their only child, four-year-old \\n Matt... The President has vowed \\n that the United States will avenge \\n what he called 'this monstrous act \\n of barbarism and cowardice'...\",\n \" FORENSIC EXPERT #1 \\n Pieces of a pager oxidized with \\n trace elements of Semtex. \\n Probably the triggering device. \\n They dial it up, probably from a \\n cell phone, and boom... \\n \\n He picks up a microchip. \\n \\n FORENSIC EXPERT #1 \\n ... This is the memory chip. I \\n can build it into a working pager\",\n \" The cop tickets a vehicle, then walks west out of frame. \\n \\n PHIPPS \\n The bomb's in the cart. \\n \\n \\n 56 PHIPPS 56 \\n \\n reverses the video, freeze-frames on the cop. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. The guy doesn't \\n have one in his hands here. Did \\n you see a cell phone when you ran\",\n \" Name's Brandt. C.I.A. \\n \\n That gets Phipps' interest momentarily. Then, as they \\n continue toward the consulate, he notices security \\n cameras on the building. \\n \\n PHIPPS \\n Check the surveillance cameras? \\n \\n DRAY \\n We're pulling up the video now. \\n \\n PHIPPS \\n (stops; looks around)\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" go in the tubes on the truck. WHUMP, WHUMP. \\n \\n \\n 152 ANOTHER ANGLE 152 \\n \\n BOOM! BOOM! BOOM! A water tower, the Mompos fire \\n station and the town's power supply are direct hits. \\n \\n WHUMP, WHUMP, WHUMP... \\n \\n \\n 153 INT. JAIL - CELLS 153 \\n\",\n \" into him? \\n \\n GORDY \\n ... No. \\n \\n PHIPPS \\n How much time passed between then \\n and the explosion? \\n \\n GORDY \\n ... Seconds... Five, ten... \\n \\n PHIPPS \\n We think maybe he got into the \\n brown Ford. You see him then? \\n \\n GORDY \\n All I cared about was getting to\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" DRAY \\n Gordon Pitt's here. He says he \\n saw a cop at the scene. \\n \\n \\n 54 SAME SCENE - LATER 54 \\n \\n Gordy, accompanied by Mike and Ronnie, sits in front of a \\n video monitor. Phipps and Dray look on. \\n \\n \\n 55 ON SCREEN 55 \\n \\n a police cart pulls up outside the consulate. \\n\",\n \"269B THIRD SATELLITE IMAGE 269B \\n \\n a high-resolution, infrared enlargement. \\n \\n UPDEGRAF (O.S.) \\n This is the explosive area two \\n minutes later. We got a house \\n blown to shit and burning. We got \\n Colombians in cammies, a gringo \\n down, a woman and kid, and some \\n bodies. This guy --\"\n ],\n [\n \" Gordy screams out his agony -- \\n \\n GORDY \\n Noooooo!!! \\n \\n \\n 45 EXT. COLOMBIAN CONSULATE 45 \\n \\n The blast detonated here. Some men from the Navigators \\n are dead. MIKE BRANDT is not. Rises from the \\n devastation, gun in hand, as SIRENS wail in the distance. \\n \\n\",\n \" SAL \\n How's the leg? \\n \\n RONNIE \\n Cut's deep, but no major vessels \\n were severed. He's got a load 'o \\n silk holding it all together. \\n \\n Junior, who stepped off to talk to a cop, now comes back. \\n \\n JUNIOR \\n Just came over the police radio... \\n Consulate surveillance cameras \\n caught the bomber in the act. He\",\n \" Name's Brandt. C.I.A. \\n \\n That gets Phipps' interest momentarily. Then, as they \\n continue toward the consulate, he notices security \\n cameras on the building. \\n \\n PHIPPS \\n Check the surveillance cameras? \\n \\n DRAY \\n We're pulling up the video now. \\n \\n PHIPPS \\n (stops; looks around)\",\n \" DRAY \\n Gordon Pitt's here. He says he \\n saw a cop at the scene. \\n \\n \\n 54 SAME SCENE - LATER 54 \\n \\n Gordy, accompanied by Mike and Ronnie, sits in front of a \\n video monitor. Phipps and Dray look on. \\n \\n \\n 55 ON SCREEN 55 \\n \\n a police cart pulls up outside the consulate. \\n\",\n \" bumped into Gordy -- in front of the consulate. His hat \\n is pulled down over his eyes, almost concealing his \\n tinted glasses. As the cop faces more toward the camera, \\n the expert freeze-frames. To Phipps -- \\n \\n \\n 53 FORENSIC EXPERT #2 53 \\n \\n FORENSIC EXPERT #2 \\n That's as much face as we get. He \\n was careful to duck the camera.\",\n \" The customs Superior closes the door. Beat. \\n \\n IMMIGRATION SUPERIOR \\n We know who you are, Mr. Pitt. \\n \\n GORDY \\n Says so right there in my \\n passport. \\n \\n IMMIGRATION SUPERIOR \\n We're aware your wife and child \\n were killed in the bombing in New \\n York.\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \"239 FLASHBACK - SURVEILLANCE TAPE 239 \\n \\n The face of the cop outside the consulate. \\n \\n \\n 240 MAN (PRESENT) 240 \\n \\n in the room. His face looms larger as he ADVANCES \\n TOWARDS us. \\n \\n \\n 241 FLASHBACK - COP'S FACE 241 \\n\",\n \"49 ANGLE - PHIPPS 49 \\n \\n Walking back to the consulate. He approaches Brandt. \\n \\n PHIPPS \\n Joe Phipps. F.B.I. Counter- \\n terrorism task force. \\n \\n BRANDT \\n Mike Brandt. \\n \\n PHIPPS \\n What got this place blown up? \\n \\n BRANDT \\n We'll have this discussion\",\n \" Felix yanks the dangling cord and turns on the lights. \\n The room's a mess. All kinds of rubbish. There's a \\n washtub sink. There's a cot. \\n \\n GORDY \\n This where Armstrong stays? \\n \\n FELIX \\n This is where you stay... A boat \\n will take you down river at seven. \\n \\n Felix closes the door. We hear a LOCK TURNING. Gordy\",\n \"188 EMPTY STOREFRONT 188 \\n \\n They pass an empty storefront. A sign on the large, \\n front plate glass window says \\\"Cine\\\" and \\\"Sabado.\\\" \\n \\n \\n 189 BAR 189 \\n \\n They pass a bar. Felix watches it go by with something \\n like a look of desire. Gordy registers the look and the \\n connection to the bar. \\n \\n\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" GORDY \\n No problemo. \\n \\n Gordy peers out the window intently as they drive, \\n looking for a lucky break, looking for The Wolf, \\n searching the face of every man. He doesn't see The \\n Wolf, but what he does see surprises him. The ELC \\n Supervisor was right: Caguan's no Mompos. It's a third- \\n world town, armed troops are visible, and there's a lot\",\n \"83A EXT. ROW OF TOWNHOUSES (WASHINGTON, D.C.) - DAY 83A \\n \\n The four connected townhouses sit behind gates on a tree- \\n lined street in Georgetown. A sign reads: Latin \\n American Institute. \\n \\n \\n 83B INT. LATIN AMERICAN INSTITUTE - BRANDT'S OFFICE - DAY 83B \\n\",\n \" staircases lead from the balcony to ground level, where, \\n across the slate-paved car court, a wrought-iron gate \\n opens onto the street. \\n \\n Gordy hits the balcony a half-second after Selena. He \\n grabs her. Selena swings the crowbar to break his arm. \\n Gordy has to let go. Selena heads for the stairs leading \\n to the ground. \\n \\n\",\n \" Your passport was stolen. \\n \\n GORDY \\n In Mompos. \\n \\n ELC SUPERVISOR \\n ... Mompos is a shithole. Not \\n like Caguan... Why didn't \\n Armstrong come? \\n \\n GORDY \\n He was arrested in Ecuador. He \\n got drunk and fooled around with a \\n police officer's wife. \\n\",\n \" Where? \\n \\n She doesn't answer. \\n \\n GORDY \\n Where? \\n \\n SELENA \\n ... Washington D.C. \\n \\n GORDY \\n Where in Washington? \\n \\n SELENA \\n ... He had pictures of a \\n building... \\n \\n GORDY \\n Which building? \\n \\n SELENA\",\n \" off, cocked-and-locked, as the other comes up. Gordy \\n carefully produces the travel pass. The guerrilla looks \\n it over. In butchered Spanish -- \\n \\n GORDY \\n Yo trabajo con Felix. Felix -- \\n (indicates) \\n -- la cantina. Con Berta. \\n \\n The attractive woman we saw earlier playing with the \\n children now walks up holding the hand of a small boy. A\",\n \" off and stops a short distance away, ready to open fire. \\n \\n Gordy shows the guerrillas his travel pass. One of them \\n takes it. Reads. Looks Gordy over. Then starts to rip \\n the pass in half, when... \\n \\n He stops. Grins. It's a big joke. He hands back the \\n pass, searches the boat quickly and waves the panga on. \\n \\n OFF Gordy's relief as the panga heads on... \\n \\n\",\n \"118 MAN IN YANKEES CAP - MOMENTS LATER 118 \\n \\n When Gordy returns, the man's dead. OFF Gordy, looking \\n down at the NY logo on the cap... \\n \\n \\n 119 EXT./INT. ANOTHER CHIVA - DAY 119 \\n \\n Gordy sees a sign for a town as the chiva rumbles along. \\n \\n He pulls out his map.\"\n ],\n [\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" Colombia,' unquote... Two \\n Colombian officials and an \\n American military officer died \\n in last Thursday's blast. Also \\n killed were Anne Pitt, wife of a \\n New York City firefighter, and \\n their only child, four-year-old \\n Matt... The President has vowed \\n that the United States will avenge \\n what he called 'this monstrous act \\n of barbarism and cowardice'...\",\n \" Phipps addresses Gordy. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. \\n \\n JUMP CUT: \\n \\n \\n 350 CONTINUE FLASHBACK 350 \\n \\n PHIPPS \\n Did you see a cell phone when you \\n ran into him? \\n \\n GORDY \\n No. \\n \\n\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" Americans come down and shoot \\n everyone all the time. \\n \\n FELIX \\n Especially now, since the bomb in \\n New York. \\n \\n (CONTINUED) \\n \\n 73. \\n \\n 192 CONTINUED: 192 \\n \\n GORDY \\n Yeah, I heard about it. Who did \\n it? \\n\",\n \"361 EXT. BUILDING'S TOP FLOOR 361 \\n \\n BOOM! A MASSIVE EXPLOSION spits flame out of the windows \\n of the building's top floor. \\n \\n \\n 362 PEOPLE 362 \\n \\n dive for cover. Debris showers the street. \\n \\n \\n 363 GORDY 363 \\n \\n keeps moving. \\n\",\n \" son. \\n \\n \\n 59 INT. LIVING ROOM - NIGHT 59 \\n \\n The TV is ON LOW, tuned to the NEWS. Gordy is alone, \\n slumped in a chair. \\n \\n \\n 60 NEWS ANCHOR 60 \\n \\n NEWS ANCHOR (V.O.) \\n ... The bombing that left a mother \\n and son dead and New York City\",\n \" GORDY \\n Thirteen dead in a bus. \\n (indicates another) \\n A market. Twenty-seven dead. \\n (another) \\n A whole family... Anne and Matt \\n didn't mean shit to them. \\n (indicates The Wolf) \\n Or him. \\n \\n Mike interrupts, trying to divert him to something else. \\n \\n (CONTINUED) \\n\",\n \"258 GORDY 258 \\n \\n reaches the Woman and Boy now. Pulls them down. Covers \\n them protectively with his body, when... \\n \\n \\n 259 NEW ANGLE 259 \\n \\n KA-BOOM! A gigantic EXPLOSION lights up the night and \\n utterly destroys the house. \\n \\n 90. \\n\",\n \" erupts behind Anne and Matt... \\n \\n We hear the ENORMOUS BANG of the explosion... \\n \\n 12. \\n \\n 39 WINDOWS 39 \\n \\n are sucked into millions of fragments, a hailstorm of \\n glass... \\n \\n \\n 40 GREAT CHUNK OF METAL 40 \\n \\n -- an engine block -- flies from the ball of flame... \\n \\n\",\n \" into him? \\n \\n GORDY \\n ... No. \\n \\n PHIPPS \\n How much time passed between then \\n and the explosion? \\n \\n GORDY \\n ... Seconds... Five, ten... \\n \\n PHIPPS \\n We think maybe he got into the \\n brown Ford. You see him then? \\n \\n GORDY \\n All I cared about was getting to\",\n \" waves back, shrugs an apology to Anne as he starts across \\n the street, when... \\n \\n \\n 36 INTENSE FLASH 36 \\n \\n suddenly lights up the intersection. \\n \\n In SLOW MOTION: \\n \\n \\n 37 SHOCK WAVE 37 \\n \\n wave rolls up 68th past Madison... \\n \\n \\n 38 HUGE BALL OF FLAME 38 \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" federales SHOOT back. \\n \\n The blasts have caused fires in the building. Severed \\n wires spark, creating more fire. Flames begin to spread \\n through the tinder-dry structure. \\n \\n (CONTINUED) \\n \\n 62. \\n \\n 158 CONTINUED: 158 \\n \\n The guerrillas take out the soldiers and federales, with\",\n \"250 BACK TO SCENE (PRESENT) 250 \\n \\n Gordy sees the Woman pull the boy close to her, lovingly. \\n \\n \\n 251 FLASHBACK - NEW YORK 251 \\n \\n The BOMB EXPLODES, and Anne moves to protect Matt. \\n \\n \\n 252 CLOSE ON GORDY (PRESENT) 252 \\n\",\n \" Boom! An ENORMOUS EXPLOSION. And... \\n \\n 43. \\n \\n 102 EXT./INT. CHIVA - NIGHT 102 \\n \\n Gordy bolts awake from the nightmare with a scream. He \\n looks around at the startled faces in the crowded bus, \\n unsure where he is for a moment before he gets his \\n bearings. The dream lingers, depressing him. \\n \\n\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" go in the tubes on the truck. WHUMP, WHUMP. \\n \\n \\n 152 ANOTHER ANGLE 152 \\n \\n BOOM! BOOM! BOOM! A water tower, the Mompos fire \\n station and the town's power supply are direct hits. \\n \\n WHUMP, WHUMP, WHUMP... \\n \\n \\n 153 INT. JAIL - CELLS 153 \\n\"\n ],\n [\n \" NEWS ANCHOR (V.O.) \\n In an e-mail to the New York \\n Times, a Marxist extremist known \\n only as 'The Wolf,' states that \\n the bombing was, quote, 'not an \\n act of terror but an act of war, \\n aimed at stopping your C.I.A. \\n murderers and their fascist puppets \\n from committing further acts of \\n repression against the people of\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" Phipps addresses Gordy. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. \\n \\n JUMP CUT: \\n \\n \\n 350 CONTINUE FLASHBACK 350 \\n \\n PHIPPS \\n Did you see a cell phone when you \\n ran into him? \\n \\n GORDY \\n No. \\n \\n\",\n \" numb took on a new dimension today \\n when a notorious Latin American \\n terrorist took credit for the \\n attack. \\n \\n 23. \\n \\n 61 GORDY 61 \\n \\n has roused from his despondency, TURNS UP the VOLUME as \\n the report (containing visuals) continues -- \\n \\n \\n 62 NEWS ANCHOR 62 \\n\",\n \" NATIONAL SECURITY ADVISOR (V.O.) \\n ... At this time, we believe the \\n man responsible for carrying out \\n the New York bombing, the \\n terrorist known as The Wolf, is \\n among the enemy dead. \\n \\n \\n 79 NEW ANGLE 79 \\n \\n Big cheers now. Toasts all around. Everyone in the \\n place is happy for Gordy, who sits there a moment trying\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" Americans come down and shoot \\n everyone all the time. \\n \\n FELIX \\n Especially now, since the bomb in \\n New York. \\n \\n (CONTINUED) \\n \\n 73. \\n \\n 192 CONTINUED: 192 \\n \\n GORDY \\n Yeah, I heard about it. Who did \\n it? \\n\",\n \" SAL \\n How's the leg? \\n \\n RONNIE \\n Cut's deep, but no major vessels \\n were severed. He's got a load 'o \\n silk holding it all together. \\n \\n Junior, who stepped off to talk to a cop, now comes back. \\n \\n JUNIOR \\n Just came over the police radio... \\n Consulate surveillance cameras \\n caught the bomber in the act. He\",\n \" The cop tickets a vehicle, then walks west out of frame. \\n \\n PHIPPS \\n The bomb's in the cart. \\n \\n \\n 56 PHIPPS 56 \\n \\n reverses the video, freeze-frames on the cop. \\n \\n PHIPPS \\n We think the bomb was triggered by \\n a cell phone. The guy doesn't \\n have one in his hands here. Did \\n you see a cell phone when you ran\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" behind the brutal bombing in New \\n York City ten days ago... We are \\n presently evaluating after-action \\n reports from Special Operations \\n Group, but feel confident that we \\n have accomplished our mission... \\n \\n Cheers throughout the bar. Mike quiets them. \\n \\n (CONTINUED) \\n \\n 32. \\n \\n 78 CONTINUED: 78 \\n\",\n \" FORENSIC EXPERT #1 \\n Pieces of a pager oxidized with \\n trace elements of Semtex. \\n Probably the triggering device. \\n They dial it up, probably from a \\n cell phone, and boom... \\n \\n He picks up a microchip. \\n \\n FORENSIC EXPERT #1 \\n ... This is the memory chip. I \\n can build it into a working pager\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" I think it's a public place. He \\n said he wanted the people of \\n America to feel the terror. \\n 'Terror is all they understand.' \\n He said it over and over... \\n \\n PHIPPS \\n (to Dray) \\n Double up on public venues: \\n museums, theaters, transport... \\n Put in all the extra undercover we \\n can. \\n\",\n \" Gordy runs out. Phipps and others follow. OFF Brandt... \\n \\n \\n 356 INT. BATHROOM 356 \\n \\n Brandt bursts in. He searches. Finds Mauro's leather \\n doll behind the toilet. The head's detached. Brandt \\n looks inside, and... \\n \\n We see a block of reddish Semtex plastic explosive and a \\n chemical fuse. \\n \\n BRANDT\",\n \" into him? \\n \\n GORDY \\n ... No. \\n \\n PHIPPS \\n How much time passed between then \\n and the explosion? \\n \\n GORDY \\n ... Seconds... Five, ten... \\n \\n PHIPPS \\n We think maybe he got into the \\n brown Ford. You see him then? \\n \\n GORDY \\n All I cared about was getting to\",\n \"269B THIRD SATELLITE IMAGE 269B \\n \\n a high-resolution, infrared enlargement. \\n \\n UPDEGRAF (O.S.) \\n This is the explosive area two \\n minutes later. We got a house \\n blown to shit and burning. We got \\n Colombians in cammies, a gringo \\n down, a woman and kid, and some \\n bodies. This guy --\",\n \" Now in casual clothes. He's looking over the beautiful \\n and busy station. Contemplating the devastation and \\n death that a bomb planted here would wreak. \\n \\n \\n 327 EXT. ANDREWS AIR FORCE BASE (MARYLAND) - DAWN 327 \\n \\n A Lear stops by a convoy of black government Suburbans \\n parked on the tarmac. FBI agents Joe Phipps and Reggie\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" Colombia,' unquote... Two \\n Colombian officials and an \\n American military officer died \\n in last Thursday's blast. Also \\n killed were Anne Pitt, wife of a \\n New York City firefighter, and \\n their only child, four-year-old \\n Matt... The President has vowed \\n that the United States will avenge \\n what he called 'this monstrous act \\n of barbarism and cowardice'...\"\n ],\n [\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" SELENA \\n No... \\n \\n \\n 334 INT. LATIN AMERICAN INSTITUTE - \\\"THE WOLF\\\" ROOM - DAY 334 \\n \\n A small conference room devoted to everything having to \\n do with the interagency interest in The Wolf. Photos of \\n evidence, time lines, charts, etc. cover the walls. \\n \\n Gordy's tired, being debriefed by two FBI AGENTS. \\n\",\n \" FBI AGENT #1 \\n ... Did Claudio leave with anyone \\n else? \\n \\n GORDY \\n I was underground. I couldn't see \\n anything. \\n \\n FBI AGENT #1 \\n Did you hear anything about his \\n contacts in the United States? \\n \\n GORDY \\n No. \\n \\n\",\n \" up against a desk. \\n \\n ORTIZ-DOMINGUEZ \\n Please... \\n \\n The FBI agents crash in. \\n \\n FBI SURVEILLANCE AGENT \\n Mr. Pitt! \\n \\n Gordy just stares down at Ortiz-Dominguez. \\n \\n FBI SURVEILLANCE AGENT \\n This isn't the way to do things. \\n \\n Gordy still doesn't move. \\n\",\n \" GORDY \\n No problemo. \\n \\n Gordy peers out the window intently as they drive, \\n looking for a lucky break, looking for The Wolf, \\n searching the face of every man. He doesn't see The \\n Wolf, but what he does see surprises him. The ELC \\n Supervisor was right: Caguan's no Mompos. It's a third- \\n world town, armed troops are visible, and there's a lot\",\n \"355 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 355 \\n - DAY \\n \\n Gordy bursts in, sees Selena's not there. \\n \\n GORDY \\n Where's Selena?! \\n \\n PHIPPS \\n She went to see her son. \\n \\n GORDY \\n She's lying! She's The Wolf! \\n\",\n \" Felix is just loose enough. \\n \\n FELIX \\n The Wolf, and they'll never catch \\n him. \\n \\n GORDY \\n Ever see him? \\n \\n FELIX \\n Once. \\n \\n GORDY \\n Where? \\n \\n FELIX \\n (beat; eyes Gordy) \\n If you know too much around here,\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\",\n \" FBI SURVEILLANCE AGENT \\n These guys're only mouthpieces. \\n \\n Beat. Then Gordy swings the bat. Hard. And... \\n \\n Destroys the computer monitor next to Ortiz-Dominguez. \\n \\n Gordy tosses the bat aside. To the shaking Latin -- \\n \\n GORDY \\n How's that for collateral damage? \\n \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \"310 EXT. ELC JUNGLE VILLAGE 310 \\n \\n The village is a silent, smoking ruin. Everyone who \\n lived there is dead. Troops check the faces of the \\n bodies of the men against the freeze-frame of The Wolf \\n outside the Colombian consulate in New York. \\n \\n The L.O.H. lands. Brandt's met by the Ground Commander. \\n \\n (CONTINUED) \\n\",\n \" FBI agent JOE PHIPPS ducks under the police tape. REGGIE \\n DRAY, a young agent, meets him. As they walk -- \\n \\n DRAY \\n Device functioned in front of the \\n Colombian Consulate just as a \\n motorcade full of brass arrived. \\n \\n PHIPPS \\n Who were the brass, and why were \\n they here? \\n \\n (CONTINUED) \\n\",\n \" When Gordy glances back, Armstrong is gone. \\n \\n \\n 129 EXT. MOMPOS FERRY DOCK - DAY 129 \\n \\n Gordy disembarks amid the throng of passengers, when the \\n FAT FEDERALE confronts him. \\n \\n FAT FEDERALE \\n Senor Pitt? \\n \\n Gordy looks up in surprise at him and the thin federale \\n backing him up. \\n\",\n \" F.B.I.'s on the radio. Tell 'em \\n everything you know. \\n \\n Gordy's her protector, intervenes. Grabs Brandt's arm. \\n \\n (CONTINUED) \\n \\n 112. \\n \\n 325 CONTINUED: 325 \\n \\n GORDY \\n They both get asylum. And she\",\n \" FAT FEDERALE \\n You'll have to come with us. \\n \\n GORDY \\n Why? \\n \\n FAT FEDERALE \\n Come with us, please. \\n \\n He clamps a hand on Gordy's arm. Gordy shakes it off and \\n starts running. Almost immediately, he's tackled to the \\n ground by the thin federale. Two more federales join in. \\n\",\n \"65 INT. VACANT SECOND-FLOOR OFFICE (QUEENS) - NIGHT 65 \\n \\n An FBI SURVEILLANCE TEAM has taken over the office. \\n Three agents work video and audio recording devices. \\n \\n A camera points out the window to a line of storefronts \\n across the street. The lights are on in one building \\n with a sign reading \\\"IPC\\\" (Indigenous People's Committee). \\n \\n The FBI agents listen to live audio from the IPC office.\",\n \" OFF Felix, forced to acquiesce... \\n \\n \\n 187 INT./EXT. LAND CRUISER (CAGUAN) - VARIOUS SHOTS - DAY 187 \\n \\n Felix is driving. Again, Gordy uses the opportunity to \\n look for The Wolf. It's a long-shot, and he knows it. \\n But it's all he can do. \\n \\n\",\n \" He's alone with his frustration, with his rekindled \\n hatred and rage. OFF Gordy, glaring at the photo of The \\n Wolf on his wall... \\n \\n \\n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \\n CUSTOMS AREA - DAY \\n \\n Armed police lead Rottweilers through the newly-arrived\",\n \" The laser indicates The Wolf. \\n \\n UPDEGRAF (O.S.) \\n -- is giving all the orders. \\n \\n BRANDT (O.S.) \\n ... I don't fucking believe it. \\n That lucky son-of-a-bitch found \\n The Wolf. \\n \\n UPDEGRAF (O.S.) \\n ... He's paying for it now. \\n \\n FOLLOW the laser TO:\",\n \"139 GORDY 139 \\n \\n lands inside a warehouse room amid sacks of rice, beans \\n and coffee. The building is dark and dusty. He lies \\n still and listens. FOOTSTEPS approach across the tin \\n roof overhead. Gordy burrows into the bags of rice, \\n pulls them over him. \\n \\n 56. \\n \\n 140 FEDERALE 140 \\n\"\n ],\n [\n \" sleeps. He's an object of some curiosity -- not only a \\n gringo, but a virtual Gulliver in comparison to the \\n small-statured Colombians pressed in around him. \\n \\n \\n 99 EXT. FINCA (COLOMBIA) - DAY 99 \\n \\n A sprawling farm/estate deep in the countryside. Beyond \\n the hacienda, we see a military compound containing tents \\n and three heavily camouflaged helicopter shelters. A\",\n \" BRANDT \\n Mr. Pitt. \\n \\n Gordy just looks at him. \\n \\n BRANDT \\n I'm very sorry for your loss... I \\n lost people, too. \\n \\n PHIPPS \\n ... Mike was in the motorcade that \\n day... He's the chief U.S. \\n intelligence officer overseeing \\n Colombia. \\n \\n BRANDT\",\n \" 94. \\n \\n 268 CONTINUED: 268 \\n \\n GORDY \\n ... Thanks. \\n \\n Selena watches him a moment, troubled by something. \\n \\n SELENA \\n The men in jail with you in \\n Mompos... They say you talked to a \\n man from the C.I.A. \\n \\n GORDY\",\n \" the realization that the man is followed by a number of \\n people, including women and children. As they pass \\n Gordy, it's apparent they're refugees from their haunted \\n expressions and crude backpacks heavy with possessions... \\n \\n Gordy addresses the passing people. Indicates where he's \\n standing. \\n \\n GORDY \\n Aqui? Colombia?... \\n \\n No one replies. Then a small COLOMBIAN GIRL comes up and\",\n \" recently arrived Light Observation Helicopter (LOH) sits \\n on a chopper pad with its rotors still turning. \\n \\n \\n 100 INT. HACIENDA - DAY 100 \\n \\n Full of manned hi-tech command-and-control and \\n surveillance equipment. A Colombian military operations \\n officer, ROCHA, waits with an aide. \\n \\n Brandt arrives with Updegraf. \\n \\n BRANDT\",\n \" face-paint and full-body military camouflage gear and \\n pointing twin cocked-and-locked CAR-15 assault rifles at \\n the heads of the startled guerrillas. \\n \\n 52. \\n \\n 125 EXT. CIA HACIENDA - DAY 125 \\n \\n Brandt stubs a butt as a Colombian SOG group does killer \\n training nearby. Updegraf opens the door. To Brandt -- \\n\",\n \" 14. \\n \\n 47 CONTINUED: 47 \\n \\n DRAY \\n No one's talking yet, but it \\n smells high-level. There were \\n Colombians and Americans in the \\n cars. Three of 'em ate it. Guy \\n on the phone -- \\n \\n He indicates Brandt, talking on a cell phone. \\n \\n DRAY \\n -- is one of the survivors.\",\n \" gets his attention. She runs back up the trail a short \\n distance and stops. She draws a line in the dirt. \\n \\n COLOMBIAN GIRL \\n Panama. \\n \\n She jumps backward over the line. \\n \\n (CONTINUED) \\n \\n 40. \\n \\n 93 CONTINUED: 93 \\n \\n COLOMBIAN GIRL\",\n \"343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \\n - DAY \\n \\n Selena watches as Phipps plays a surveillance video of \\n Union Station. Phipps suddenly freezes the image. Zooms \\n in on a man in the middle of the crowd. Claudio. \\n \\n PHIPPS \\n That's him, isn't it? \\n \\n SELENA\",\n \" C.I.A., F.B.I., D.E.A., Colombian \\n military, U.S. military, right- \\n wing death squads -- and the only \\n thing they've all managed to do is \\n destroy a beautiful country and \\n inflict suffering on the real \\n people... Hey, I'm Colombian, and \\n I'll never go back... \\n \\n OFF Gordy's packed wall... \\n \\n\",\n \" Intelligence sources say the \\n identity and whereabouts of The \\n Wolf remain a mystery. They \\n believe he has worked closely with \\n radical elements in Latin America \\n for more than twenty years and \\n have linked him to numerous \\n terrorist bombings, including the \\n 1983 downing of a Peruvian \\n airliner, which killed forty-two \\n people, eleven of them \\n Americans... The head of the Latin\",\n \" Gordy screams out his agony -- \\n \\n GORDY \\n Noooooo!!! \\n \\n \\n 45 EXT. COLOMBIAN CONSULATE 45 \\n \\n The blast detonated here. Some men from the Navigators \\n are dead. MIKE BRANDT is not. Rises from the \\n devastation, gun in hand, as SIRENS wail in the distance. \\n \\n\",\n \"269B THIRD SATELLITE IMAGE 269B \\n \\n a high-resolution, infrared enlargement. \\n \\n UPDEGRAF (O.S.) \\n This is the explosive area two \\n minutes later. We got a house \\n blown to shit and burning. We got \\n Colombians in cammies, a gringo \\n down, a woman and kid, and some \\n bodies. This guy --\",\n \" None of these people have papers? \\n \\n MAN IN YANKEES CAP \\n Some have the wrong papers. Some \\n have none... \\n \\n The man puts a finger to his lips, hushing Gordy. \\n They've come abreast of the checkpoint, which can be seen \\n in the distance through the trees. Colombian soldiers \\n have the chiva blocked as they perform their inspection. \\n The chiva's DIESEL GROWLS loudly. When suddenly... \\n \\n\",\n \" talks on satellite phone inside camp headquarters. \\n \\n \\n 280 MAURO 280 \\n \\n sits next to Selena on the porch of a house. He plays \\n with the shells of her bracelet as she stares off into \\n the night. \\n \\n \\n 281 EXT. CIA FINCA - NIGHT 281 \\n \\n The Blackhawks, black and menacing, sit on an illuminated\",\n \" Don't worry, Mr. Pitt, we're gonna \\n get the son-of-a-bitch. \\n \\n GORDY \\n You know where he is? \\n \\n BRANDT \\n We believe The Wolf's in hiding \\n in an area of Colombia controlled \\n by the E.L.C., extreme Marxist \\n guerrillas... He thinks he's in \\n a safe haven. \\n\",\n \" Your passport was stolen. \\n \\n GORDY \\n In Mompos. \\n \\n ELC SUPERVISOR \\n ... Mompos is a shithole. Not \\n like Caguan... Why didn't \\n Armstrong come? \\n \\n GORDY \\n He was arrested in Ecuador. He \\n got drunk and fooled around with a \\n police officer's wife. \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" 3. Gordy pins up various Colombia-related articles and \\n pictures on the wall, including the surveillance camera still of \\n The Wolf from the front page of The New York Post. \\n \\n OROSCO (V.O.) \\n ... The government got scared. In \\n 1998, to jump start peace talks, \\n it gave a coalition of guerrilla \\n groups temporary control over much \\n of southern Colombia... The first \\n communist stronghold on an \\n American continent...\",\n \" The ferry pulls up to the dock. The dock street is a \\n culture clash of shanty bars and Amazon Indian traders, \\n of big-wheel SUVs and mule carts. There's a definite air \\n of menace. \\n \\n ARMSTRONG \\n Federales are looking for someone. \\n \\n Gordy follows Armstrong's look to two plain-clothes \\n federales, one fat and one thin, standing near the dock \\n watching the boat pull up. \\n\"\n ],\n [\n \" He's alone with his frustration, with his rekindled \\n hatred and rage. OFF Gordy, glaring at the photo of The \\n Wolf on his wall... \\n \\n \\n 85 INT. AEROPUERTO EL DORADO (BOGOTA) - IMMIGRATION AND 85 \\n CUSTOMS AREA - DAY \\n \\n Armed police lead Rottweilers through the newly-arrived\",\n \" New York City. \\n \\n ARMSTRONG \\n I don't like New York City. \\n Buildings're too big. What kinda \\n work you in? \\n \\n GORDY \\n (hesitates, then) \\n Coffee. I buy beans. \\n \\n ARMSTRONG \\n Can't drink caffeine. Makes my \\n stomach do the rumba. I like that\",\n \" Been busy. \\n \\n MIKE \\n Yeah. I can see that. \\n \\n Gordy's obsessed, totally consumed by his project. He \\n points at a picture of heavily-armed guerrillas. \\n \\n GORDY \\n E.L.C. attack platoon... These \\n assholes kill innocent people all \\n the time in Colombia. \\n \\n Gordy indicates a newspaper article. \\n\",\n \" the realization that the man is followed by a number of \\n people, including women and children. As they pass \\n Gordy, it's apparent they're refugees from their haunted \\n expressions and crude backpacks heavy with possessions... \\n \\n Gordy addresses the passing people. Indicates where he's \\n standing. \\n \\n GORDY \\n Aqui? Colombia?... \\n \\n No one replies. Then a small COLOMBIAN GIRL comes up and\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" OROSCO \\n You interested in the big picture \\n or all the unpleasant details? \\n \\n GORDY \\n My family died because of what's \\n going on down there. I want to \\n know all I can. \\n \\n Orosco searches for a starting point. Then -- \\n \\n OROSCO \\n Well, basically, the situation in \\n Colombia sucks... \\n \\n As Orosco continues...\",\n \" FELIX \\n There's beer at the plantation. \\n \\n GORDY \\n (thinking fast) \\n There's no Berta at the \\n plantation. I like drinking beer \\n around pretty girls, not a bunch \\n of guys with automatic rifles. \\n \\n FELIX \\n To hell with Berta. \\n \\n GORDY \\n What happened? Last night you \\n were in love with her. \\n\",\n \" it can get you killed. \\n \\n Gordy's gotten all he'll get from Felix. He feigns \\n nonchalance, smiles. \\n \\n GORDY \\n Tell me what doesn't get you \\n killed around here. \\n \\n Gordy takes a swig of beer. When... \\n \\n Gordy sees the Beaten Man from the jail in Mompos. The \\n man has just walked in with another guerrilla. \\n\",\n \" None of these people have papers? \\n \\n MAN IN YANKEES CAP \\n Some have the wrong papers. Some \\n have none... \\n \\n The man puts a finger to his lips, hushing Gordy. \\n They've come abreast of the checkpoint, which can be seen \\n in the distance through the trees. Colombian soldiers \\n have the chiva blocked as they perform their inspection. \\n The chiva's DIESEL GROWLS loudly. When suddenly... \\n \\n\",\n \" commercial guy with the sombrero \\n and the mule, though. Headed \\n upstream, eh? Where to? \\n \\n GORDY \\n Caguan. \\n \\n ARMSTRONG \\n ... You've never been to Caguan, \\n eh? \\n \\n GORDY \\n How do you know? \\n \\n ARMSTRONG \\n 'Cause no one in their right mind\",\n \" gets his attention. She runs back up the trail a short \\n distance and stops. She draws a line in the dirt. \\n \\n COLOMBIAN GIRL \\n Panama. \\n \\n She jumps backward over the line. \\n \\n (CONTINUED) \\n \\n 40. \\n \\n 93 CONTINUED: 93 \\n \\n COLOMBIAN GIRL\",\n \" The ferry's the only means of travel south, and it's \\n packed. Gordy picks his way through. The only other \\n gringo on the boat is a geek in a plaid shirt and gimme \\n hat that says \\\"Deerborn.\\\" The geek, PHILIP ARMSTRONG, \\n looks like a talker, and Gordy tries to avoid eye \\n contact. He's too late. \\n \\n ARMSTRONG\",\n \" over thirty-five years. For most \\n of that time, it was winning... \\n \\n \\n 71 NEW YORK PUBLIC LIBRARY 71 \\n \\n 2. At the New York Public Library, Gordy uses microfilm \\n files and computer access to the web to search out \\n information on Colombia and The Wolf. \\n \\n OROSCO (V.O.) \\n ... Suddenly the guerrillas began\",\n \" Gordy barely avoids being seen as the guerrillas cross \\n the room. At the bar, the bartender puts out two crates \\n of beer. The guerrillas take the beer and head out. No \\n money's changed hands. When they're gone, to Felix -- \\n \\n GORDY \\n We'd better get back, huh? \\n \\n FELIX \\n (checks his watch) \\n ... Shit. It's late.\",\n \" two men can't go have a beer and \\n look at women's breasts because \\n of pink elephants?... Nothing \\n makes any sense down here. \\n \\n (CONTINUED) \\n \\n 79. \\n \\n 206 CONTINUED: 206 \\n \\n Felix pulls out his .9mm. Gordy doesn't blink an eye. \\n \\n GORDY\",\n \" My cousin, Ever. \\n \\n Ever and Gordy exchange nods. \\n \\n GORDY \\n How far's Colombia? \\n \\n The Cab Driver indicates distant mountains. \\n \\n (CONTINUED) \\n \\n 38. \\n \\n 88 CONTINUED: 88 \\n \\n CAB DRIVER \\n Beyond those mountains... The \\n trail is very dangerous, but do\",\n \" hair, when... \\n \\n Gordy's eyes meet Brandt's. The two men hold the look \\n for a moment. If Brandt could speak, he'd be yelling at \\n Gordy to stop, not to go on. And Gordy knows it. But \\n Gordy's not stopping. Picks up Armstrong again and moves \\n off toward the waterfront. \\n \\n\",\n \" would ever go back. Caguan's in \\n the guerrilla zone run by the \\n E.L.C. E.L.C. as in 'Extra \\n Loathsome Communists.' They don't \\n care, and they kill. I'm going \\n there myself. But I have a 'get \\n outta jail free' card. \\n \\n Armstrong doffs his cap, undoes a safety pin securing a\",\n \" Beat. Gordy sits. \\n \\n GORDY \\n The Wolf killed my wife and son \\n in New York. \\n \\n (CONTINUED) \\n \\n 59. \\n \\n 145 CONTINUED: 145 \\n \\n ARMSTRONG \\n ... Oh, you're that guy, eh? I'm \\n sorry, man... And what, you came\",\n \" Gordy takes it. Just sits there a long moment, then -- \\n \\n GORDY \\n What kind of twisted people do \\n things like this? \\n \\n Beat. Brandt and Phipps don't have an answer. \\n \\n 27. \\n \\n 69 INT. NEW YORK TIMES - BULLPEN - DAY 69 \\n \\n Gordy talks to a Latin reporter, ERNIE OROSCO. \\n\"\n ],\n [\n \" the cell containing their two captured comrades. Beat. \\n The HINGES BLOW. The beaten man and the rebel with him \\n are freed, and the guerrillas quickly retreat the way \\n they came. \\n \\n Gordy sees flames spreading into the cell area. \\n \\n \\n 160 GUERRILLAS 160 \\n \\n exit the fiery jail past Brandt. We see Brandt's not \\n dead. \\n \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" This guy didn't do the bombing, \\n Gordo. He's just trying to get \\n the people who did. \\n \\n Beat. Gordy eases up. Then, after a moment, defeated -- \\n \\n GORDY \\n I didn't see anything except the \\n explosion. \\n \\n Beat. Phipps sees that's all he's gonna get. \\n \\n PHIPPS\",\n \" Gordy can see the can is sleeved around a grenade. \\n There's no pin in the grenade. The can keeps the \\n grenade's arming spoon in place. The trip wire's \\n designed to yank the can off, allowing the grenade to \\n explode at chest level... And the can's almost off. \\n \\n Gordy burns through the monofilament trip wire. Then \\n carefully slides the Coke can back over the grenade. \\n \\n\",\n \" 64. \\n \\n 170 CONTINUED: 170 \\n \\n Still stunned and bleeding, Brandt looks from where he \\n lies on the ground as... \\n \\n Gordy bursts out of the inferno carrying Armstrong. \\n They're singed and smoking, but they're alive. Gordy \\n drops Armstrong, pats himself and Armstrong down, \\n knocking out the burning embers on their clothes and\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" Just in time... \\n \\n And we realize that he'd planned on the diversion, as... \\n \\n The water jet breaks through. The hole's still small. \\n Gordy begins to widen it. \\n \\n 84. \\n \\n 223 EXT. PLANTATION 223 \\n \\n Felix, the Beaten Man and the other guerrillas resume \\n their march toward the storeroom. \\n\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" FELIX \\n There's beer at the plantation. \\n \\n GORDY \\n (thinking fast) \\n There's no Berta at the \\n plantation. I like drinking beer \\n around pretty girls, not a bunch \\n of guys with automatic rifles. \\n \\n FELIX \\n To hell with Berta. \\n \\n GORDY \\n What happened? Last night you \\n were in love with her. \\n\",\n \" toward the girl, when... \\n \\n Gordy sees the thin federale enter the front door. The \\n thin federale sees him at the same time. Begins moving \\n in on him. \\n \\n Gordy moves faster toward the girl. And... \\n \\n The girl unwittingly does him a favor by taking off the \\n cap and setting it on the bar, where it's easier to grab, \\n and then turns her attention to Armstrong's antics. \\n\",\n \" The kid's about to hit it. Gordy shouts -- \\n \\n GORDY \\n No! Alto! \\n \\n The young man hears the alarm in Gordy's voice and \\n stops... But not before he plants his next step, and... \\n \\n The trip wire bows against his shin, and... \\n \\n Gordy ducks, covers the Man in the Yankees Cap, and... \\n \\n Nothing happens. The young man just stands there, frozen\",\n \" the blast-hole. \\n \\n OLDER MAN \\n Mina. \\n \\n Gordy realizes the old man's saying \\\"land mine.\\\" To the \\n young woman -- \\n \\n GORDY \\n No! \\n \\n Gordy moves to catch her. Just manages to stop her as \\n she reaches the far bank. Gordy points to where the land \\n mine detonated. \\n \\n GORDY\",\n \" Matt die, but now he can't do it. He's a firefighter. \\n He saves lives. If he kills Selena, Gordy crosses into \\n her world, into Brandt's world, into the brutal nightmare \\n destroying Colombia and all the places like it, and becomes \\n part of that sadness and death... And... \\n \\n Gordy relaxes the chokehold enough so she can breathe. \\n Selena gasps for air. The impulse to murder has left\",\n \" the grenade before it drops to the road. And then... \\n \\n Carefully, slowly -- praying that each bump doesn't jar \\n the grenade off the pin -- with his other arm shaking and \\n screaming in pain as he maintains a grip on the transfer \\n case -- Gordy eases the grenade back onto his stomach, \\n where he gets a better grip. Jams the grenade back. \\n Then grabs onto the undercarriage once more, in time to\",\n \" Gordy drops out the bathroom window. \\n \\n \\n 209 EXT./INT. LAND CRUISER - MOMENTS LATER 209 \\n \\n Gordy gets the grenade from the tool box. He slides it \\n just inside the top of his pants, with the spoon hooked \\n over the waistband. He finds some wire. Then searches \\n for something else. Finds a piece of string and checks\",\n \" moves to the door and tries it. It's definitely locked. \\n Through a small window, he can see the lights in the \\n sheds and the ever-vigilant nighttime ELC sentries \\n patrolling the grounds. The DIESELS ROAR in the b.g. \\n \\n Gordy turns back. Readjusts the grenade digging into his \\n belly, then hooks it back inside his pants. He turns off \\n the light. Moves to the adobe wall opposite the door.\",\n \" SAL \\n How's the leg? \\n \\n RONNIE \\n Cut's deep, but no major vessels \\n were severed. He's got a load 'o \\n silk holding it all together. \\n \\n Junior, who stepped off to talk to a cop, now comes back. \\n \\n JUNIOR \\n Just came over the police radio... \\n Consulate surveillance cameras \\n caught the bomber in the act. He\",\n \" few casualties to themselves. They make their way toward \\n the cell area. \\n \\n EXPLODING AMMO and stored FUEL CANS accelerate the fire. \\n \\n \\n 159 NEW ANGLE 159 \\n \\n The guerrillas reach the cells. Two men see Gordy and \\n draw down on him. The others move to the next cell. \\n \\n Guerrillas plant small explosive charges on the hinges of\",\n \" questions. And we're gonna get \\n answers... And you're staying \\n right here till our bomber's dead. \\n \\n Brandt goes. Moments later, a TORTURED SCREAM is heard \\n on the other side of the brick wall, waking Armstrong \\n with a start. \\n \\n \\n 148 EXT. MOMPOS - VARIOUS SHOTS - NIGHT 148 \\n\",\n \" Gordy suddenly hears a woman's gentle SINGING. He looks \\n in the direction of the sound, and... \\n \\n Gordy sees the attractive Woman and the boy approaching \\n on the road. She's singing a gentle song in Spanish. \\n \\n Gordy's eyes flash with alarm. He glances at the house. \\n \\n \\n 247 CLOSEUP - GRENADE 247 \\n \\n The lighter fluid continues dissolving the rubber bands,\"\n ],\n [\n \" Selena hesitates, choking back her emotions. \\n \\n SELENA \\n ... my baby girl was hit by \\n shrapnel... she bled to death in \\n Claudio's arms. \\n \\n She looks into Gordy's eyes. The look says she \\n understands and shares Gordy's pain because she's \\n suffered her own painful loss. She looks away again. \\n \\n (CONTINUED) \\n\",\n \" SELENA \\n Claudio used to be a teacher. I \\n was a medical aid worker. We met \\n in Guatemala, in an Indian village \\n called Guamaunco. We were married \\n there. Sophia, our daughter was \\n born there. Claudio was kind and \\n loving, and we were happy... We \\n were there four years when the \\n civil war broke out... The \\n guerrillas were all around us, but\",\n \" SHOOTS Claudio dead from the mouth of the alleyway down \\n the block. The first SHOT CRACKS the back of Claudio's \\n helmet. The second SHOT punches through and exits his \\n visor in a bright red mist of blood. \\n \\n \\n 378 SELENA 378 \\n \\n bolts. \\n \\n \\n 379 GORDY 379 \\n \\n goes after her. \\n\",\n \"343 INT. LATIN AMERICAN INSTITUTE - LARGE CONFERENCE ROOM 343 \\n - DAY \\n \\n Selena watches as Phipps plays a surveillance video of \\n Union Station. Phipps suddenly freezes the image. Zooms \\n in on a man in the middle of the crowd. Claudio. \\n \\n PHIPPS \\n That's him, isn't it? \\n \\n SELENA\",\n \" in leathers and a helmet. He takes the fall better than \\n Selena. Gets to his feet. Looks for the guns they \\n dropped. Before Claudio can get to a gun, Gordy's on \\n him. They grapple. Gordy pounds Claudio hard. Once. \\n Twice. When... \\n \\n \\n 375 SELENA 375 \\n \\n side-kicks Gordy. He sags. She front-kicks a heel into\",\n \" He just manages to grab Selena and yank her off the bike. \\n \\n Selena's arms are wrapped around Claudio -- when Gordy \\n rips her out of the saddle, Claudio goes, too. The three \\n of them tumble to the ground as the speeding Ducati \\n spins, flips and disintegrates. \\n \\n 124. \\n \\n 374 CLAUDIO 374 \\n\",\n \" 95. \\n \\n 268 CONTINUED: (2) 268 \\n \\n SELENA \\n Claudio joined the guerrillas. \\n When that war ended, we moved to \\n the next war, and the next... Each \\n fight has only deepened his \\n hatred. And poisoned his soul. \\n (beat) \\n He's unable to love anything \\n anymore...\",\n \" is scratch. But Gordy's oblivious. They're alone in the \\n courtyard. Body to body. Head to head. He's pumped \\n with fury and hatred. He tightens the chokehold. Hisses \\n in her ear -- \\n \\n GORDY \\n You killed them. \\n \\n SELENA \\n (beat; with \\n contempt) \\n One woman, one boy -- they mean\",\n \" his spine and between his shoulder blades. Gordy lets go \\n of Claudio and drops. Selena's relentless, kicks Gordy \\n repeatedly as... \\n \\n \\n 376 CLAUDIO 376 \\n \\n gets the pistol. Turns. Aims the gun two-handed at \\n Gordy's head, and BANG! \\n \\n \\n 377 DRAY 377 \\n\",\n \" SELENA \\n I tried to stop him. \\n \\n She holds Gordy's eyes a moment. Her look is grim, \\n haunted. \\n \\n SELENA \\n He's gone back. \\n \\n GORDY \\n (beat; realizes) \\n The United States? Another bomb? \\n \\n SELENA \\n Yes. \\n \\n GORDY\",\n \" SELENA \\n My name is Selena. \\n \\n GORDY \\n ... His wife? \\n \\n SELENA \\n Yes. \\n \\n \\n Beat. The sea shells clack. Gordy loses consciousness \\n again, and everything goes... \\n \\n \\n 266 BLACK 266 \\n \\n The CLACKING sound CONTINUES. And... \\n \\n\",\n \" Selena looks over at her son sleeping in Gordy's arms. \\n She lovingly brushes the hair off his forehead, rattling \\n her seashells. The leather doll is about to fall from \\n Mauro's fingers. Selena takes the doll and puts it into \\n her bag. Then looks out at the passing scenery. OFF \\n Selena, in the land of her husband's enemy -- \\n \\n\",\n \"359 EXT. LATIN AMERICAN INSTITUTE - STREET - VARIOUS ANGLES 359 \\n \\n Selena and the agents cross the street toward the safe \\n house. \\n \\n Claudio GUNS the BIKE toward them. \\n \\n Selena hears the BIKE. Sees Claudio coming. Uses the \\n front edge of her hand to strike the female agent hard in \\n the throat. The agent falls to her knees trying to suck\",\n \" renovation. Without stopping, she tears through the \\n plastic covering the doorway to seal in dust from the \\n rest of the house. She topples what she can into \\n Gordy's way. Throws nails down behind her. Grabs a \\n circular saw and hurls it back at Gordy, just missing him \\n and shattering a large wall mirror. \\n \\n Selena's a soldier, taught to pick up and use whatever \\n weapons she finds as she moves through a battlefield --\",\n \" Claudio. \\n \\n (CONTINUED) \\n \\n 91. \\n \\n 261 CONTINUED: 261 \\n \\n The Wolf glances over. Meets her eyes a moment. Sees \\n the photo in her hand. Glances up into her eyes again. \\n They hold the look. A whole conversation exchanged \\n without words. Then The Wolf turns back to Gordy, lying\",\n \"353 EXT. LATIN AMERICAN INSTITUTE - DAY 353 \\n \\n Selena emerges with the two CIA agents. \\n \\n \\n 354 ANGLE - DOWN BLOCK 354 \\n \\n Claudio sits on his parked motorcycle. He sees Selena \\n emerge. Drops his helmet visor and STARTS the BIKE. \\n \\n 121. \\n\",\n \" breaks toward an open door of the house. \\n \\n \\n 386 INT. TOWN HOUSE - VARIOUS SHOTS 386 \\n \\n Selena blasts into the bottom floor, runs through a \\n playroom. Gordy's right behind her. \\n \\n \\n 387 SELENA 387 \\n \\n mounts a stairwell. A girl's descending. Selena grabs a\",\n \" toward Mompos. \\n \\n GORDY \\n Can you walk? \\n \\n SELENA \\n It's just my arm. \\n \\n Gordy admires this woman's bravery. Selena stands. \\n Mauro's clutching her skirt. Gordy looks at him. \\n \\n GORDY \\n How do you say 'hello'? \\n\",\n \" Gordy's now moving parallel to Claudio and Selena, \\n sprinting hard toward another one-way street, which \\n crosses the alley ahead. He doesn't know if he'll \\n intercept the bike, but it's his only shot. \\n \\n \\n 367 EXT. STREET 367 \\n \\n Claudio GUNS the BIKE down the second street, parallel to \\n Gordy's alley. He and Selena reach an intersection with\",\n \" Selena flips through it. Stops at a photo. \\n \\n \\n 338 CLOSE ON PHOTO 338 \\n \\n It's of the redesigned lobby of Union Station. \\n \\n \\n 339 BACK TO SCENE 339 \\n \\n Selena glances up. \\n \\n SELENA \\n That's it! \\n \\n BRANDT\"\n ],\n [\n \" Feet jam into boots. Yellow trousers are hauled up and \\n hitched with suspenders. \\n \\n Yellow jackets are whipped on. \\n \\n The chauffeur TURNS OVER the PUMPER'S huge MOTOR. \\n \\n Firefighters take their stations on the truck. Headsets \\n go on. As the fire company's lieutenant, Gordy rides \\n shotgun. The chauffeur hands him the printout. As the\",\n \" The laser indicates The Wolf. \\n \\n UPDEGRAF (O.S.) \\n -- is giving all the orders. \\n \\n BRANDT (O.S.) \\n ... I don't fucking believe it. \\n That lucky son-of-a-bitch found \\n The Wolf. \\n \\n UPDEGRAF (O.S.) \\n ... He's paying for it now. \\n \\n FOLLOW the laser TO:\",\n \" We can fix anything, but these \\n keep dying on us... You'll start \\n now. I'll have tools brought to \\n you. \\n (beat) \\n Armstrong's a magician with them. \\n Let's hope you have his skill. \\n \\n Felix walks over to a guerrilla with an AK-47 and speaks \\n to him. Then goes. Whereupon the guerrilla crosses to \\n Gordy and takes up a sentry position over him. \\n\",\n \" two men can't go have a beer and \\n look at women's breasts because \\n of pink elephants?... Nothing \\n makes any sense down here. \\n \\n (CONTINUED) \\n \\n 79. \\n \\n 206 CONTINUED: 206 \\n \\n Felix pulls out his .9mm. Gordy doesn't blink an eye. \\n \\n GORDY\",\n \" In here, the MUSIC'S LOUD ROCK 'N' ROLL. Gringo music \\n for a gringo bar. The place is busy, with plenty of \\n local \\\"hostesses\\\" for the men. Even Armstrong, standing \\n half-crocked at the bar, is flanked by two scantily-clad \\n women. He's got a spoon hanging off his nose. So does one \\n of the girls. Armstrong's trying to hang a spoon on the \\n other. \\n\",\n \" Gordy barely avoids being seen as the guerrillas cross \\n the room. At the bar, the bartender puts out two crates \\n of beer. The guerrillas take the beer and head out. No \\n money's changed hands. When they're gone, to Felix -- \\n \\n GORDY \\n We'd better get back, huh? \\n \\n FELIX \\n (checks his watch) \\n ... Shit. It's late.\",\n \" They've had a lot more than two beers. Felix has, \\n anyway. He's drunk. He's also in love with a waitress \\n on his lap, a cute gordita named BERTA. He pats her. \\n \\n FELIX \\n This is mine. This is the reason \\n I come here... right, Berta? Me \\n amas? \\n \\n BERTA \\n (playing along)\",\n \" NATIONAL SECURITY ADVISOR (V.O.) \\n ... At this time, we believe the \\n man responsible for carrying out \\n the New York bombing, the \\n terrorist known as The Wolf, is \\n among the enemy dead. \\n \\n \\n 79 NEW ANGLE 79 \\n \\n Big cheers now. Toasts all around. Everyone in the \\n place is happy for Gordy, who sits there a moment trying\",\n \" it can get you killed. \\n \\n Gordy's gotten all he'll get from Felix. He feigns \\n nonchalance, smiles. \\n \\n GORDY \\n Tell me what doesn't get you \\n killed around here. \\n \\n Gordy takes a swig of beer. When... \\n \\n Gordy sees the Beaten Man from the jail in Mompos. The \\n man has just walked in with another guerrilla. \\n\",\n \" FELIX \\n There's beer at the plantation. \\n \\n GORDY \\n (thinking fast) \\n There's no Berta at the \\n plantation. I like drinking beer \\n around pretty girls, not a bunch \\n of guys with automatic rifles. \\n \\n FELIX \\n To hell with Berta. \\n \\n GORDY \\n What happened? Last night you \\n were in love with her. \\n\",\n \" would ever go back. Caguan's in \\n the guerrilla zone run by the \\n E.L.C. E.L.C. as in 'Extra \\n Loathsome Communists.' They don't \\n care, and they kill. I'm going \\n there myself. But I have a 'get \\n outta jail free' card. \\n \\n Armstrong doffs his cap, undoes a safety pin securing a\",\n \" Felix really wants to, but still hesitates. \\n \\n GORDY \\n With the spare parts, I'll have \\n the generators running in two \\n hours... We have time for a \\n couple beers. \\n \\n Beat. Finally -- \\n \\n FELIX \\n Okay. Just a beer. Maybe two. \\n \\n \\n 192 INT. BAR - NIGHT 192 \\n\",\n \" Gordy slips into the bar. Spots Armstrong through the \\n crowd. Sees Armstrong's not wearing his cap, when... \\n \\n The girl with the spoon on her nose turns slightly, \\n revealing she's wearing the cap. It's on backwards, but \\n now Gordy can see the \\\"Deerborn\\\" logo clearly. \\n \\n Gordy wants the guerrilla travel pass inside the cap. \\n It's a desperate move, but he's got no choice. Starts\",\n \" the grenade before it drops to the road. And then... \\n \\n Carefully, slowly -- praying that each bump doesn't jar \\n the grenade off the pin -- with his other arm shaking and \\n screaming in pain as he maintains a grip on the transfer \\n case -- Gordy eases the grenade back onto his stomach, \\n where he gets a better grip. Jams the grenade back. \\n Then grabs onto the undercarriage once more, in time to\",\n \" 46. \\n \\n 113 EXPLOSION 113 \\n \\n BOOM! An EXPLOSION rips into him. \\n \\n \\n 114 GORDY AND OTHERS 114 \\n \\n stop mid-stream, but one of the group, a young woman, \\n believing the blast was caused by the pursuing military, \\n continues struggling to cross. An OLDER MAN looks, sees\",\n \" in position, his leg still bowing the line. \\n \\n (CONTINUED) \\n \\n 48. \\n \\n 117 CONTINUED: 117 \\n \\n Using the Zippo again to light his way, Gordy advances to \\n the young man. He follows the trip wire to where a Coca- \\n Cola can hangs from a nearby tree. On closer inspection,\",\n \" Gordy can see the can is sleeved around a grenade. \\n There's no pin in the grenade. The can keeps the \\n grenade's arming spoon in place. The trip wire's \\n designed to yank the can off, allowing the grenade to \\n explode at chest level... And the can's almost off. \\n \\n Gordy burns through the monofilament trip wire. Then \\n carefully slides the Coke can back over the grenade. \\n \\n\",\n \" The man goes. Outside, we hear him SHOUT orders to the \\n guerrillas guarding the plantation. The Beaten Man turns \\n to Felix. Felix is terrified. In a pleading tone -- \\n \\n FELIX \\n (in Spanish) \\n He can't be far. You'll catch -- \\n \\n BANG! The Beaten Man SHOOTS Felix in the head. Then \\n exits. OFF Felix, dead, his blood mixing with the water \\n still streaming across the floor...\",\n \" (to Rocha) \\n The man whose wife and son died in \\n New York. One of your units found \\n his passport and credit cards on \\n some gunrunners near Panama. \\n Gunrunners say they left him \\n alive. \\n \\n BRANDT \\n What, he thinks he can get The \\n Wolf himself? \\n \\n ROCHA \\n We have too much time and too many\",\n \" Gordy stops. Pops the lid. Spoons out a dollop. \\n \\n GORDY \\n Open up. \\n \\n He sticks the spoon in Junior's mouth. Junior eats. \\n Junior loves it. Gordy smiles. \\n \\n GORDY \\n Screw the twenty-first century. \\n \\n The FIRE BELL SOUNDS. \\n \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What does Perrini do?","What happens to Brewer's family?","Who is Selena?","What does Brandt do after returning to Mopos?","What is Sean Armstrong's profession?","Who does Brewer discover to be El Lobo?","How does Brewer discover Selena's identity?","What item is used to kill Perrini?","What award does Brewer receive at the end?","In what city did the bomb detonate?","What does \"El Lobo\" mean?","What does Brewer pretend to be in order to set the explosives and blow up the drug facility?","Who tells Brewer \"El Lobo\" is planning a bombing in Washington D.C.?","How does Brewer kill Claudio?","What did Selena do to alert Brewer she had been with \"the wolf\" from the beginning?","What is the motive behind the bombings?","What type of reward will Brewer receive?","Who does Brewer carry out of the state department?","Which of Brewer's family members were killed in the bombing attack?","In which county's consulate did th ebomb explode?","In what city was the consulate located?","How many people were killed in the bombing?","Who claims responsibility for the bombing?","Who does the FBI is El Lobo?","Who is the CIA Columbian Station Chief?","What is Brewer frustrated by that makes him go to Columbia himself?","Who does Brewere try to save from the bomb he planting, causing him to be captured?","Where does Selena identify the target of Claudio as?","What medal is Brewer going to receive?"],"string":"[\n \"What does Perrini do?\",\n \"What happens to Brewer's family?\",\n \"Who is Selena?\",\n \"What does Brandt do after returning to Mopos?\",\n \"What is Sean Armstrong's profession?\",\n \"Who does Brewer discover to be El Lobo?\",\n \"How does Brewer discover Selena's identity?\",\n \"What item is used to kill Perrini?\",\n \"What award does Brewer receive at the end?\",\n \"In what city did the bomb detonate?\",\n \"What does \\\"El Lobo\\\" mean?\",\n \"What does Brewer pretend to be in order to set the explosives and blow up the drug facility?\",\n \"Who tells Brewer \\\"El Lobo\\\" is planning a bombing in Washington D.C.?\",\n \"How does Brewer kill Claudio?\",\n \"What did Selena do to alert Brewer she had been with \\\"the wolf\\\" from the beginning?\",\n \"What is the motive behind the bombings?\",\n \"What type of reward will Brewer receive?\",\n \"Who does Brewer carry out of the state department?\",\n \"Which of Brewer's family members were killed in the bombing attack?\",\n \"In which county's consulate did th ebomb explode?\",\n \"In what city was the consulate located?\",\n \"How many people were killed in the bombing?\",\n \"Who claims responsibility for the bombing?\",\n \"Who does the FBI is El Lobo?\",\n \"Who is the CIA Columbian Station Chief?\",\n \"What is Brewer frustrated by that makes him go to Columbia himself?\",\n \"Who does Brewere try to save from the bomb he planting, causing him to be captured?\",\n \"Where does Selena identify the target of Claudio as?\",\n \"What medal is Brewer going to receive?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["He is a terrorist.","He's a Colombian terrorist"],["They're killed in a terrorist attack.","They died in a bomb explosion."],["She is Claudio Perrini's wife.","Claudio's wife, and El Lobo"],["He and his paramilitary pals plot to destroy El Lobo.","Meets with his allies. "],["He is a mechanic.","Mechanic"],["Selena.","Selena "],["She makes a gesture that resembles similar gesture by El Lobo.","A hand jesture she makes"],["An axe.","An axe to the chest"],["The Presidential Medal of Freedom","the Presidential Medal of Freedom"],["Los Angeles","Los Angeles"],["the wolf","The wolf"],["a mechanic","mechanic "],["Selena / Claudio's wife","Selena"],["an axe","he threw an axe into Claudio's chest"],["make the same gesture he did","She makes the same gesture."],["revenge","Because he belives Columbia has been oppressed by the US "],["a medal","Presidential Medal of Freedom"],["Mauro / Selena's son / Claudio's son","Mauro "],["his wife and son","his child"],["Columbia","The Columbian Consulate"],["Los Angeles","Los Angeles"],["9","9"],["El Lobo","El Lobo "],["Claudio Perrini","Claudio Perrini"],["Peter Brandt","Peter Brandt"],["red tape","Political red tape."],["Selena","Selena."],["Union Station","Union Station."],["The Presidential Medal of Freedom","Presidential Medal of Freedom."]],"string":"[\n [\n \"He is a terrorist.\",\n \"He's a Colombian terrorist\"\n ],\n [\n \"They're killed in a terrorist attack.\",\n \"They died in a bomb explosion.\"\n ],\n [\n \"She is Claudio Perrini's wife.\",\n \"Claudio's wife, and El Lobo\"\n ],\n [\n \"He and his paramilitary pals plot to destroy El Lobo.\",\n \"Meets with his allies. \"\n ],\n [\n \"He is a mechanic.\",\n \"Mechanic\"\n ],\n [\n \"Selena.\",\n \"Selena \"\n ],\n [\n \"She makes a gesture that resembles similar gesture by El Lobo.\",\n \"A hand jesture she makes\"\n ],\n [\n \"An axe.\",\n \"An axe to the chest\"\n ],\n [\n \"The Presidential Medal of Freedom\",\n \"the Presidential Medal of Freedom\"\n ],\n [\n \"Los Angeles\",\n \"Los Angeles\"\n ],\n [\n \"the wolf\",\n \"The wolf\"\n ],\n [\n \"a mechanic\",\n \"mechanic \"\n ],\n [\n \"Selena / Claudio's wife\",\n \"Selena\"\n ],\n [\n \"an axe\",\n \"he threw an axe into Claudio's chest\"\n ],\n [\n \"make the same gesture he did\",\n \"She makes the same gesture.\"\n ],\n [\n \"revenge\",\n \"Because he belives Columbia has been oppressed by the US \"\n ],\n [\n \"a medal\",\n \"Presidential Medal of Freedom\"\n ],\n [\n \"Mauro / Selena's son / Claudio's son\",\n \"Mauro \"\n ],\n [\n \"his wife and son\",\n \"his child\"\n ],\n [\n \"Columbia\",\n \"The Columbian Consulate\"\n ],\n [\n \"Los Angeles\",\n \"Los Angeles\"\n ],\n [\n \"9\",\n \"9\"\n ],\n [\n \"El Lobo\",\n \"El Lobo \"\n ],\n [\n \"Claudio Perrini\",\n \"Claudio Perrini\"\n ],\n [\n \"Peter Brandt\",\n \"Peter Brandt\"\n ],\n [\n \"red tape\",\n \"Political red tape.\"\n ],\n [\n \"Selena\",\n \"Selena.\"\n ],\n [\n \"Union Station\",\n \"Union Station.\"\n ],\n [\n \"The Presidential Medal of Freedom\",\n \"Presidential Medal of Freedom.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"d8844d709aa624a5ffe70f185dc68488839d37ea"},"split":{"kind":"string","value":"train"}}},{"rowIdx":38,"cells":{"text":{"kind":"list like","value":[[" Tanner points to the video wall with a RED LASER PEN. \n \n TANNER \n (ironically) \n A regular terrorist swap meet. Death \n at discount: Two Chinese Long March \n Scuds, a pair of Soviet A-17 attack \n helicopters - \n \n BUKHARIN \n (interrupting) \n Stolen - \n \n TANNER"," EVERYONE ON THE BARGE DIVES FOR THE DECK... Except for Bond and \n Wade, who might as well be having tea. Bond looks down at Taro, \n cowering on the boards. \n \n BOND \n Gatling gun beats Uzi. \n \n NEW ANGLE - (CUTTER/BARGE) - DAY \n \n An ARMED BOARDING PARTY is coming across an aluminum bridge that has"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," Sidney is thrown from her bench, slamming against scuba tanks. \n \n EXT. MID-SHIP - DECK - \n \n Stamper bounces himself, handing out AUTOMATIC WEAPONS from an arms \n cache hidden inside a DINGHY. \n \n The two cameramen take their M-16's and rush forward, jumping up on \n some machinery to climb onto - \n \n THE ROOF OF THE BRIDGE - \n"," Near a QUONSET HUT, a TRUCK-MOUNTED RADAR DISH scans the area, with \n INFRARED GATLING GUNS mounted on either side. \n \n BOND - AT THE ROCK OUTCROPPING - \n \n Props his rife on the boulder, and peers through the GUN SIGHT. \n \n THROUGH THE TELESCOPIC SIGHT - \n"," And the crates look like American M-16 \n assault rifles, Chilean antipersonnel \n mines, six French Exocet missiles, and \n 75 - no maybe a hundred - kilograms of \n Czech made C-4 Semtech explosive. \n (beat) \n Something for everyone. Fun for the \n whole family. \n \n M \n (freezing him with a glance) \n What about ID's? \n"," Bond glances at the REARVIEW MIRROR. Sees the HUM-VEES. Presses \n another switch - \n \n CLOSE ON BOND'S EXHAUST PIPE - \n \n Whoosh! A MISSILE blasts out, trailing smoke as it hones in on - \n \n THE FIRST HUM-VEE. \n \n BOOM! It's decimated. \n \n ANGLE ON HARMSWAY - ON HIS RADIO - \n"," Bond's headset lies on top of the rock, along with the telescopic \n sight - still broadcasting. \n \n Find Bond, crouching BEHIND the rock. Automatic rifle in one hand, \n GRENADE in the other. He pulls the pin, hurls it 40 feet away. \n Pauses. Waits, counting down time. Then - \n \n BOND SPRINGS. SHOOTS at one of the CRATES. IT BLOWS UP, just as -"," Harmsway lowers the binoculars' smiling. Stamper appears, hands \n Harmsway a piece of paper. \n \n STAMPER \n We've decoded their last transmission. \n \n Harmsway studies it for a moment - smiles. \n \n HARMSWAY \n Perfect. They'll be searching miles from here. \n (then) \n Time for phase two. You can get the \n men in the water. \n"," A launcher rotates, and - BOOM - a Cruise missile blasts off. \n \n INT. WARSHIP WEAPONS CONTROL ROOM - \n \n FIRING OFFICER \n Cruise missile away - \n \n MI-6 SITUATION ROOM - \n \n FIRING OFFICER'S VOICE (Cont'd) \n Time to target: Four minutes. \n \n ADMIRAL ROEBUCK"," THE CRUISE MISSILE - \n \n Hugging the surface, crossing from water to land. \n \n MI-6 SITUATION ROOM - \n \n VOICE FROM WARSHIP \n Time to target: Three minutes. \n (sfx: Beep!) \n Target acquired. Weapon armed. \n \n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has"," They rush forward, and assume positions shooting at Bond. \n \n ANGLE ON THE HELICOPTER - \n \n Taking hits. Bond pivots and turns the chopper, heading straight for \n them. \n \n BOND'S POV - (INT. HELICOPTER) - \n \n The men turn, and start to run as the chopper chases them - \n \n CLOSE ON THE CHOPPER'S LANDING SKIDS - \n"," 50 feet down, 200 yards away: 50 MEN are unloading CARGO from a dozen \n MILITARY TRANSPORT TRUCKS; there are TWO NORTH KOREAN MiG-29s on the \n ground (one partially obscured by a truck,) plus FLATBEDS carrying \n HELICOPTERS and SCUD MISSILES. \n"," TANNER \n (pushes a button on a console) \n One to seven: Deal the face cards. \n \n THE ROCK OUTCROPPING - \n \n Bond adjusts a knob on the scope. \n \n MI-6 SITUATION ROOM - \n \n On the video-screen, the picture zooms to a CLOSE UP of one of the \n arms traders. Tanner presses a button, and - almost instantly - the"," hanging from a steel boom.) \n \n THE DECK - \n \n Coming up the ladder first, Harmsway is greeted by the Captain. \n \n HARMSWAY \n Any news? \n \n THE CAPTAIN \n The call just went out on the Hong \n Kong police radio: Fire at the power \n plant. \n \n HARMSWAY \n (ironically) \n Alert the media! \n"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," Take them out to the jungle and - \n \n Suddenly, BOND'S CAR ENGINE STARTS WITH A ROAR. The GUARDS TURN, in \n shock TOWARDS THE CAR, as: \n \n BOND retrieves the gun he slid out, and pulls Sidney behind the \n newspaper trolley, while - \n \n THE CAR BEGINS TO MOVE, sending the guards scrambling. \n \n BOND takes his position with Sidney."," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," bottom, where the snow thins, he comes to: \n \n A ROCK OUTCROPPING. \n \n Hiding behind the rock, Bond takes off his skis, knapsack. He \n unpacks (and unfolds) a HIGH TECH AUTOMATIC RIFLE. Puts on a \n HEADSET. He creeps up on the rock, and looks out on: \n \n A SECRET MILITARY BASE/AIR STRIP (BOND'S POV)"],[" I think we've been holed, sir! \n \n THE CAPTAIN \n On my way! \n \n He speeds along the passageway, going through a water-tight door, \n slamming it behind him. Meanwhile, on - \n \n THE BRIDGE - \n \n HELMSMAN \n The engines are gone! \n \n DAMAGE CONTROL \n Flooding on D deck! \n"," No. \n \n CAPTAIN MORTON \n You leave me no alternative. \n \n CAPTAIN MORTON \n (upholstering a walkie-talkie) \n Cut her anchor. \n \n As Sidney yells \"NO!\" - THE FORWARD GATLING GUN erupts to life. One \n short, bone rattling burst CUTS THE CHAIN. \n \n SIDNEY"," The helicopter suddenly appears in front of him. Shooting from the \n pilot's window, Bond shatters the glass windows - \n \n And the Captain slumps forward on the wheel, spinning it as he slides \n to the deck. \n \n INT. HARMSWAY'S CABIN - \n \n The boat pitches wildly; Harmsway looses his balance, crashing into a \n wall. \n \n INT. STORAGE CABIN - \n"," As the passageway shifts, tilting to the stern, the Captain screams \n and WHOOSH! - is sucked down into the water - the worm's vortex - \n like meat being fed into a Cuisinart: A churning, spinning death. \n \n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \n \n Bow rises completely out of the water as the stern goes under. \n \n EXT. DECK - \n"," And with this, Harmsway turns, and walks off, jauntily whistling \n \"Wouldn't It Be Loverly.\" \n \n Stamper looks at Yung, re: Harmsway's glee. \n \n YUNG \n You heard him. Get the men in the water! \n \n NEW ANGLE - SIDE OF THE SEA DOLPHIN II - NIGHT - \n \n In the water next to the chip, FOUR DIVERS drop the last of their"," He throws a look back: \n \n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \n \n Sprinting for his life, the Captain rushes up the stairs, two at a \n time. The humming behind him grows louder. He glances back: \n \n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \n \n He rushes up the last four steps, just as - \n"," GENERATOR ROOM - \n \n The men have closed the door, but... HEAR A HIGH-PITCHED WHINING, \n GRINDING SOUND from the other side. They exchange a quizzical look; \n they don't know what to make of it, when: \n \n BANG! The door explodes inward - and a high-pressured stream of \n water blasts in, blowing them back against the walls. \n \n BRIDGE - \n"," SECOND OFFICER (on intercom) \n Proceed to emergency stations at once! \n \n The men start to move, but halt at A HUMMING SOUND. They look \n around: Where is it coming from? \n \n Suddenly a THREE FOOT SECTION OF THE DECK EXPLODES IN A FOUNTAIN OF \n WATER. The men are swept off their feet. \n \n PASSAGEWAY/GANTRY #2 - \n"," WATER. As it closes in for the kill - \n \n THE BRIDGE - \n \n Shifts, suddenly, to the stern. A confusion of anxious voices: \n \n HELMSMAN \n Slipping to stern! \n \n DAMAGE OFFICER \n All major compartments flooded! \n \n With all hands still awaiting orders - \n \n THE ROOM LURCHES AS THE BOW RISES! Papers fly! Men slide! The"," Sidney is thrown from her bench, slamming against scuba tanks. \n \n EXT. MID-SHIP - DECK - \n \n Stamper bounces himself, handing out AUTOMATIC WEAPONS from an arms \n cache hidden inside a DINGHY. \n \n The two cameramen take their M-16's and rush forward, jumping up on \n some machinery to climb onto - \n \n THE ROOF OF THE BRIDGE - \n"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \n to speed. The drill's BLACK TEETH glisten in the water. \n \n THE WORM'S POV - (UNDERWATER, NIGHT) \n \n Closing in on the hull like a torpedo. It gets closer, picking up \n speed, until - on IMPACT - \n \n INT. ENGINE ROOM - \n"," As the Captain rushes up the steps, he turns around, reacting to a \n GRINDING NOISE - \n \n CAPTAIN'S POV - THE CLOSED WATER-TIGHT DOOR - \n \n BOOM! Water blasts through, like 1000 fire hydrants turned on full. \n \n With terror in his eyes, THE CAPTAIN sprints up the rest of the \n stairs, through a water-tight door, into: \n"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," TWO CREWMAN manage to get a LIFEBOAT away. TWO OTHERS scramble up \n from below and leap into the water. \n \n WIDER \n \n The bow is at a forty-five degree angle... And the H.M.S. \n Indomitable pauses - for just a moment - before SLIPPING UNDER, STERN \n FIRST, throwing up a series of great waves. \n \n EXT. LIFEBOAT - \n"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," extended from the Cutter onto the barge. \n \n CAPTAIN MORTON \n (a tiny popinjay) \n Who's in charge here? \n \n SIDNEY \n I am. What do you want? \n \n CAPTAIN MORTON \n You have precisely one minute to pull \n up your anchor and be under way. \n \n SIDNEY"," We have traffic on the deck - \n \n They look down and see an HNN (Harmsway News Network) boat. \n \n BOND \n Get rid of them. \n \n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \n \n The chopper hovers above the HNN boat - \n \n PILOT (on pa speaker) \n Please leave the area. please leave \n the area. \n"," They'd never sail this close to the shore. \n \n BOND \n Wait a minute - \n (beat, pointing to the \n screen) \n I've got it. There! Off the port bow! \n \n INSERT SONAR SCREEN - \n \n The murky electronic outline of a ship. \n \n BACK TO SCENE - \n \n Bond watches the sonar screen. Wade slows engines, consults charts. \n"],[" But Bond pulls him back down, and holds him down, pushing down on \n Harmsway's shoulders. \n \n Harmsway is thrashing about, flailing in all directions, pounding at \n Bond in a haze of bubbles... \n \n Then falls still. \n \n With his lungs aching, bursting with fire, Bond rockets up - \n \n UNDERWATER - (BOND/BOAT) - \n \n through the bridge windows, up to - \n"," THE SURFACE. \n \n He breaks through the water, gasping for air... And then, almost \n instantly, dives down again. \n \n UNDERWATER - (BOND/BOAT) - \n \n Bond dives for the boat - down, and down, chasing it, as if he could \n just grab it, and stop it from sinking. \n \n He goes deeper, and deeper, as it sinks further and further away, \n just beyond his reach. \n"," (glaring, insanely:) \n We all go down together!!! \n \n Harmsway lunges for Bond's throat - \n \n AND THE BRIDGE SLIPS UNDERWATER - \n \n Where Bond breaks Harmsway's grasp in a violent struggle - then \n punches him. Air bubbles break from Harmsway's mouth. He \n frantically tries to break free for the surface - \n"," They break through the water. Sidney yanks off her mask. Teases: \n \n SIDNEY \n What do you mean, you'd rather die \n alone? \n \n BOND \n I didn't say when I want to die - \n \n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \n dinghy floating nearby. \n \n NEW ANGLE - THE DINGHY - \n"," And yanks him off the instrument panel, flinging him backwards \n against the rear wall of the bridge. \n \n BOND \n Where is she, Harmsway?!? Or did you \n kill her like Paris? \n \n Suddenly, THE BOAT GROANS. The BRIDGE RISES OUT OF THE WATER! AND \n BOND loses his balance, FALLING ONTO HARMSWAY - \n \n HARMSWAY"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," Wade pulls back his shirt to reveal TWO SIX-SHOOTERS. \n \n WADE \n I got you covered. \n \n BOND \n That's reassuring. \n \n Bond rolls backward into the water and disappears. \n \n UNDERWATER - \n \n Bond swims to the anchor line, and begins pulling himself downward, \n handover-hand, deeper and deeper into a monochromatic gloom. \n"," Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \n \n And just as Bond overcomes the man - spinning him around, holding the \n knife to the diver's throat - \n \n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \n 'fish friendly' research tool.) \n"," HARMSWAY \n You want to kill me, Bond? Go ahead. \n \n With both arms, Bond pushes Harmsway backwards, flinging him downward \n against the starboard wall. The water is rising on the bridge. \n \n BOND \n (moving in on him) \n Where is she Harmsway? - \n \n He grabs Harmsway by the lapels, and throws him against the front \n wall, crashing onto the instrument panel head first."," where he collides with something floating just below the ceiling. \n Dropping the flare on the impact, Bond twists around to see: \n \n THE FACE OF A FLOATING DEAD SAILOR. \n \n BACK TO SCENE - \n \n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD"," HARMSWAY \n What the hell is going on? \n \n STAMPER (O. S. ) \n It's Bond! \n \n HARMSWAY \n Kill him! Finish it! \n \n ANGLE ON STAMPER (EXT. MID-SHIP) - \n \n With the worm dangling from a boom in the background, he watches: \n \n EXT. HELICOPTER/SHIP \n"," Amidst more laughter, Bond disappears into the bulkhead door. \n \n INT. SEA DOLPHIN II - BELOW DECKS - \n \n Bond moves cautiously down a STAIRCASE... \n \n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \n sure they're locked. Bond withdraws for a moment, looks back: The \n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \n"," One carries a strange-looking HARPOON-TYPE GUN; another trails a \n CABLE. The divers have fanned out, looking for 007. \n \n BOND - \n \n Realizes his best chance is to take one of the men hostage. \n \n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \n"," whose idea of 'cruise-wear' runs to tattoos and grotesque scars. \n \n BOND'S POV - THROUGH HIS DIVING MASK - \n \n As the water drains from his mask, Bond sees the mesh being pulled \n away, and FIVE GOONS come into focus, training AUTOMATIC WEAPONS on \n him. (Bond still has the diver from behind, knife to his throat.) \n"," BOND \n Cut the engines! It's about two- \n hundred fifty feet down. \n \n JUMP CUT TO: \n \n AN ANCHOR BEING PITCHED INTO THE WATER - (BOW OF SPORT FISHING BOAT) - \n \n By Wade. Bond is strapping on his scuba tank. \n \n WADE \n Two-fifty's pretty deep for air. You"," BOND'S POV - \n \n The helicopter clears the island: Bright blue sea ahead. Bond sees \n then passes over - the HNN boat, bobbing empty in the water... \n \n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \n in the instance. \n \n REAR DECK - SEA DOLPHIN II - \n \n Looking north, off the back of the boat Stamper and a crewman see the"," BOND HOOKS BOTH OF THEM WITH THE SKIDS, BY THE BACK OF THEIR UNTUCKED \n SHIRTS!!!! The man are flailing like crazy as - \n \n BOND PULLS BACK ON THE CYCLIC PITCH LEVER - \n \n THE HELICOPTER REARS BACKWARDS, AND UP - \n \n And the men burst through their shirt buttons, FALLING, SHIRTLESS, \n into the sea. \n"," Bond SWOOPS IN LOW on the port side of the boat, FIRING HIS GUN from \n the pilot's window, and using the CHOPPER'S BLADES to threaten the \n men on deck. \n \n About half of them DIVE INTO THE WATER FOR SAFETY, only to be quickly \n left behind. \n \n Flying up the port side toward the front of the boat, Bond passes - \n \n INT. HARMSWAY'S CABIN -"," Breaking off with a groan, tumbling onto the rocks below. \n \n IN THE WATERBED - \n \n A torrent of water crashes over 007. Fighting the oncoming deluge, \n he crawls - on his belly - through the water - 25 feet inland. \n \n NEW ANGLE - (TOP OF THE WATER FALL, INLAND) \n \n Bond stands, walks out of the riverbed. He looks back at the cliff: \n"," HIS POV - \n \n A black HULL has blotted out the light... And SOMETHING LARGE AND \n HEAVY IS FALLING straight at 007. \n \n BOND - \n \n kicks away from the anchor-line just as a 1000 POUND ANCHOR streaks \n by. He looks up again: \n \n THREE DIVERS ARE IN THE WATER. \n"],[" Having failed at the cable, Stamper goes at the PULLEY feeding it. \n He swings. Swings again. With each blow, the pulley shaft weakens. \n \n BOND AND SIDNEY - (WINDOW WASHER'S RIG) - \n \n Dropping in VIOLENT SPURTS - just trying to stay in the damn bucket. \n \n STAMPER - WIELDING THE AX - \n"," STAMPER \n Good - \n \n He lunges for her, grabs her, spins her around, overwhelming her. \n She struggles, yelling: \n \n SIDNEY \n This is a mistake! \n \n STAMPER \n (gun against her skull) \n Shut up! \n \n Using Sidney as a HUMAN SHIELD, Stamper marches her in front of the"," closed elevator doors. The guard follows. THEY POSITION THEMSELVES \n FOR A MASSACRE. Reaching around Sidney, Stamper pulls out his RADIO: \n \n STAMPER (into radio) \n Open 14. \n \n A beat. It opens. The men unleash a HAIL OF BULLETS, then realize - \n \n NEW ANGLE - (INT. ELEVATOR) - \n"," wall, and THE WORM comes to life. \n \n Stamper closes in on Bond with the worm. \n \n Bond tries to stand, but Stamper flings him back down, pinning Bond \n against the wall with his free hand as he - \n \n MANEUVERS THE WORM TOWARDS BOND'S HEAD. \n \n With the cutting blades whirring inches away from Bond's nose - \n \n STAMPER"," THEY EXPLODE AGAINST THE CLOSING DOOR - TO NO EFFECT. \n \n BOND'S CAR GETS CLOSER AND CLOSER - \n \n SIDNEY SCREAMS! BOND BRACES, AND - \n \n BOOM! CRASH! SILENCE. BLACK. After a moment, we HEAR THE SOUND OF \n FOOTSTEPS ON CEMENT. \n \n INT. GARAGE - \n"," YUNG \n A generator blew. Nothing to worry about. \n (beat) \n But I need one last shot of you. Why \n don't you stand by the alarm? \n \n POWER PLANT GUARD \n No problem. \n \n The guard stands, and smiles, posing for the video camera... And Yung \n pulls a pistol from his pocket and shoots him. \n \n YUNG"," The two of them make a break for the car, DIVING INSIDE. \n \n INT. BOND'S CAR - MOVING - GARAGE - \n \n - Bond guns the engine, slams the transmission into gear. Burning \n rubber, GUARDS bounce off the front fenders. \n \n THE GUARDS - \n \n Continue to shoot at the car. \n \n OTHER GUARDS - \n"," Now what? \n \n Bond's first concern is to make sure Stamper can't get them. Amidst \n a pile of CONSTRUCTION EQUIPMENT, he spots a PNEUMATIC NAIL GUN. He \n grabs it, and - \n \n BANG. BANG. BANG. He fires 3 NAILS through the door into the frame. \n \n BOND \n That should buy us some time. \n"," Okay. So it wasn't a mistake. \n (Bond lets go a blast) \n What do we do now? Offer them \n dinner?!?! \n \n Bond glances back at the KITCHEN SUPPLIES. GETS AN IDEA. He sud- \n denly TWISTS, SMASHING the BUTT OF HIS GUN down on some GLASSWARE on \n the counter, then TWISTS BACK, returning a BURST OF GUNFIRE."," No. \n \n CAPTAIN MORTON \n You leave me no alternative. \n \n CAPTAIN MORTON \n (upholstering a walkie-talkie) \n Cut her anchor. \n \n As Sidney yells \"NO!\" - THE FORWARD GATLING GUN erupts to life. One \n short, bone rattling burst CUTS THE CHAIN. \n \n SIDNEY"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," But before he finishes, Bond spins, and: 1) slams Taro's head on the \n bar, 2) snatches the ice-pick from the bartender, 3) yanks Taro back- \n ward by his collar, 4) slams the ice-pick through Taro's tie into the \n wooden bar, and 5) kicks the stool out from under the goon. \n \n Taro is now hanging by his tie, from the bar, choking. \n"," tries to open it. Won't budge. \n \n GUARD \n I'll call for a battering ram - \n \n STAMPER \n No. Get the fire ax. \n \n One of the guards grabs it from inside a FIRE CABINET. He hands the \n AX to Stamper, who takes the first SWING AT THE DOOR. \n"," Seemingly at once, (1) Sidney bites the Guard's forearm, (2) Bond \n ducks, (3) the Guard shoots wildly, (4) the gun drops, and (5) - \n \n Bond rushes the man, KNOCKING HIM BACKWARDS INTO THE PRINTING PRESS, \n pulling Sidney away at the last moment. \n \n The Guard is sucked up in the press rollers, and... \n"," Arriving at a BULKHEAD DOOR, Bond checks both directions down the \n passageway, then pokes his head inside - \n \n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \n against a railing. \n \n Bond looks up: \n \n STAMPER stands with a smile on his face. One arm is raised above his \n head, grasping the WORM on the swinging boom. The worm is attached"," The lights come on. The car is a twisted wreck, smashed against the \n wall. Bond and Sidney are slumped forward, unconscious. \n \n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \n \n HARMSWAY \n - Built to withstand a nuclear blast. \n (to Stamper, checking \n Bond's pulse) \n Are they alive? \n \n STAMPER"," I'm going to do this slowly - \n \n Bond executes a scissor kick to Stamper's ankles. Stamper tumbles \n sideways. Bond rolls away from the worm - \n \n But by the time Bond gets to his feet, Stamper has recovered, and is \n rushing at Bond full force, with the worm. \n \n Stamper thrusts the worm at Bond once. Bond ducks. The worm chews \n into the wall. \n"," He throws a look back: \n \n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \n \n Sprinting for his life, the Captain rushes up the stairs, two at a \n time. The humming behind him grows louder. He glances back: \n \n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \n \n He rushes up the last four steps, just as - \n"," Pulling the device back, Stamper thrusts a second time - (same \n action,) then a third (same action) - still missing Bond. \n \n INSERT - CLOSE ON THE CABLE SPOOL/CABLE - \n \n With all the yanking and pulling, a loop of slack has developed in \n the cable, on the ground. \n \n RETURN TO SCENE - \n \n Stamper is about to attack Bond a fourth time when Bond kicks him in"],[" Paris' eyes flicker at something over Bond's shoulder. She swoons: \n \n PARIS \n Kiss me. \n \n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \n across the mouth. \n \n PARIS \n Bastard! Leave me alone! \n \n She shoves him off, darts away. Bond is bleeding from his mouth - \n and not altogether surprised at her behavior. He turns to see - \n"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," Come. Let me show you. \n \n And he leads the procession off, through the bulkhead door. Bond is \n left with Paris. She is white with fear. Bond moves to console her: \n \n BOND \n Paris - \n \n PARIS \n Leave me alone! He's going to kill me!! \n \n BOND \n Why didn't you tell me? Why wasn't \n it in our files? \n"," Paris looks up at him like a hurt child. She wants some contact; she \n wants to hear him say 'I love you.' \n \n PARIS \n Just - say it. Say it just once. \n \n BOND \n (pauses, discomfited) \n One thing at a time. I'll see you \n in twenty minutes. Go. \n \n She exits; he goes to the bulkhead door... And we pan up to see the"," Do you? \n \n She turns away. Bond feels remorse for hitting her. Softens: \n \n BOND \n What about the uranium? \n \n PARIS \n It's on the boat. He's holding a \n press conference tomorrow. \n \n Bond reaches out to touch her. She falls into his arms, burying her \n face in his shoulder. \n \n PARIS"," (to his underlings) \n Seize the boat! \n \n A set of frozen glances goes from Bond, to Paris, to Harmsway. \n \n VALENTIN \n I think I suddenly remembered an \n urgent meeting in Moscow. \n \n To everyone's surprise, Harmsway guffaws. \n \n HARMSWAY \n My friends, there's been a terrible mistake. \n (putting his arm around DiGiacomo)"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," PARIS \n (anguished) \n He didn't want anyone to know. He \n kept it out of the papers. He said a \n third wife was bad for his image. \n (beat) \n You've got to protect me! \n \n Bond wants to help her - and follow Harmsway. He pulls out a key: \n \n BOND \n Go to my hotel room. I'll be there \n in twenty minutes. \n"," The two of them make a break for the car, DIVING INSIDE. \n \n INT. BOND'S CAR - MOVING - GARAGE - \n \n - Bond guns the engine, slams the transmission into gear. Burning \n rubber, GUARDS bounce off the front fenders. \n \n THE GUARDS - \n \n Continue to shoot at the car. \n \n OTHER GUARDS - \n"," Bond nods, continuing to look at his watch. Glances at her: \n \n BOND \n Not a lot of difference. \n \n SIDNEY \n What do you mean? \n \n Bond reaches forward to toss the coffee can - \n \n BOND \n Either way, you're taking the goods \n from dead hulks. \n \n He tosses the can, and PULLS HER BACKWARDS, covering her. \n"," Stop it! You're hurting me! Can't \n you just be nice? \n \n BOND \n I've got half the British government \n breathing down my neck. I don't have \n time for your nonsense. \n \n She's surprised - and hurt - by his coldness. \n \n PARIS \n Don't you even miss me? Didn't I \n mean anything to you? \n \n BOND"," Bond, looking up - for Stamper - and down - to check their progress. \n \n SIDNEY \n All I know is one thing: If we get \n out of here alive, that gold is mine. \n (beat) \n I've earned it. \n \n Looking upward, Bond SEES STAMPER peering over the rail. BOND FIRES. \n \n BOND \n One thing at a time. \n"," ANOTHER ANGLE - SAN GIACOMO SQUARE - (BOND'S POV) - \n \n Paris running to FOUR MEN dressed alike in three-corner hats, \n enveloped from head-to-foot in BLACK CAPES. Their faces are \n completely concealed behind flat, bone-white masks covering all but \n their chins. They look like messengers of death. \n \n CLOSER ON PARIS AND THE MEN - \n"," Take them out to the jungle and - \n \n Suddenly, BOND'S CAR ENGINE STARTS WITH A ROAR. The GUARDS TURN, in \n shock TOWARDS THE CAR, as: \n \n BOND retrieves the gun he slid out, and pulls Sidney behind the \n newspaper trolley, while - \n \n THE CAR BEGINS TO MOVE, sending the guards scrambling. \n \n BOND takes his position with Sidney."," to the boom by a thin metal cable. \n \n STAMPER \n You're mine now. \n \n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \n With his free hand, he grabs Bond by his shirt, and throws him \n against a steel wall. Bond crashes to the deck. \n \n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," You've got to help me, James. I'm \n sorry. I'm sorry for everything. I \n know I was wrong - but you've got to \n protect me. I know you still love - \n \n BOND SLAPS HER. She's stunned. He waits. She's angered: \n \n PARIS \n Do you feel better now? \n \n BOND \n (not giving an inch)"],[" Actually, you're just in time. \n (she turns to) \n Admiral Roebuck: You know Commander \n Bond, don't you? \n \n ADMIRAL ROEBUCK \n (deflated) \n Yes. Of course. \n \n BOND \n I've looked forward to meeting you. \n \n Bond sits. M glances at Johnstone as if to say \"proceed.\" \n"," MINISTER JOHNSTONE \n And I have the entire British economy \n to worry about. \n \n BOND \n (breaking in) \n Minister - \n (all turn to him) \n Obviously, MI-6 was not involved in \n this operation. But I have to defend \n the Admiral. \n \n Roebuck looks at Bond with great surprise. Bond continues: \n \n BOND (cont'd)"," - Thank you, M. But this is more \n than your man can handle. \n (to Bukharin) \n Are we in agreement? \n \n BUKHARIN \n (hesitant, at first) \n - Yes. Yes. \n \n M \n Admiral - \n \n Moving swiftly, the Admiral has picked up a RED PHONE: \n \n ADMIRAL ROEBUCK"," TANNER, A TREASURY OFFICIAL, and various UNIFORMS and SUITS. \n \n MINISTER JOHNSTONE \n Good evening. I've just spoken with \n the Prime Minister at the economic \n summit in Tokyo; he's expecting a \n full update within the hour. \n (beat) \n For those of you still unaware, some \n forty minutes ago - \n \n ADMIRAL ROEBUCK"," third in America, and another third \n in Hong Kong - in case of a nuclear \n attack. And with the turn-over of \n Hong Kong to the Chinese - \n \n MINISTER JOHNSTONE \n Why wasn't the ship protected?!?! \n Why was it sailing without radar? \n \n ADMIRAL ROEBUCK \n I resent your tone, sir. I have men \n who are missing - \n"," MINISTER JOHNSTONE \n (frowns) \n At least we know where the gold is. \n When are the recovery ships due? \n \n ADMIRAL ROEBUCK \n 36 hours. They've already sailed \n from the Persian gulf. \n \n MINISTER JOHNSTONE \n I expect to have that gold recovered \n in 36 hours. Until then, I'm"," Watching this display is M, TANNER, and a handful of MILITARY BRASS, \n including a RUSSIAN GENERAL, BUKHARIN, and BRITISH ADMIRAL ROEBUCK, \n an aging sea-lion with no love for M, or MI-6. \n \n M deals with the humorless Admiral by, well, humoring him: \n \n M \n ... What were you saying, Admiral? \n Something about this 'not being a job"," A launcher rotates, and - BOOM - a Cruise missile blasts off. \n \n INT. WARSHIP WEAPONS CONTROL ROOM - \n \n FIRING OFFICER \n Cruise missile away - \n \n MI-6 SITUATION ROOM - \n \n FIRING OFFICER'S VOICE (Cont'd) \n Time to target: Four minutes. \n \n ADMIRAL ROEBUCK"," imposing my own electronic silence: \n For the sake of the economy, not a \n word to NATO, the press, the CIA. \n (beat, looking at:) \n ...And so long as Commander Bond here \n seems to be such an expert on these \n matters, I want him to go along as an \n observer. Are we agreed? \n \n ROEBUCK \n Yes. \n \n BOND \n Yes."," water, heading toward the setting sun. \n \n CLOSER - \n \n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \n weapons. Whatever is going on here, it's not business as usual.' \n \n INT. BRIDGE - DUSK \n \n Close on A VERTICAL GLASS MAP. An electronic panel display with a \n BLINKING YELLOW DOT indicates - \n \n NAVIGATOR"," First Officer has no choice: \n \n FIRST OFFICER \n Abandon ship! Break radio silence! \n Send our position! \n \n INSERT - COMPUTER SCREEN - \n \n The Communications Officer types: \"Top Secret. Indian Ocean Naval \n Command. H.M.S. Indomitable Sinking.\" \n \n COMMUNICATIONS OFFICER \n (calling out) \n What's our position? \n"," FIRST OFFICER, hands him a SLIP OF PAPER: \n \n CAPTAIN \n Orders from London: For the next \n ninety-six hours, we're to run on \n full radio silence. Double watches, \n full alert. \n (beat) \n We're to send one encrypted positioning \n burst to London every six hours - \n otherwise, zero electronic emissions. \n \n The first officer nods."," Command to Nelson: Authorization to \n fire. \n \n EXT. A BRITISH WARSHIP - STEAMING IN THE GULF OF OMAN - \n \n INT. WEAPONS CONTROL ROOM - BRITISH WARSHIP - \n \n CAPTAIN \n Weapons authorized. Prepare to fire. \n On my count: Five. Four. Three. Two - \n \n EXT. DECK OF THE WARSHIP - \n"," ADMIRAL ROEBUCK \n It's too late - \n \n M \n GET BOND OUT OF THERE. \n \n TANNER \n One to seven - one to seven - \n \n BOND - SQUINTING THROUGH THE RIFLE AT THE OUTCROPPING - \n \n BOND \n Negative, one. NOT YET. \n"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," EXT. THE BANK OF LONDON - NIGHT \n \n Passing a NEWSPAPER DELIVERY TRUCK with an ad for \"TOMORROW\" (\"The \n Paper that Never Lies,\") Bond's DB-5 roars past the guard. \n \n INT. CONFERENCE ROOM - BANK OF LONDON - NIGHT \n \n ADMIRAL ROEBUCK glares as MINISTER JOHNSTONE enters to address M,"," Bond replies with a wry smile: \n \n BOND \n Yes... \n (pause) \n But some days... Are longer than \n others. \n \n And with this, he reaches up over his head, and pulls a tarp over the \n two of them... \n \n And the camera pulls back, and up, rising into the air to reveal: \n \n The entire British Navy closing in on them from all points of the \n compass. \n \n"," MI-6 SITUATION ROOM - \n \n TANNER \n Soviet SB-9 nuclear torpedo. Yield, \n one kiloton. \n \n M \n Will the cruise set it off? \n \n TANNER \n Yes. \n \n ADMIRAL ROEBUCK \n (to Bukharin) \n Jesus. Can't you people keep \n anything locked up? \n"," MINISTER JOHNSTONE \n As I was saying: Approximately forty- \n five minutes ago, we received an abandon \n ship signal from the H.M.S. Indomitable. \n (flicks on a map display) \n Looking at these infrared satellite \n images - provided by Mr. Tanner of \n MI-6 -the ship is presumed lost here, \n just south of Kuala Lumpur, where she"," for a wine-sniffing, skirt-chasing \n playboy spy?' \n \n ADMIRAL ROEBUCK \n - I'll be sure to acknowledge 007's \n 'assistance' in my report to the \n Prime Minister. But this is, still, \n a naval operation. \n \n M \n What do they say in Russia, General \n Bukharin? \n (asks questions in"],[" Rocked by waves from the sinking ship. The Cook, a Marine, and Three \n Crewmen hear a splash along side. Two of the Crew pull the SONAR \n OFFICER aboard. He takes a minute to catch his breath, then: \n \n SONAR OPERATOR \n Six. That's it? Only six of us? \n \n COOK \n Most of the crew never made it to \n their life jackets. The Captain? \n"," As the passageway shifts, tilting to the stern, the Captain screams \n and WHOOSH! - is sucked down into the water - the worm's vortex - \n like meat being fed into a Cuisinart: A churning, spinning death. \n \n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \n \n Bow rises completely out of the water as the stern goes under. \n \n EXT. DECK - \n"," I think we've been holed, sir! \n \n THE CAPTAIN \n On my way! \n \n He speeds along the passageway, going through a water-tight door, \n slamming it behind him. Meanwhile, on - \n \n THE BRIDGE - \n \n HELMSMAN \n The engines are gone! \n \n DAMAGE CONTROL \n Flooding on D deck! \n"," where he collides with something floating just below the ceiling. \n Dropping the flare on the impact, Bond twists around to see: \n \n THE FACE OF A FLOATING DEAD SAILOR. \n \n BACK TO SCENE - \n \n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD"," through all this and the ship isn't \n even down there? \n \n BOND \n Yes, the ship is down there. But the \n gold is gone. \n \n CAPTAIN MORTON \n That's absurd! It took two squads of \n forty men fifteen days to load that \n gold. \n \n BOND \n I know what I saw - \n \n CAPTAIN"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," (off the others' quizzical looks) \n Water logged timber. Floats straight \n up. You sometimes see them on the east \n side of the channel - from the logging \n camps on Sumatra - but they don't \n usually float this far west. \n (calling out) \n Muncy! Engines to half! \n \n HELMSMAN \n Aye-aye sir. Engines to half. \n"," WATER. As it closes in for the kill - \n \n THE BRIDGE - \n \n Shifts, suddenly, to the stern. A confusion of anxious voices: \n \n HELMSMAN \n Slipping to stern! \n \n DAMAGE OFFICER \n All major compartments flooded! \n \n With all hands still awaiting orders - \n \n THE ROOM LURCHES AS THE BOW RISES! Papers fly! Men slide! The"," TWO CREWMAN manage to get a LIFEBOAT away. TWO OTHERS scramble up \n from below and leap into the water. \n \n WIDER \n \n The bow is at a forty-five degree angle... And the H.M.S. \n Indomitable pauses - for just a moment - before SLIPPING UNDER, STERN \n FIRST, throwing up a series of great waves. \n \n EXT. LIFEBOAT - \n"," INT. CARGO HOLD - UNDER WATER - \n \n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \n space. Bond's flare sputters and dies. He drops it, lights another. \n \n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \n He moves toward it. \n \n NEW ANGLE - CLOSER - \n"," of the sluice, and excess water flows off the side of the ship. \n \n AT THE STERN HOLD - \n \n where all the water has been drained off, leaving a cascade of gold \n nuggets pouring into the ship's hold - \n \n HARMSWAY reaches into the shimmering cascade, and takes a hand-full \n of gold. He sees Stamper approaching. \n \n HARMSWAY \n Remember the golden rule, Mr."," It seems - Mr. Bond - that Miss Winch \n has told me the most incredible story: A \n sunken British warship filled with gold; \n a British cutter firing on her; billions \n of dollars in bullion lying on the \n bottom of the Strait. \n \n Bond isn't enjoying this charade. \n \n HARMSWAY \n Obviously, the British government \n denies all of this - \n"," The SEA DOLPHIN II emerges from a cove, looking like a ghostly white \n apparition in the fog. \n \n RETURN ON THE LIFEBOAT - \n \n The men yell and wave and whistle, hoping to be saved. \n \n CLOSER ON THE SEA DOLPHIN II - DECK - \n \n Elliot Harmsway removes a pair of binoculars from his face. Turns to \n YUNG, standing next to him at the rail:"," As the Captain rushes up the steps, he turns around, reacting to a \n GRINDING NOISE - \n \n CAPTAIN'S POV - THE CLOSED WATER-TIGHT DOOR - \n \n BOOM! Water blasts through, like 1000 fire hydrants turned on full. \n \n With terror in his eyes, THE CAPTAIN sprints up the rest of the \n stairs, through a water-tight door, into: \n"," With the water cascading over the camera, (as if we were riding \n inside an ocean wave,) the worm heads for a tank marked \"FUEL.\" \n \n EXT. THE SEA DOLPHIN II - \n \n The boat is sinking. Bond is running across the bridge roof, when: \n THE BOAT SUDDENLY LISTS TO THE STARBOARD SIDE. \n \n INT. BRIDGE - \n"," No. \n \n CAPTAIN MORTON \n You leave me no alternative. \n \n CAPTAIN MORTON \n (upholstering a walkie-talkie) \n Cut her anchor. \n \n As Sidney yells \"NO!\" - THE FORWARD GATLING GUN erupts to life. One \n short, bone rattling burst CUTS THE CHAIN. \n \n SIDNEY"," M \n As you wish. \n \n EXT. SEA DOLPHIN II - NIGHT \n \n Harmsway walks along the side of the ship, observing the operation: \n \n The WORM'S DREDGING PUMP sucks up the ground-up GOLD AND WATER SLUR- \n RY, (through the TUBE hanging over the side,) and dumps it into a \n SERIES OF SLUICES. At each stage the gold nuggets fall to the bottom"," third in America, and another third \n in Hong Kong - in case of a nuclear \n attack. And with the turn-over of \n Hong Kong to the Chinese - \n \n MINISTER JOHNSTONE \n Why wasn't the ship protected?!?! \n Why was it sailing without radar? \n \n ADMIRAL ROEBUCK \n I resent your tone, sir. I have men \n who are missing - \n"," And with this, Harmsway turns, and walks off, jauntily whistling \n \"Wouldn't It Be Loverly.\" \n \n Stamper looks at Yung, re: Harmsway's glee. \n \n YUNG \n You heard him. Get the men in the water! \n \n NEW ANGLE - SIDE OF THE SEA DOLPHIN II - NIGHT - \n \n In the water next to the chip, FOUR DIVERS drop the last of their"," THE SURFACE. \n \n He breaks through the water, gasping for air... And then, almost \n instantly, dives down again. \n \n UNDERWATER - (BOND/BOAT) - \n \n Bond dives for the boat - down, and down, chasing it, as if he could \n just grab it, and stop it from sinking. \n \n He goes deeper, and deeper, as it sinks further and further away, \n just beyond his reach. \n"],[" (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," TOTING CARBINIERI, along with his own VIDEO AND STILL CREWS. \n \n DiGIACOMO \n Elliot Harmsway: Under the auspices \n of the Italian government, I, Franco \n DiGiacomo - \n (pauses; smiles at a camera; \n POP! A flash goes off) \n Am arresting you for the illegal \n possession of weapons grade enriched \n uranium."," YUNG \n You must go. Now. Otherwise the \n boat won't be out of range - \n \n Stamper and the guard appear nervous, itching to leave - \n \n HARMSWAY \n Thirty seconds. \n (then, to Bond) \n That's the most brilliant part of the \n plan, Mr. Bond: To save the economy, \n I'll let the new British government - \n my British government - announce that"," No matter what the British government \n says, I won't kill this story. \n (his secretary appears in the doorway) \n Miss Oxford will show both of you to \n the elevator... And one of my people \n will definitely be in touch sooner \n than later. \n \n BOND \n I'm sure they will. \n \n HARMSWAY \n Good-bye, Mister Bond. \n"," Stamper's limousine parks near a Gulfstream jet. He opens the back \n door for Number Three. At last, the man believes he is safe. \n \n NUMBER THREE \n Thank you! Thank you so much. You \n must thank Sir Elliot for me. \n \n STAMPER \n (producing a NEWSPAPER) \n Here. Something to read on the plane. \n"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," STAMPER \n Good - \n \n He lunges for her, grabs her, spins her around, overwhelming her. \n She struggles, yelling: \n \n SIDNEY \n This is a mistake! \n \n STAMPER \n (gun against her skull) \n Shut up! \n \n Using Sidney as a HUMAN SHIELD, Stamper marches her in front of the"," You see, Mr. Bond, you and I are both \n men of action. But your era is passing. \n Words are the new weapons; satellites the \n new artillery. And make no mistake about \n it: In the right hands, they can be as \n deadly as your Walther PPK. \n \n BOND \n ...Words to live by? \n \n HARMSWAY \n Your choice."," YUNG \n A generator blew. Nothing to worry about. \n (beat) \n But I need one last shot of you. Why \n don't you stand by the alarm? \n \n POWER PLANT GUARD \n No problem. \n \n The guard stands, and smiles, posing for the video camera... And Yung \n pulls a pistol from his pocket and shoots him. \n \n YUNG"," The two of them make a break for the car, DIVING INSIDE. \n \n INT. BOND'S CAR - MOVING - GARAGE - \n \n - Bond guns the engine, slams the transmission into gear. Burning \n rubber, GUARDS bounce off the front fenders. \n \n THE GUARDS - \n \n Continue to shoot at the car. \n \n OTHER GUARDS - \n"," NUMBER FIVE \n Consider him slimed, sir. \n \n HARMSWAY \n Splendid. Next... \n (with noticeable reserve) \n Number Three. Your report? \n \n A SHORT MIDDLE-EASTERN MAN stands. Nervous. \n \n NUMBER THREE \n I regret to inform you, sir, that \n Saddam Hussein is still demanding a"," thug, who is still stumbling, blinded by the flashbulb. \n \n The CART SLAMS INTO THE MAN, knocking him on his back. The cart \n stops on top of him, pinning him down. \n \n BOND takes off, threading through the crowd toward a SIDESTREET. \n \n Meanwhile, THE STREET SELLER rushes to his wrecked cart. It ERUPTS"," (to one of the cameramen) \n Put her in the storage room. \n \n The cameraman takes her away. Harmsway turns to the captain: \n \n HARMSWAY (CONT'D) \n We'll get rid of her when we're in \n International waters. \n (then) \n Set sail, full speed, due south. \n I'll be in my cabin. Let me know"," Tanner points to the video wall with a RED LASER PEN. \n \n TANNER \n (ironically) \n A regular terrorist swap meet. Death \n at discount: Two Chinese Long March \n Scuds, a pair of Soviet A-17 attack \n helicopters - \n \n BUKHARIN \n (interrupting) \n Stolen - \n \n TANNER"," Harmsway is vital to the economic \n interests of this nation. He's also \n a major contributor to the party. I \n expect him to be given every consideration. \n \n BOND \n Political considerations? \n \n MINISTER JOHNSTONE \n To the best of my recollection, Mr. \n Bond, I suggested no such thing. \n (beat, at the door) \n In fact, I was never here."," - Thank you, M. But this is more \n than your man can handle. \n (to Bukharin) \n Are we in agreement? \n \n BUKHARIN \n (hesitant, at first) \n - Yes. Yes. \n \n M \n Admiral - \n \n Moving swiftly, the Admiral has picked up a RED PHONE: \n \n ADMIRAL ROEBUCK"," third in America, and another third \n in Hong Kong - in case of a nuclear \n attack. And with the turn-over of \n Hong Kong to the Chinese - \n \n MINISTER JOHNSTONE \n Why wasn't the ship protected?!?! \n Why was it sailing without radar? \n \n ADMIRAL ROEBUCK \n I resent your tone, sir. I have men \n who are missing - \n"," BOND \n I forgot to mention: The job comes \n with a car. \n \n 007 begins shooting, as - \n \n HARMSWAY \n Kill it! Shoot the damn thing - \n \n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \n out the headlights, while - \n \n BOND is having trouble coordinating driving and shooting at the same"," Stamper moves towards Bond and Sidney. Bond edges closer to the gun. \n \n BOND \n You'll never get away with it, \n Harmsway. Too many people know. \n \n Bond tenses, ready to spring - \n \n HARMSWAY \n Who, Mr. Bond? The kooks - the \n crazies - the conspiracy theorists? \n The Oliver Stones of the world?"],[" sir! Extremely close. Bearing 240 - \n \n The First Officer is surprised. All hell is about to break loose: - \n \n FIRST OFFICER \n Punch up the radar - \n \n RADAR OPERATOR \n I've got it, sir. A large craft - \n XX,OOO tons. Range - \n (disbelief) \n 200 yards? It's anchored in a cove! \n"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," on the stove. \n \n INT. SHIP'S HEAD - \n \n CREW MEMBER with an ELECTRIC SHAVER. \n \n FIRST OFFICER (INTERCOM) \n All personal radios, video devices \n and computers will be stowed at once. \n \n He stops shaving. \n \n INT. ENGINE ROOM - \n"," They'd never sail this close to the shore. \n \n BOND \n Wait a minute - \n (beat, pointing to the \n screen) \n I've got it. There! Off the port bow! \n \n INSERT SONAR SCREEN - \n \n The murky electronic outline of a ship. \n \n BACK TO SCENE - \n \n Bond watches the sonar screen. Wade slows engines, consults charts. \n"," water, heading toward the setting sun. \n \n CLOSER - \n \n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \n weapons. Whatever is going on here, it's not business as usual.' \n \n INT. BRIDGE - DUSK \n \n Close on A VERTICAL GLASS MAP. An electronic panel display with a \n BLINKING YELLOW DOT indicates - \n \n NAVIGATOR"," Bond walks down a long dock towards a lone boat, moored at the end. \n \n EXT./INT. BOAT AT MARINA - MORNING - \n \n Bond looks around furtively, before climbing aboard the sleek ocean- \n going craft. On the aft-deck, there's a large covered object. \n \n As Bond reaches for the CABIN DOOR, it opens by itself - and a"," The Captain heads for the door. \n \n SECOND OFFICER \n Captain leaving the bridge. \n \n The officers salute as he exits. With a shrug, the FIRST OFFICER \n picks up the INTERCOM MICROPHONE: \n \n FIRST OFFICER \n Attention all hands. Now hear this... \n \n INT. CREW'S MESS - \n"," The boat shudders violently, sending Harmsway crashing against a \n wall, cutting his head. \n \n EXT. THE DECK - \n \n As the boat rocks, Bond steadies himself, then starts for the bridge, \n using the same route as the cameramen lifted by the chopper: \n \n First climbing up on some machinery, then up onto the bridge roof. \n \n INT. STORAGE ROOM - \n"," GPS OFFICER \n (reading off his screen) \n One hundred degrees, thirty-one \n minutes, and seven seconds East, by \n two degrees, twenty-nine minutes, ten \n seconds, North. \n \n As he types, the room lurches again, tilting more to the stern. \n \n THE CAPTAIN - (STAIRCASE, PASSAGEWAY #5) \n"," The First Officer looks over the shoulder of RATING at radar screen. \n \n RATING \n Radar switched to passive mode; sonar \n re-set to low-power operation. \n (beat) \n You couldn't find our signature with \n a magnifying glass. \n \n FIRST OFFICER \n Let's hope so. \n \n The First Officer joins the Second Officer at the windows, scanning"," Near a QUONSET HUT, a TRUCK-MOUNTED RADAR DISH scans the area, with \n INFRARED GATLING GUNS mounted on either side. \n \n BOND - AT THE ROCK OUTCROPPING - \n \n Props his rife on the boulder, and peers through the GUN SIGHT. \n \n THROUGH THE TELESCOPIC SIGHT - \n"," INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \n to speed. The drill's BLACK TEETH glisten in the water. \n \n THE WORM'S POV - (UNDERWATER, NIGHT) \n \n Closing in on the hull like a torpedo. It gets closer, picking up \n speed, until - on IMPACT - \n \n INT. ENGINE ROOM - \n"," dredging pipe. \n \n CLOSER - THE HEAD OF THE WORM - \n \n Motionless, hanging in the water. Then the monster awakes: A metal \n sphere retracts, revealing a wide angle CAMERA LENS. \n \n INT. BRIDGE - NIGHT \n \n The Communications Officer reacts to his monitor with ALARM: \n \n COMMUNICATIONS OFFICER \n I'm getting an electrical emission,"," INT. CARGO HOLD - UNDER WATER - \n \n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \n space. Bond's flare sputters and dies. He drops it, lights another. \n \n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \n He moves toward it. \n \n NEW ANGLE - CLOSER - \n"," GENERATOR ROOM - \n \n The men have closed the door, but... HEAR A HIGH-PITCHED WHINING, \n GRINDING SOUND from the other side. They exchange a quizzical look; \n they don't know what to make of it, when: \n \n BANG! The door explodes inward - and a high-pressured stream of \n water blasts in, blowing them back against the walls. \n \n BRIDGE - \n"," where he collides with something floating just below the ceiling. \n Dropping the flare on the impact, Bond twists around to see: \n \n THE FACE OF A FLOATING DEAD SAILOR. \n \n BACK TO SCENE - \n \n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD"," Smashing through the water at breakneck speed. Wade and Bond yell \n over the engines. \n \n WADE \n What do you want with the Harbor Master? \n \n BOND \n Tide and current charts. Work \n backward from the body - find where \n the ship sank. \n (Wade nods appreciatively) \n Where did you get the boat? \n \n WADE"," SONAR OFFICER \n (shrugs, then:) \n The First officer stayed on the bridge. \n \n One of the CREWMAN SPOTS SOMETHING IN THE DISTANCE: \n \n CREWMAN \n Hey - look! Over there! \n \n NEW ANGLE - (ROCK OUTCROPPING - STRAIT OF MALACCA - NIGHT) \n"," He throws a look back: \n \n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \n \n Sprinting for his life, the Captain rushes up the stairs, two at a \n time. The humming behind him grows louder. He glances back: \n \n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \n \n He rushes up the last four steps, just as - \n"," Clear skies and blue water. The only vessel in sight is a thirty- \n five foot SPORT FISHING BOAT underway at full throttle. \n \n EXT. SPORT FISHING BOAT, FLYING BRIDGE - DAY - \n \n Wade at the helm; Bond next to him, near sonar, holding Q's map. \n \n BOND \n Slow down. We're close. \n \n Wade pulls back on the throttle. \n"],[" James Bond... I believe he's a field \n adjuster for Lloyd's of London... \n \n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \n \n HARMSWAY \n Then we have this James Bond. \n \n INSERT VIDEO SCREEN - BOND'S KGB FILE - \n \n HARMSWAY \n (reading from the screen) \n ... Licensed to Kill..."," Harmsway appears. Ebullient as ever. \n \n VALENTIN \n Elliot Harmsway, I want to introduce \n you to an old friend - \n \n BOND \n (putting out a hand to shake) \n The name is Bond. James Bond. \n \n Harmsway greets Bond with a warm smile. Yet his words are ambiguous: \n \n HARMSWAY \n Always nice to meet one of her"," AN ICE FALL. A 600 foot waterfall whose face is frozen solid. \n \n Pushing in still closer, there is a tiny black dot inching its way up \n the ice. A human figure. This is: \n \n JAMES BOND, BRITISH SECRET SERVICE AGENT, 007. \n \n Bond is sweating and straining, four hundred feet in the air. He has"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," ac inconspicuous as possible. A hand clasps his shoulder: \n \n VALENTIN'S VOICE \n Mr. James Bond! \n \n Bond spins to see Valentin, surrounded by the usual assortment of \n cheaply dressed goons. \n \n BOND \n Valentin. What an unpleasant surprise. \n \n VALENTIN \n What is it that brings you to \n Venezia, Mr. Bond? Business -"," BOND \n I forgot to mention: The job comes \n with a car. \n \n 007 begins shooting, as - \n \n HARMSWAY \n Kill it! Shoot the damn thing - \n \n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \n out the headlights, while - \n \n BOND is having trouble coordinating driving and shooting at the same"," BOND \n Bond. \n \n HARMSWAY'S VOICE \n Hello, Mister Bond. \n \n BOND \n (with an edge) \n Who is this? \n \n INT. HARMSWAY'S OUTER OFFICE - \n \n Harmsway is perched on a desk. In the background, THROUGH HIS OPEN"," She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \n \n SIDNEY \n What is HE doing here? \n \n HARMSWAY \n I see you two have met. \n \n BOND \n Briefly. \n \n HARMSWAY \n (crossing to his desk) \n Don't pout, Sidney. I invited him \n here hoping he might shed some light"," WOMAN \n I can't believe it took us so long to \n finally get together! What exactly \n do you do for the government? \n \n BOND \n (after a beat) \n You might say... 'Public relations.' \n \n WOMAN \n How fascinating! I bet you meet all \n the most fabulous people. \n \n Before Bond can answer, the MAITRE D' interrupts. \n"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," MAITRE D' \n Excuse me - Mr. Bond? You have a call. \n \n Bond excuses himself. \n \n NEW ANGLE - BOND AT PHONE - \n \n 007 picks up the receiver, without saying hello: \n \n BOND \n Moneypenny! You're early. You \n weren't supposed to call until - \n (he stiffens) \n Yes. I understand. Twenty minutes."," I'm so sorry, James. I promise, I'll \n never leave you again. \n \n BOND \n (patting her head) \n Shhhhh... \n \n PARIS \n Just hold me. \n \n Bond thinks for a moment, then gently pushes her away, a foot \n backwards, to look in her eyes: \n \n BOND \n How do you know Harmsway? \n"," BOND \n ... How did you get into marine \n salvage? \n \n SIDNEY \n (gun burst, then) \n My father left me the business. \n \n Bond glances at his watch, timing the bomb. The guards shoot; she \n shoots back, then explains: \n \n SIDNEY \n I used to be a divorce lawyer in New \n York City. \n"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," Actually, you're just in time. \n (she turns to) \n Admiral Roebuck: You know Commander \n Bond, don't you? \n \n ADMIRAL ROEBUCK \n (deflated) \n Yes. Of course. \n \n BOND \n I've looked forward to meeting you. \n \n Bond sits. M glances at Johnstone as if to say \"proceed.\" \n"," on your story. He's from 'Lloyd's of \n London.' \n (sly glance to Bond) \n ...Aren't you, Mr. Bond? \n \n SIDNEY \n He's not going to tell the truth! He \n was diving for the gold! \n \n Harmsway sits, and addresses Bond, matter-of-factly: \n \n HARMSWAY"," BOND \n Not at all, Moneypenny. I was just \n brushing up on a little Chinese. \n \n (In the background, Jenny insists \"I am not little.\") \n \n MONEYPENNY \n I'm sure she is, James. But I'm \n afraid you'll have to 'kiss off' the \n rest of your lessons this afternoon. \n \n BOND \n (mock chagrin)"," You've got to help me, James. I'm \n sorry. I'm sorry for everything. I \n know I was wrong - but you've got to \n protect me. I know you still love - \n \n BOND SLAPS HER. She's stunned. He waits. She's angered: \n \n PARIS \n Do you feel better now? \n \n BOND \n (not giving an inch)"," Is that any way to say hello? \n \n BOND \n I thought your specialty was good-bye. \n \n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \n \n PARIS \n Oh, James. I've missed you - \n \n BOND \n (grabbing her by the wrist) \n Is this another one of your games? \n \n PARIS"," Bond and Jenny Wu emerge from the office. (She's still in the gown.) \n They pass a flock of young students: \n \n STUDENT \n Good afternoon, Professor Wu. \n \n JENNY WU \n Good afternoon. \n (then to Bond) \n Are you sure you can't stay for the \n lecture? \n \n BOND \n I can't. But I did enjoy the dress"],[" THE TRUCK/MiG-l, ON THE GROUND/THROUGH THE SCOPE - \n \n THE BALD MAN slaps the back of the truck obscuring MiG-1. THE TRUCK \n PULLS AWAY, revealing MiG-l's WING. Hanging from the weapons pod: A \n NUCLEAR BOMB. \n \n BOND - AT THE ROCK OUTCROPPING - \n \n Mutters a curse. \n"," Bond goes into evasive maneuvers - jinks right, jinks left - when, \n suddenly, THE COPILOT REVIVES, and starts trying to STRANGLE Bond \n with a METAL LANYARD. Struggling, Bond HEARS a THIN HIGH-PITCHED \n TONE - \n \n INT./EXT. MIG-2 \n \n The pilot has locked onto Bond's MiG. Boom! TWO HEAT-SEEKING"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," MISSILES roar away. \n \n INT./EXT. BOND'S MIG - \n \n Fighting the garrote, Bond KICKS THE THROTTLES forward and PULLS BACK \n ON THE YOKE. The MiG goes into a spine crushing climb as - \n \n THE TWO HEAT SEEKING MISSILES FOLLOW HIM, LOOPING UPWARD. \n \n INT. MIG-2 - \n"," Bond's MiG has disappeared from the pilot's view: Not in front. Not \n on the left. Not on the right. Where did he go? The pilot looks up: \n \n BOND'S MIG APPEARS, FLYING INVERTED, COCKPIT DOWN, 10 FEET ABOVE MIG-2. \n \n THE PILOT OF MIG-2 IS STUNNED. \n \n INT./EXT. BOND'S MIG - \n"," Bond takes the lighter, begins to play with it... \n \n SAUNDERS \n Stop fidgeting, 007. Next - \n \n He takes out a pair of SHOELACES. \n \n BOND \n ... Shoelaces? \n \n SAUNDERS \n Plastique explosive shoelaces. \n (holding them out at length) \n Cut them to regulate the size of the"," Bond's headset lies on top of the rock, along with the telescopic \n sight - still broadcasting. \n \n Find Bond, crouching BEHIND the rock. Automatic rifle in one hand, \n GRENADE in the other. He pulls the pin, hurls it 40 feet away. \n Pauses. Waits, counting down time. Then - \n \n BOND SPRINGS. SHOOTS at one of the CRATES. IT BLOWS UP, just as -"," from the pilot's body and THROWS IT - thwack - into the man's heart. \n \n ANGLE ON MIG-2'S PILOT - WATCHING THIS FROM HIS COCKPIT. \n \n RETURN ON BOND - CLIMBING INTO THE COCKPIT - \n \n Where the COPILOT (having climbed in from the other side,) sees it's"," Laughter. Bond studies the man. Harmsway continues, pointing to a \n LARGE DRILL/BORING OBJECT, the size of a jet engine, attached to a \n long flexible hose/tube. \n \n HARMSWAY \n With our six custom designed sea-bed \n coring drills, we will probe the \n long-term effects of pollution; our \n sonars, radars, and research labs \n will study the wind, the water, and"," BOND BRACES HIMSELF INSIDE THE AIRLOCK. \n \n THE GUARD PEERS INTO THE WINDOW - \n \n And suddenly... BOOM! The door blows open with a shattering blast! \n \n NEW ANGLE - THE CONTROL ROOM - \n \n The guard is blasted backward, dead. Bond rolls out, scrambling for \n the weapon. Yung slams his hand on a button marked \"AUTO-PILOT.\" A"," Taking the machine pistol from the dead guard's lap, he opens the \n small pilot's window, and balances it on his knees. Ahead, he sees: \n \n BOND'S POV - DECK - SEA DOLPHIN II - \n \n The crewmen are lining up on either side of the landing pad, near the \n ship's railings. \n \n RETURN ON BOND - \n \n Ready for war. He pushes the cyclic pitch lever forward, and the"," Saunders has opened the briefcase. Bond tries to look inside, but \n Saunders repositions it. Saunders continues: \n \n SAUNDERS \n In the meantime, perhaps this will \n spark your interest. \n (takes out a disposable lighter) \n Cigarette lighter. Thumb here, press here - \n \n A small flame appears. Bond, unimpressed, reaches for it - \n \n BOND"," bottom, where the snow thins, he comes to: \n \n A ROCK OUTCROPPING. \n \n Hiding behind the rock, Bond takes off his skis, knapsack. He \n unpacks (and unfolds) a HIGH TECH AUTOMATIC RIFLE. Puts on a \n HEADSET. He creeps up on the rock, and looks out on: \n \n A SECRET MILITARY BASE/AIR STRIP (BOND'S POV)"," Bond walks down a long dock towards a lone boat, moored at the end. \n \n EXT./INT. BOAT AT MARINA - MORNING - \n \n Bond looks around furtively, before climbing aboard the sleek ocean- \n going craft. On the aft-deck, there's a large covered object. \n \n As Bond reaches for the CABIN DOOR, it opens by itself - and a"," Bond replies with a wry smile: \n \n BOND \n Yes... \n (pause) \n But some days... Are longer than \n others. \n \n And with this, he reaches up over his head, and pulls a tarp over the \n two of them... \n \n And the camera pulls back, and up, rising into the air to reveal: \n \n The entire British Navy closing in on them from all points of the \n compass. \n \n"," Bond reads THE HEADLINES, sourly: \n \n BOND \n ... Hong Kong destroyed by nuclear \n meltdown... British agent found in \n reactor suspected of sabotage; Harmsway \n calls for British government to resign. \n \n Harmsway smiles at Bond: \n \n HARMSWAY \n ...As the advertising says: Tomorrow \n never lies. \n \n BOND \n What about the gold?"," MI-6 SITUATION ROOM - ROEBUCK, TANNER, M, WATCHING, UNABLE TO BREATHE - \n \n HIGH ANGLE - THE RUNWAY - \n \n The CRUISE SKIMS IN DIRECTLY OVER BOND'S PLANE, speeding to takeoff. \n \n (INT. BOND'S MiG) BOND SHOVES THE THROTTLES TO THE FIREBALL AND - \n"," For a second, MiG-2 hangs in the air. Until... BOOM!!! The TWO HEAT \n SEEKING MISSILES BLAST IT TO SMITHEREENS. \n \n Back in MiG-1, Bond fiddles with the radio. \n \n MI-6 - SITUATION ROOM - \n \n BOND'S VOICE \n Seven to base. I have a full \n house. Your bid. \n"," INT. HELICOPTER - \n \n The gauges go crazy; the alarms go berserk. The entire cockpit is \n chattering as Bond struggles to remain in control. \n \n EXT. LADDER LEADING TO THE BRIDGE - \n \n HARMSWAY is trying to make his way up the ladder as the boat \n continues to veer out of control. He pauses to look up at: \n \n THE HELICOPTER, GYRATING WILDLY -"," The worm bares its lethal teeth; and revs up to speed. Meanwhile - \n \n BOND - \n \n Closes his eyes, presses the detonator, and - \n \n YUNG - \n \n HEARS a small BOOM from inside the airlock. \n \n YUNG \n (to the guard) \n Check it out. Be careful. \n \n The guard picks up his machine pistol, starts to the door. \n"],[" Xichang (shi-chung) China... And - \n (mortise shot of:) \n A special report on the situation in \n Hong Kong, since the Chinese take- \n over from Great Britain. \n \n EXT. MI-6 LONDON - DAY \n \n The DB-5 drives past the guard. \n \n INT. CONFERENCE ROOM - DAY \n"," ...Most eloquently put, Sir Elliot. \n \n HARMSWAY \n Thank you, General Li. Now I'll just \n sign this last document - \n \n He puts the pen to the paper, and BREAKS THE PEN. Alarmed looks. \n \n HARMSWAY (cont'd) \n Terribly sorry. Mr. Stamper? \n \n From behind, Stamper hands him a pen. Harmsway innocently starts to"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," ... Didn't we once investigate Harmsway? \n \n M \n Yes. 1988. He was furious at the \n British plan to return Hong Kong, and \n supposedly started his own negotiations \n with the Chinese Government. The inquiry \n went nowhere - but it did earn MI-6 a \n rather powerful enemy - \n \n MINISTER JOHNSTONE \n Not to mention the chaos it caused at"," (pausing, wistfully) \n It was a city of unlimited possibility. \n \n BOND \n So why did you leave? \n \n HARMSWAY \n Because it's a dying city. Since the \n Chinese take-over, who knows what can \n happen tomorrow? \n (moving to the last two portraits) \n In any case, this is my father, Charles: A"," from Nepal - a Ghurka warrior - con- \n scripted by the British government to \n fight in China during World War II - \n after which the family settled in \n Hong Kong, where the young Stamper \n was undoubtedly treated like a second \n class citizen by both the Hong Kong \n Chinese, and local British. \n (beat, aside:) \n We've all read about the signs at the \n British swimming pools in Hong Kong"," Yes. Shall we kill them? \n \n HARMSWAY \n No. I have a better idea. In fact, \n Mr. Bond may have actually improved \n my original plan. \n (beat) \n Bring them both to Hong Kong. And \n Make sure he has nothing else up his \n sleeve. \n \n DISSOLVE TO: \n \n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -"," INT. PENTHOUSE BOARDROOM - DUSK \n \n A CHINESE CHOP comes down firmly on a legal document. GENERAL LI (of \n the People's Revolutionary Army) is seated with a squad of lawyers: \n \n GENERAL LI \n And that is the fifth document. With \n your counter-signature, the sale will \n be complete. \n \n The document is passed across to HARMSWAY, sitting with his own legal"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," HARMSWAY \n Confusion to the enemy. In 48 hours, \n that building - and all of Hong Kong \n around it - will cease to exist. \n \n AERIAL - SKIES ABOVE STRAIT OF MALACCA - DAY - \n \n A BRITISH MILITARY C-130 airship is dropping sono-buoys into the \n water from a low altitude. me plane veers off, revealing A BRITISH"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," Captain Cheong's ferry was late. He \n runs the line across the Strait \n between here and Sumatra. The lumber \n mill workers coming back for the \n weekend missed the last bus. Slept \n on the docks. Hundreds of them. \n \n BOND \n Thanks. \n \n EXT. HARBOR MASTER'S TOWER - DAY \n \n Bond emerges, carrying the charts, along with Wade."," Taro motions with his Uzi for Bond and Wade to follow... \n \n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \n 007 wants to get it, but Taro nudges him out with the gun muzzle. \n \n EXT. MALACCA STRAIT - DAY \n \n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN"," YUNG \n You must go. Now. Otherwise the \n boat won't be out of range - \n \n Stamper and the guard appear nervous, itching to leave - \n \n HARMSWAY \n Thirty seconds. \n (then, to Bond) \n That's the most brilliant part of the \n plan, Mr. Bond: To save the economy, \n I'll let the new British government - \n my British government - announce that"," Bond reads THE HEADLINES, sourly: \n \n BOND \n ... Hong Kong destroyed by nuclear \n meltdown... British agent found in \n reactor suspected of sabotage; Harmsway \n calls for British government to resign. \n \n Harmsway smiles at Bond: \n \n HARMSWAY \n ...As the advertising says: Tomorrow \n never lies. \n \n BOND \n What about the gold?"," the gold was irradiated in Hong Kong \n - where no one will be able to touch \n it for a hundred years. \n (beat) \n And just by coincidence: \n \n He turns the paper over and reads/reveals a smaller headline: \n \n HARMSWAY \n ...Gold mine opens in Vietnam. \n (turns to Stamper) \n Let's go. Put them in the airlock. \n"," YUNG \n That was too close. \n \n HARMSWAY \n Don't worry. Mr. Bond will get the \n message. So will his boss. \n \n Harmsway presses a button - and suddenly the red box lifts, and a \n second red box appears underneath it, like shuffling a deck of cards. \n \n HARMSWAY \n I'm going to the plane. Tell the \n captain to set sail at once."," No matter what the British government \n says, I won't kill this story. \n (his secretary appears in the doorway) \n Miss Oxford will show both of you to \n the elevator... And one of my people \n will definitely be in touch sooner \n than later. \n \n BOND \n I'm sure they will. \n \n HARMSWAY \n Good-bye, Mister Bond. \n"," What did you do, Harmsway? Make some \n deal with the Chinese government for \n the gold?.. Was the radioactive \n uranium I found in Venice part of it? \n \n He finally has the remote control in the right position. \n \n HARMSWAY \n Questions, questions, Mr. Bond... \n Which I'm afraid I've neither the \n time, nor the inclination to answer. \n (to the guards)"," concerned glance at his office, then turns to Stamper: \n \n HARMSWAY \n Let's find out exactly what he knows. \n \n EXT. KUALA LUMPUR - ROADWAY -(BOND CAR) - LATE AFTERNOON - \n \n Bond's car approaches the camera, passes it, and heads for HARMSWAY \n TOWERS, looming over Kuala Lumpur in the distance. \n"],[" Paris' eyes flicker at something over Bond's shoulder. She swoons: \n \n PARIS \n Kiss me. \n \n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \n across the mouth. \n \n PARIS \n Bastard! Leave me alone! \n \n She shoves him off, darts away. Bond is bleeding from his mouth - \n and not altogether surprised at her behavior. He turns to see - \n"," Paris looks up at him like a hurt child. She wants some contact; she \n wants to hear him say 'I love you.' \n \n PARIS \n Just - say it. Say it just once. \n \n BOND \n (pauses, discomfited) \n One thing at a time. I'll see you \n in twenty minutes. Go. \n \n She exits; he goes to the bulkhead door... And we pan up to see the"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," Stop it! You're hurting me! Can't \n you just be nice? \n \n BOND \n I've got half the British government \n breathing down my neck. I don't have \n time for your nonsense. \n \n She's surprised - and hurt - by his coldness. \n \n PARIS \n Don't you even miss me? Didn't I \n mean anything to you? \n \n BOND"," Do you? \n \n She turns away. Bond feels remorse for hitting her. Softens: \n \n BOND \n What about the uranium? \n \n PARIS \n It's on the boat. He's holding a \n press conference tomorrow. \n \n Bond reaches out to touch her. She falls into his arms, burying her \n face in his shoulder. \n \n PARIS"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," You've got to help me, James. I'm \n sorry. I'm sorry for everything. I \n know I was wrong - but you've got to \n protect me. I know you still love - \n \n BOND SLAPS HER. She's stunned. He waits. She's angered: \n \n PARIS \n Do you feel better now? \n \n BOND \n (not giving an inch)"," Is that any way to say hello? \n \n BOND \n I thought your specialty was good-bye. \n \n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \n \n PARIS \n Oh, James. I've missed you - \n \n BOND \n (grabbing her by the wrist) \n Is this another one of your games? \n \n PARIS"," Looking for someone? \n \n Recovering her breath (it was a violent yank,) the woman - PARIS \n removes her mask. She shines a sexy, 1000-watt smile at 007: \n \n PARIS \n Hello, James. \n \n Bond reacts. He is not happy to see her. \n \n BOND \n Paris?!? What are you doing here? \n \n PARIS"," I'm so sorry, James. I promise, I'll \n never leave you again. \n \n BOND \n (patting her head) \n Shhhhh... \n \n PARIS \n Just hold me. \n \n Bond thinks for a moment, then gently pushes her away, a foot \n backwards, to look in her eyes: \n \n BOND \n How do you know Harmsway? \n"," Come. Let me show you. \n \n And he leads the procession off, through the bulkhead door. Bond is \n left with Paris. She is white with fear. Bond moves to console her: \n \n BOND \n Paris - \n \n PARIS \n Leave me alone! He's going to kill me!! \n \n BOND \n Why didn't you tell me? Why wasn't \n it in our files? \n"," PARIS \n (anguished) \n He didn't want anyone to know. He \n kept it out of the papers. He said a \n third wife was bad for his image. \n (beat) \n You've got to protect me! \n \n Bond wants to help her - and follow Harmsway. He pulls out a key: \n \n BOND \n Go to my hotel room. I'll be there \n in twenty minutes. \n"," BOND \n (to Wade) \n You have to excuse Miss Winch: She \n thinks she's on a 'seduce and \n destroy' mission through life... \n (pauses) \n ...But she won't kill us. \n \n SIDNEY \n No? \n \n BOND \n No. First, because I don't think \n it's in your nature. And second,"," She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \n \n SIDNEY \n What is HE doing here? \n \n HARMSWAY \n I see you two have met. \n \n BOND \n Briefly. \n \n HARMSWAY \n (crossing to his desk) \n Don't pout, Sidney. I invited him \n here hoping he might shed some light"," I want you to meet my wife. \n \n A woman appears in frame, her face obscured by a large sun hat. As \n she reveals her face to the camera - and Bond - \n \n HARMSWAY \n Paris Harmsway, allow me to introduce \n you to James Bond. \n \n There is a terrified look on her face. Harmsway continues, beaming \n his most insinuating smile: \n \n HARMSWAY"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," Fortunately, Bond has a back-up plan. As Stamper hustles them off - \n \n BOND \n One problem, Harmsway: The girl. And \n the handcuffs. They'll give it away. \n \n Harmsway considers this for a second. Sidney takes Bond's arm. \n \n SIDNEY \n No. I want to stay with him. \n"," I think you should go - \n \n BOND \n Not quite yet, Taro - \n \n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \n \n SIDNEY \n Uncle Elliot!! \n \n Watching this, Bond seethes with memory of Paris and his hatred of \n Harmsway. Taro tightens his grip - \n \n TARO \n I said you should -"," 4) She's a smart-ass. He decides to see if he can rattle her: \n \n BOND \n Actually, I'm here on business. You \n might say it was a... Golden opportunity. \n \n SIDNEY \n (a chill in her voice) \n And exactly what business are you in, \n Mr. Bond? \n \n BOND \n Insurance. Lloyds of London. \n"," INT. ELEVATOR - \n \n The doors close. Bond clocks the security camera in the ceiling. \n Harmsway is about to take great delight in making Bond squirm: \n \n HARMSWAY \n Before I became involved with Paris, \n she was always involved with the most \n inappropriate' men... \n (beat) \n Playboys. Thrill seekers. Middle \n aged Peter Pans who only brought out"],[" BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," Paris' eyes flicker at something over Bond's shoulder. She swoons: \n \n PARIS \n Kiss me. \n \n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \n across the mouth. \n \n PARIS \n Bastard! Leave me alone! \n \n She shoves him off, darts away. Bond is bleeding from his mouth - \n and not altogether surprised at her behavior. He turns to see - \n"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," Come. Let me show you. \n \n And he leads the procession off, through the bulkhead door. Bond is \n left with Paris. She is white with fear. Bond moves to console her: \n \n BOND \n Paris - \n \n PARIS \n Leave me alone! He's going to kill me!! \n \n BOND \n Why didn't you tell me? Why wasn't \n it in our files? \n"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," Paris looks up at him like a hurt child. She wants some contact; she \n wants to hear him say 'I love you.' \n \n PARIS \n Just - say it. Say it just once. \n \n BOND \n (pauses, discomfited) \n One thing at a time. I'll see you \n in twenty minutes. Go. \n \n She exits; he goes to the bulkhead door... And we pan up to see the"," Stop it! You're hurting me! Can't \n you just be nice? \n \n BOND \n I've got half the British government \n breathing down my neck. I don't have \n time for your nonsense. \n \n She's surprised - and hurt - by his coldness. \n \n PARIS \n Don't you even miss me? Didn't I \n mean anything to you? \n \n BOND"," You've got to help me, James. I'm \n sorry. I'm sorry for everything. I \n know I was wrong - but you've got to \n protect me. I know you still love - \n \n BOND SLAPS HER. She's stunned. He waits. She's angered: \n \n PARIS \n Do you feel better now? \n \n BOND \n (not giving an inch)"," I'm so sorry, James. I promise, I'll \n never leave you again. \n \n BOND \n (patting her head) \n Shhhhh... \n \n PARIS \n Just hold me. \n \n Bond thinks for a moment, then gently pushes her away, a foot \n backwards, to look in her eyes: \n \n BOND \n How do you know Harmsway? \n"," PARIS \n (anguished) \n He didn't want anyone to know. He \n kept it out of the papers. He said a \n third wife was bad for his image. \n (beat) \n You've got to protect me! \n \n Bond wants to help her - and follow Harmsway. He pulls out a key: \n \n BOND \n Go to my hotel room. I'll be there \n in twenty minutes. \n"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," Do you? \n \n She turns away. Bond feels remorse for hitting her. Softens: \n \n BOND \n What about the uranium? \n \n PARIS \n It's on the boat. He's holding a \n press conference tomorrow. \n \n Bond reaches out to touch her. She falls into his arms, burying her \n face in his shoulder. \n \n PARIS"," Looking for someone? \n \n Recovering her breath (it was a violent yank,) the woman - PARIS \n removes her mask. She shines a sexy, 1000-watt smile at 007: \n \n PARIS \n Hello, James. \n \n Bond reacts. He is not happy to see her. \n \n BOND \n Paris?!? What are you doing here? \n \n PARIS"," Bond, looking up - for Stamper - and down - to check their progress. \n \n SIDNEY \n All I know is one thing: If we get \n out of here alive, that gold is mine. \n (beat) \n I've earned it. \n \n Looking upward, Bond SEES STAMPER peering over the rail. BOND FIRES. \n \n BOND \n One thing at a time. \n"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," I want you to meet my wife. \n \n A woman appears in frame, her face obscured by a large sun hat. As \n she reveals her face to the camera - and Bond - \n \n HARMSWAY \n Paris Harmsway, allow me to introduce \n you to James Bond. \n \n There is a terrified look on her face. Harmsway continues, beaming \n his most insinuating smile: \n \n HARMSWAY"," ANOTHER ANGLE - SAN GIACOMO SQUARE - (BOND'S POV) - \n \n Paris running to FOUR MEN dressed alike in three-corner hats, \n enveloped from head-to-foot in BLACK CAPES. Their faces are \n completely concealed behind flat, bone-white masks covering all but \n their chins. They look like messengers of death. \n \n CLOSER ON PARIS AND THE MEN - \n"," (to his underlings) \n Seize the boat! \n \n A set of frozen glances goes from Bond, to Paris, to Harmsway. \n \n VALENTIN \n I think I suddenly remembered an \n urgent meeting in Moscow. \n \n To everyone's surprise, Harmsway guffaws. \n \n HARMSWAY \n My friends, there's been a terrible mistake. \n (putting his arm around DiGiacomo)"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," Is that any way to say hello? \n \n BOND \n I thought your specialty was good-bye. \n \n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \n \n PARIS \n Oh, James. I've missed you - \n \n BOND \n (grabbing her by the wrist) \n Is this another one of your games? \n \n PARIS"],[" INT. CARGO HOLD - UNDER WATER - \n \n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \n space. Bond's flare sputters and dies. He drops it, lights another. \n \n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \n He moves toward it. \n \n NEW ANGLE - CLOSER - \n"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," TARO \n Get him up. Take his belt. \n (motioning to Wade) \n Take the two of them to the Captain. \n \n The men grab Bond roughly, and shove him next to Wade. \n \n TARO \n By the way. I almost forgot. \n (smashing Bond) \n I owed you one. \n \n Bond and Wade are frog-marched to the bridge, passing under the gaze"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \n \n And just as Bond overcomes the man - spinning him around, holding the \n knife to the diver's throat - \n \n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \n 'fish friendly' research tool.) \n"," where he collides with something floating just below the ceiling. \n Dropping the flare on the impact, Bond twists around to see: \n \n THE FACE OF A FLOATING DEAD SAILOR. \n \n BACK TO SCENE - \n \n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD"," INT. SEA KING HELICOPTER - AIRBORNE - DAY \n \n Frowning, Bond peers at the Sonar Operator's screen. \n \n BOND \n Still nothing? \n \n The operator shakes his head. The pilot calls back from the cockpit: \n \n CO-PILOT \n Commander Bond: They've found one of \n the crewman's bodies! \n"," One carries a strange-looking HARPOON-TYPE GUN; another trails a \n CABLE. The divers have fanned out, looking for 007. \n \n BOND - \n \n Realizes his best chance is to take one of the men hostage. \n \n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \n"," BOND'S POV - \n \n The helicopter clears the island: Bright blue sea ahead. Bond sees \n then passes over - the HNN boat, bobbing empty in the water... \n \n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \n in the instance. \n \n REAR DECK - SEA DOLPHIN II - \n \n Looking north, off the back of the boat Stamper and a crewman see the"," Smashing through the water at breakneck speed. Wade and Bond yell \n over the engines. \n \n WADE \n What do you want with the Harbor Master? \n \n BOND \n Tide and current charts. Work \n backward from the body - find where \n the ship sank. \n (Wade nods appreciatively) \n Where did you get the boat? \n \n WADE"," through all this and the ship isn't \n even down there? \n \n BOND \n Yes, the ship is down there. But the \n gold is gone. \n \n CAPTAIN MORTON \n That's absurd! It took two squads of \n forty men fifteen days to load that \n gold. \n \n BOND \n I know what I saw - \n \n CAPTAIN"," The \"Captain\" turns from a monitor: IT'S SIDNEY. \n \n SIDNEY \n Just give me one goad reason - Mister \n Bond, from Lloyds of London - why I \n shouldn't kill both of you, burn your \n boat, and use your bodies for shark bait. \n \n WADE \n (chirping up) \n So you two know each other!?! Small"," And just when it seems impossible for him to survive - to hold his \n breath a second longer - \n \n A FIGURE IN SCUBA GEAR (mask and tank) GRABS HIM. \n \n Bond turns in disbelief. Stares into the mask: IT'S SIDNEY. She \n puts her regulator in Bond's mouth... \n \n And they share the air as they rise from the depths. \n \n THE SURFACE - \n"," Taro motions with his Uzi for Bond and Wade to follow... \n \n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \n 007 wants to get it, but Taro nudges him out with the gun muzzle. \n \n EXT. MALACCA STRAIT - DAY \n \n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN"," They break through the water. Sidney yanks off her mask. Teases: \n \n SIDNEY \n What do you mean, you'd rather die \n alone? \n \n BOND \n I didn't say when I want to die - \n \n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \n dinghy floating nearby. \n \n NEW ANGLE - THE DINGHY - \n"," With the water cascading over the camera, (as if we were riding \n inside an ocean wave,) the worm heads for a tank marked \"FUEL.\" \n \n EXT. THE SEA DOLPHIN II - \n \n The boat is sinking. Bond is running across the bridge roof, when: \n THE BOAT SUDDENLY LISTS TO THE STARBOARD SIDE. \n \n INT. BRIDGE - \n"," INT. ENGINE ROOM - UNDERWATER - \n \n Bond sees the damage on the passageway door. Swims through it. \n \n INT. PASSAGEWAY - UNDER WATER - \n \n The flare throws eerie shadows along the corridor; Bond swims to the \n busted bilge-hold hatch. Again, he pauses to examine the marks made \n by the worm. He drops into the hold. \n"," Amidst more laughter, Bond disappears into the bulkhead door. \n \n INT. SEA DOLPHIN II - BELOW DECKS - \n \n Bond moves cautiously down a STAIRCASE... \n \n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \n sure they're locked. Bond withdraws for a moment, looks back: The \n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \n"," But Bond pulls him back down, and holds him down, pushing down on \n Harmsway's shoulders. \n \n Harmsway is thrashing about, flailing in all directions, pounding at \n Bond in a haze of bubbles... \n \n Then falls still. \n \n With his lungs aching, bursting with fire, Bond rockets up - \n \n UNDERWATER - (BOND/BOAT) - \n \n through the bridge windows, up to - \n"," The helicopter suddenly appears in front of him. Shooting from the \n pilot's window, Bond shatters the glass windows - \n \n And the Captain slumps forward on the wheel, spinning it as he slides \n to the deck. \n \n INT. HARMSWAY'S CABIN - \n \n The boat pitches wildly; Harmsway looses his balance, crashing into a \n wall. \n \n INT. STORAGE CABIN - \n"],[" But the case was terminal. \n \n And on this note, we - \n \n DISSOLVE TO: \n \n EXT. VENICE HARBOR - THE NEXT DAY - \n \n Under a beautiful blue sky, the gleaming white SEA DOLPHIN II sits at \n dock, festooned with pennants and banners. There's a crowd onboard. \n At the same time, however, 500 feet away... \n"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," THEY EXPLODE AGAINST THE CLOSING DOOR - TO NO EFFECT. \n \n BOND'S CAR GETS CLOSER AND CLOSER - \n \n SIDNEY SCREAMS! BOND BRACES, AND - \n \n BOOM! CRASH! SILENCE. BLACK. After a moment, we HEAR THE SOUND OF \n FOOTSTEPS ON CEMENT. \n \n INT. GARAGE - \n"," The two of them make a break for the car, DIVING INSIDE. \n \n INT. BOND'S CAR - MOVING - GARAGE - \n \n - Bond guns the engine, slams the transmission into gear. Burning \n rubber, GUARDS bounce off the front fenders. \n \n THE GUARDS - \n \n Continue to shoot at the car. \n \n OTHER GUARDS - \n"," With the chopper about 15 feet above the gold hold - just barely \n under control - Bond opens the door. \n \n He leaps out onto the hatch, and rolls off, disappearing as - \n \n THE CHOPPER CRASHES onto the gold hold, in a GIANT BALL OF FLAME and \n twisted metal. \n \n INT. STORAGE COMPARTMENT - \n \n Sidney looks up, hearing and feeling the explosion. \n \n INT. BRIDGE -"," Seemingly at once, (1) Sidney bites the Guard's forearm, (2) Bond \n ducks, (3) the Guard shoots wildly, (4) the gun drops, and (5) - \n \n Bond rushes the man, KNOCKING HIM BACKWARDS INTO THE PRINTING PRESS, \n pulling Sidney away at the last moment. \n \n The Guard is sucked up in the press rollers, and... \n"," Shaking his head, he pulls out a HANDKERCHIEF to mop the flop sweat. \n \n RETURN ON THE MANOR HOUSE - FAVORING THE HNN HELICOPTER - \n \n Amidst ad-libbed 'good-bye's\" from the gang of six (now five,) \n Harmsway gets in the waiting HNN chopper. It powers up, takes off. \n \n EXT. SMALL AIRPORT - SCOTLAND - \n"," (glaring, insanely:) \n We all go down together!!! \n \n Harmsway lunges for Bond's throat - \n \n AND THE BRIDGE SLIPS UNDERWATER - \n \n Where Bond breaks Harmsway's grasp in a violent struggle - then \n punches him. Air bubbles break from Harmsway's mouth. He \n frantically tries to break free for the surface - \n"," As the passageway shifts, tilting to the stern, the Captain screams \n and WHOOSH! - is sucked down into the water - the worm's vortex - \n like meat being fed into a Cuisinart: A churning, spinning death. \n \n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \n \n Bow rises completely out of the water as the stern goes under. \n \n EXT. DECK - \n"," But Bond pulls him back down, and holds him down, pushing down on \n Harmsway's shoulders. \n \n Harmsway is thrashing about, flailing in all directions, pounding at \n Bond in a haze of bubbles... \n \n Then falls still. \n \n With his lungs aching, bursting with fire, Bond rockets up - \n \n UNDERWATER - (BOND/BOAT) - \n \n through the bridge windows, up to - \n"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," Having failed at the cable, Stamper goes at the PULLEY feeding it. \n He swings. Swings again. With each blow, the pulley shaft weakens. \n \n BOND AND SIDNEY - (WINDOW WASHER'S RIG) - \n \n Dropping in VIOLENT SPURTS - just trying to stay in the damn bucket. \n \n STAMPER - WIELDING THE AX - \n"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," The lights come on. The car is a twisted wreck, smashed against the \n wall. Bond and Sidney are slumped forward, unconscious. \n \n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \n \n HARMSWAY \n - Built to withstand a nuclear blast. \n (to Stamper, checking \n Bond's pulse) \n Are they alive? \n \n STAMPER"," No. \n \n CAPTAIN MORTON \n You leave me no alternative. \n \n CAPTAIN MORTON \n (upholstering a walkie-talkie) \n Cut her anchor. \n \n As Sidney yells \"NO!\" - THE FORWARD GATLING GUN erupts to life. One \n short, bone rattling burst CUTS THE CHAIN. \n \n SIDNEY"," YUNG \n A generator blew. Nothing to worry about. \n (beat) \n But I need one last shot of you. Why \n don't you stand by the alarm? \n \n POWER PLANT GUARD \n No problem. \n \n The guard stands, and smiles, posing for the video camera... And Yung \n pulls a pistol from his pocket and shoots him. \n \n YUNG"," He throws a look back: \n \n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \n \n Sprinting for his life, the Captain rushes up the stairs, two at a \n time. The humming behind him grows louder. He glances back: \n \n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \n \n He rushes up the last four steps, just as - \n"," Rocked by waves from the sinking ship. The Cook, a Marine, and Three \n Crewmen hear a splash along side. Two of the Crew pull the SONAR \n OFFICER aboard. He takes a minute to catch his breath, then: \n \n SONAR OPERATOR \n Six. That's it? Only six of us? \n \n COOK \n Most of the crew never made it to \n their life jackets. The Captain? \n"," wall, and THE WORM comes to life. \n \n Stamper closes in on Bond with the worm. \n \n Bond tries to stand, but Stamper flings him back down, pinning Bond \n against the wall with his free hand as he - \n \n MANEUVERS THE WORM TOWARDS BOND'S HEAD. \n \n With the cutting blades whirring inches away from Bond's nose - \n \n STAMPER"," gun to the right: TWO BURSTS. THREE MEN DIE. Still running, he \n swings to the left: ANOTHER BURST. TWO MORE DOWN. \n \n Ahead, Bond sees the FLIGHT CREWS DASHING for the MiG's. He makes a \n beeline for MiG-1. \n \n ANGLE ON THE BALD MAN - \n \n Slamming the gate on the RED BOX in a cargo truck. Rushing to the"],[" THE SURFACE. \n \n He breaks through the water, gasping for air... And then, almost \n instantly, dives down again. \n \n UNDERWATER - (BOND/BOAT) - \n \n Bond dives for the boat - down, and down, chasing it, as if he could \n just grab it, and stop it from sinking. \n \n He goes deeper, and deeper, as it sinks further and further away, \n just beyond his reach. \n"," But Bond pulls him back down, and holds him down, pushing down on \n Harmsway's shoulders. \n \n Harmsway is thrashing about, flailing in all directions, pounding at \n Bond in a haze of bubbles... \n \n Then falls still. \n \n With his lungs aching, bursting with fire, Bond rockets up - \n \n UNDERWATER - (BOND/BOAT) - \n \n through the bridge windows, up to - \n"," And just when it seems impossible for him to survive - to hold his \n breath a second longer - \n \n A FIGURE IN SCUBA GEAR (mask and tank) GRABS HIM. \n \n Bond turns in disbelief. Stares into the mask: IT'S SIDNEY. She \n puts her regulator in Bond's mouth... \n \n And they share the air as they rise from the depths. \n \n THE SURFACE - \n"," (glaring, insanely:) \n We all go down together!!! \n \n Harmsway lunges for Bond's throat - \n \n AND THE BRIDGE SLIPS UNDERWATER - \n \n Where Bond breaks Harmsway's grasp in a violent struggle - then \n punches him. Air bubbles break from Harmsway's mouth. He \n frantically tries to break free for the surface - \n"," One carries a strange-looking HARPOON-TYPE GUN; another trails a \n CABLE. The divers have fanned out, looking for 007. \n \n BOND - \n \n Realizes his best chance is to take one of the men hostage. \n \n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \n"," Breaking off with a groan, tumbling onto the rocks below. \n \n IN THE WATERBED - \n \n A torrent of water crashes over 007. Fighting the oncoming deluge, \n he crawls - on his belly - through the water - 25 feet inland. \n \n NEW ANGLE - (TOP OF THE WATER FALL, INLAND) \n \n Bond stands, walks out of the riverbed. He looks back at the cliff: \n"," Wade pulls back his shirt to reveal TWO SIX-SHOOTERS. \n \n WADE \n I got you covered. \n \n BOND \n That's reassuring. \n \n Bond rolls backward into the water and disappears. \n \n UNDERWATER - \n \n Bond swims to the anchor line, and begins pulling himself downward, \n handover-hand, deeper and deeper into a monochromatic gloom. \n"," They break through the water. Sidney yanks off her mask. Teases: \n \n SIDNEY \n What do you mean, you'd rather die \n alone? \n \n BOND \n I didn't say when I want to die - \n \n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \n dinghy floating nearby. \n \n NEW ANGLE - THE DINGHY - \n"," Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \n \n And just as Bond overcomes the man - spinning him around, holding the \n knife to the diver's throat - \n \n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \n 'fish friendly' research tool.) \n"," Enjoy the rest of your life. \n \n As Stamper pushes Bond into the reactor room airlock, he hears: \n \n HARMSWAY \n I'll meet you on the boat, south of \n Lantau Island. \n \n INT. AIRLOCK - \n \n The door closes. Bond looks out the small window at: \n \n HARMSWAY AND YUNG IN THE CONTROL ROOM - \n \n YUNG"," BOND \n Cut the engines! It's about two- \n hundred fifty feet down. \n \n JUMP CUT TO: \n \n AN ANCHOR BEING PITCHED INTO THE WATER - (BOW OF SPORT FISHING BOAT) - \n \n By Wade. Bond is strapping on his scuba tank. \n \n WADE \n Two-fifty's pretty deep for air. You"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," EXT. THE TOP OF THE WATER FALL - \n \n Exhausted, Bond reaches up, over the edge. He drives a pick down - \n through the ice, into the hard, flat, ground beneath the waterbed. \n \n As he pulls himself up, (his full weight on the first ice-pick,) he \n smashes a second pick through the ice, into the waterbed, and - \n \n THE ENTIRE ICE FALL GIVES WAY - \n"," rig, and is descending, FIRING AT THEM. \n \n Bond looks at Sidney - \n \n BOND \n Sometimes you just have to - \n \n SIDNEY \n Don't say it. \n \n She locks her arms and legs around him, he snaps the leather harness \n around her waist, and they roll over the railing Amidst gunfire. \n \n EXT. HARMSWAY TOWERS - TWILIGHT \n"," Taro holds up the BOND'S DIVING BELT, indicating 'nothing'. Angrily: \n \n SIDNEY \n Search him. \n \n The men look at Bond - wearing only swim trunks. Nobody moves. \n \n SIDNEY \n Do I have to do everything around here? \n \n BOND \n I hope so. \n"," THE ICE WALL SHATTERS, FALLING AWAY IN FRONT OF HIM. IN THE SHOCK - \n \n BOND LOSES HIS GRIP ON THE FIRST ICE PICK - \n \n And 007 is now dangling, 575 feet in the air, staring at a torrent of \n water - hanging only by the leather thread around his wrist, attached \n to the first ice-pick, still embedded in the wall. \n"," INT. CARGO HOLD - UNDER WATER - \n \n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \n space. Bond's flare sputters and dies. He drops it, lights another. \n \n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \n He moves toward it. \n \n NEW ANGLE - CLOSER - \n"," BOND \n ... How did you get into marine \n salvage? \n \n SIDNEY \n (gun burst, then) \n My father left me the business. \n \n Bond glances at his watch, timing the bomb. The guards shoot; she \n shoots back, then explains: \n \n SIDNEY \n I used to be a divorce lawyer in New \n York City. \n"," where he collides with something floating just below the ceiling. \n Dropping the flare on the impact, Bond twists around to see: \n \n THE FACE OF A FLOATING DEAD SAILOR. \n \n BACK TO SCENE - \n \n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD"," The two of them make a break for the car, DIVING INSIDE. \n \n INT. BOND'S CAR - MOVING - GARAGE - \n \n - Bond guns the engine, slams the transmission into gear. Burning \n rubber, GUARDS bounce off the front fenders. \n \n THE GUARDS - \n \n Continue to shoot at the car. \n \n OTHER GUARDS - \n"],[" James Bond... I believe he's a field \n adjuster for Lloyd's of London... \n \n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \n \n HARMSWAY \n Then we have this James Bond. \n \n INSERT VIDEO SCREEN - BOND'S KGB FILE - \n \n HARMSWAY \n (reading from the screen) \n ... Licensed to Kill..."," Xichang (shi-chung) China... And - \n (mortise shot of:) \n A special report on the situation in \n Hong Kong, since the Chinese take- \n over from Great Britain. \n \n EXT. MI-6 LONDON - DAY \n \n The DB-5 drives past the guard. \n \n INT. CONFERENCE ROOM - DAY \n"," MINISTER JOHNSTONE \n And I have the entire British economy \n to worry about. \n \n BOND \n (breaking in) \n Minister - \n (all turn to him) \n Obviously, MI-6 was not involved in \n this operation. But I have to defend \n the Admiral. \n \n Roebuck looks at Bond with great surprise. Bond continues: \n \n BOND (cont'd)"," EXT. THE BANK OF LONDON - NIGHT \n \n Passing a NEWSPAPER DELIVERY TRUCK with an ad for \"TOMORROW\" (\"The \n Paper that Never Lies,\") Bond's DB-5 roars past the guard. \n \n INT. CONFERENCE ROOM - BANK OF LONDON - NIGHT \n \n ADMIRAL ROEBUCK glares as MINISTER JOHNSTONE enters to address M,"," (interrupting) \n Excuse me, but - \n (all turn to him:) \n I must formally protest this meeting. \n Given the nature of what's occurred - \n and the need for secrecy - I see no \n reason to involve the air force, the \n army, or MI-6. \n (beat, as M and Tanner exchange a look) \n This is an internal affair that should \n be handled strictly by the officers of"," And he exits. M, frowning, hits a button on her intercom: \n \n M \n Would you send in the new man from \n equipment branch? \n \n MONEYPENNY (O.S.) \n Right away. \n \n BOND \n .... I hate to ask, but... Did you \n ever think you'd miss Communism? \n \n M \n We serve the interests of the British"," her Majesty's Royal Navy. \n \n MINISTER JOHNSTONE \n (furious) \n Admiral, are you suggesting - \n \n He's distracted by the CLICK OF A DOOR OPENING. All turn to SEE BOND \n entering, wearing a FULL NAVAL UNIFORM. M stifles a smile. \n \n BOND \n Sorry I'm late - \n \n M"," The reason I invited the Minister \n here, 007, was to reassure him that \n this investigation will be handled \n with the utmost discretion. \n \n BOND \n Of course. \n \n M \n Which is also why I've withheld this \n information from NATO and our allies. \n \n BOND \n (nods, then, recalling)"," plutonium. They've been arguing. \n \n M \n Come in, 007. You know the Minister? \n \n BOND \n Of course. \n (nods to) \n Minister Johnstone. \n \n MINISTER JOHNSTONE \n 007. \n \n Bond sits in an armchair. M presses a button, and a video/bio of"," No matter what the British government \n says, I won't kill this story. \n (his secretary appears in the doorway) \n Miss Oxford will show both of you to \n the elevator... And one of my people \n will definitely be in touch sooner \n than later. \n \n BOND \n I'm sure they will. \n \n HARMSWAY \n Good-bye, Mister Bond. \n"," Watching this display is M, TANNER, and a handful of MILITARY BRASS, \n including a RUSSIAN GENERAL, BUKHARIN, and BRITISH ADMIRAL ROEBUCK, \n an aging sea-lion with no love for M, or MI-6. \n \n M deals with the humorless Admiral by, well, humoring him: \n \n M \n ... What were you saying, Admiral? \n Something about this 'not being a job"," Bond replies with a wry smile: \n \n BOND \n Yes... \n (pause) \n But some days... Are longer than \n others. \n \n And with this, he reaches up over his head, and pulls a tarp over the \n two of them... \n \n And the camera pulls back, and up, rising into the air to reveal: \n \n The entire British Navy closing in on them from all points of the \n compass. \n \n"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," Moneypenny hangs up, looks up, and blanches: M is standing there. \n \n MONEYPENNY \n Don't ask. \n \n M \n Don't tell. \n (walking away) \n I don't want to know. \n \n INT. HALLWAY - OUTSIDE JENNY'S OFFICE - OXFORD - \n"," INT. M'S ANTEROOM - MI-6. \n \n MONEYPENNY, at her desk. \n \n MONEYPENNY \n Hello, James. I hope I'm \n interrupting something important. \n \n INT. OFFICE - (INTERCUT AS NECESSARY) \n \n (Jenny has a leg on the bed, pulling on a full Victoria's Secret \n outfit: Nylons, garter/suspenders, bustier, etc.) \n"," WOMAN \n I can't believe it took us so long to \n finally get together! What exactly \n do you do for the government? \n \n BOND \n (after a beat) \n You might say... 'Public relations.' \n \n WOMAN \n How fascinating! I bet you meet all \n the most fabulous people. \n \n Before Bond can answer, the MAITRE D' interrupts. \n"," Satisfying as the fantasy. \n \n Bond scowls. Moneypenny smiles wryly, points to the inner door: \n \n MONEYPENNY \n Don't keep M waiting. \n \n INT. M'S OFFICE - DAY \n \n M is behind her desk; MINISTER PETER JOHNSTONE sits across - a high- \n handed Teflon-coated politician, with the survival instincts of"," BOND \n Bond. \n \n HARMSWAY'S VOICE \n Hello, Mister Bond. \n \n BOND \n (with an edge) \n Who is this? \n \n INT. HARMSWAY'S OUTER OFFICE - \n \n Harmsway is perched on a desk. In the background, THROUGH HIS OPEN"," Whitehall when his newspapers began \n screaming for the recall of the \n sitting government. \n \n M \n (a beat, then:) \n I'm sending you to Venice, 007. \n You're to check out the source, \n determine whether Elliot Harmsway is \n involved with the enriched uranium, \n and, if so, stop him. \n \n BOND"," (smirks at Bond, pauses, then) \n Oh. I almost forgot. There is one last \n thing: Before Q retired, he asked that \n I give you one other protective device. \n \n He hands Bond a WEDDING BAND. \n \n BOND \n A wedding band??? What am I supposed \n to be able to do with this? \n \n SAUNDERS \n I believe Q's exact words were:"],[" Tanner points to the video wall with a RED LASER PEN. \n \n TANNER \n (ironically) \n A regular terrorist swap meet. Death \n at discount: Two Chinese Long March \n Scuds, a pair of Soviet A-17 attack \n helicopters - \n \n BUKHARIN \n (interrupting) \n Stolen - \n \n TANNER"," up with the British Navy in the \n Strait. Rescue planes, helicopters; \n two ships supposedly sailing from the \n Persian gulf. They just chased away \n one of our news boats. \n \n HARMSWAY \n (feigning complete innocence) \n Is that so? \n \n NEWS EDITOR 4 \n Yeah. Sounds like a plane went down \n or something... Either way, they're"," that said \"No Ghurka's allowed.\" \n \n BOND \n Nothing like a little imperialism to \n promote loyalty among the faithful. \n \n COL. DOMINIQUE EVERHART \n (stifles a smile, then:) \n In conclusion: Both these men have a \n vendetta against the world. They are \n nuclear armed, and dangerous. And \n having failed to get the UZ35 through"," botched attempt to steal fissionable \n material from a British light-water \n reactor in South Africa - an accident \n that left him entirely hairless... \n \n Another face appears on the screen: \n \n COL. DOMINIQUE EVERHART (cont'd) \n And Rendera Sikrahm, also known as \n Richard Stamper. Freelance mercenary, \n Laos and Cambodia. His father was"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," Taro motions with his Uzi for Bond and Wade to follow... \n \n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \n 007 wants to get it, but Taro nudges him out with the gun muzzle. \n \n EXT. MALACCA STRAIT - DAY \n \n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN"," from Nepal - a Ghurka warrior - con- \n scripted by the British government to \n fight in China during World War II - \n after which the family settled in \n Hong Kong, where the young Stamper \n was undoubtedly treated like a second \n class citizen by both the Hong Kong \n Chinese, and local British. \n (beat, aside:) \n We've all read about the signs at the \n British swimming pools in Hong Kong"," the old opium route - the Khyber Pass \n - it's NATO's belief that their next \n attempt will be through Bulgaria - \n where the NATO Nuclear Strike Force \n will be there to stop them. \n \n M \n Thank you Colonel Everhart. \n (stands, turns to:) \n 007, I'd like to see you in my office. \n Why don't you and the Colonel exchange"," (glancing sideways) \n Occasionally, yes. \n (directly to M) \n British media mogul. Born in Hong Kong; \n controls newspapers, TV, radio, cable, \n satellites; books, magazines, movies, \n computer software. Theme parks. \n \n M \n (holding up a copy of:) \n - Along with Tomorrow - the first \n world-wide newspaper. Circulation 27"," hanging from a steel boom.) \n \n THE DECK - \n \n Coming up the ladder first, Harmsway is greeted by the Captain. \n \n HARMSWAY \n Any news? \n \n THE CAPTAIN \n The call just went out on the Hong \n Kong police radio: Fire at the power \n plant. \n \n HARMSWAY \n (ironically) \n Alert the media! \n"," Stamper: He who has the gold, rules. \n \n He drops the gold back in the hold. \n \n HARMSWAY \n Is the helicopter ready? \n \n STAMPER \n Fueled and waiting. \n \n HARMSWAY \n Good. We have an appointment in Hong Kong. \n \n INT. HALLWAY - BANK OF LONDON - NIGHT - \n"," I know. Pirates from Sumatra want \n the cargo; smugglers from Thailand \n and Burma want the ships. \n \n CAPTAIN CHEONG \n Sometimes kill the crew; other times - \n (points to his eye) \n Torture them. \n \n BOND \n I'm sorry. \n \n CAPTAIN CHEONG \n The Kuala Lumpur ferry was 35 miles"," another face, and the man's stats appear in London. \n \n TANNER \n Vilko Barkoviac. Bosnian war \n criminal; thought to be operating \n freelance out of Teheran. \n (pressing a button) \n Full house, seven. Bid to the North. \n \n Bond complies. Another face, another set of stats: \n \n TANNER \n Sitoshi Isagura. Japanese religious"," THE TABLE OPENS, and a 3-D MAP OF MALAYSIA rises into view. \n \n HARMSWAY \n Gentlemen: In exactly 36 hours, we \n are going to initiate phase one of \n the word's most perfect crime: The \n biggest theft in the history of mankind. \n (beat, pointing with a laser) \n Right here. In the Strait of Malacca. \n"," GENERAL BUKHARIN \n We didn't know it was missing. \n \n M \n Get me the Prime Minister. Alert \n NATO, the CIA, the Pentagon. \n (presses a button:) \n Seven: This is a direct order. I \n want you out of there. Do you copy? \n \n THE ROCK OUTCROPPING - \n"," Stoned silence. Disbelief. Tanner whispers: \n \n TANNER \n God help him. \n \n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \n \n God help the rest of us. \n \n THE SECRET AIR BASE - \n \n As various factions shoot at each other (Who's the traitor?) Bond \n streaks toward the action. Without breaking stride, he swings his"," The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \n He reacts with horror. \n \n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \n \n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \n General and his aides, scattering them like rats. \n \n In the chopper, the pilot cuts the cable, and Harmsway lifts a \n champagne glass:"," With its walls of monitors, equipment, and control rooms, the effect \n is overwhelming. Harmsway will walk Bond around the perimeter: \n \n HARMSWAY \n Welcome to the new world order, Mr. Bond. \n (starting to walk) \n Churchill had his armies; Caesar had his \n legions; I have my divisions: \n (pointing) \n News, sports, business, entertainment. \n And these are my foot soldiers:"," What's in the box??? \n \n BUKHARIN \n (sheepishly) \n ... We usually... Transport... \n Weapons grade uranium. \n \n Shock sweeps the room. M turns on Tanner: \n \n M \n Will it go off? \n \n TANNER \n Maybe. Maybe not. \n \n M \n Abort the cruise. \n"," Seized it from a guy smuggling \n computer chips out of Bangkok. \n (beat) \n Should have seen his rose garden: \n Blooms the size of hand grenades. \n \n Bond looks at Wade: The man remains, forever deranged. \n \n EXT. PORT KLANG - ESTABLISHING - DAY \n \n The Harbor Master's tower overlooks a small armada of yachts, fishing"],[" With its walls of monitors, equipment, and control rooms, the effect \n is overwhelming. Harmsway will walk Bond around the perimeter: \n \n HARMSWAY \n Welcome to the new world order, Mr. Bond. \n (starting to walk) \n Churchill had his armies; Caesar had his \n legions; I have my divisions: \n (pointing) \n News, sports, business, entertainment. \n And these are my foot soldiers:"," (glancing sideways) \n Occasionally, yes. \n (directly to M) \n British media mogul. Born in Hong Kong; \n controls newspapers, TV, radio, cable, \n satellites; books, magazines, movies, \n computer software. Theme parks. \n \n M \n (holding up a copy of:) \n - Along with Tomorrow - the first \n world-wide newspaper. Circulation 27"," I used to sell weapons; now I buy votes. \n (then) \n Off the record. \n \n BOND \n Of course. If you can't beat the \n government, you might as well own it. \n \n Valentin spots someone off-camera. \n \n VALENTIN \n Wait - I want you to meet a friend of \n mine. \n (calling out) \n Elliot! Elliot! Come here."," Xichang (shi-chung) China... And - \n (mortise shot of:) \n A special report on the situation in \n Hong Kong, since the Chinese take- \n over from Great Britain. \n \n EXT. MI-6 LONDON - DAY \n \n The DB-5 drives past the guard. \n \n INT. CONFERENCE ROOM - DAY \n"," As you're aware, Sir Elliot, our \n software division has introduced a new \n computer operating system, Gates '99. \n (beat) \n It's deliberately filled with bugs - \n so people will be forced to buy our \n upgrades over the next five years. \n (beat) \n The window on revenues is 2.8 billion. \n \n HARMSWAY \n Outstanding, Number Two."," ...Most eloquently put, Sir Elliot. \n \n HARMSWAY \n Thank you, General Li. Now I'll just \n sign this last document - \n \n He puts the pen to the paper, and BREAKS THE PEN. Alarmed looks. \n \n HARMSWAY (cont'd) \n Terribly sorry. Mr. Stamper? \n \n From behind, Stamper hands him a pen. Harmsway innocently starts to"," Stamper's limousine parks near a Gulfstream jet. He opens the back \n door for Number Three. At last, the man believes he is safe. \n \n NUMBER THREE \n Thank you! Thank you so much. You \n must thank Sir Elliot for me. \n \n STAMPER \n (producing a NEWSPAPER) \n Here. Something to read on the plane. \n"," ELIOT HARMSWAY appears on the wall behind her. Mid-50's, regal. \n \n M \n Tell me, 007, what do you know about \n Elliot Harmsway? \n \n BOND \n (quipping) \n Only what I read in the newspapers. \n \n MINISTER JOHNSTONE \n (disdainfully) \n His newspapers? \n \n BOND"," long-time friend of the people. \n (beat) \n If you believe what you read in the papers. \n \n MINISTER JOHNSTONE \n (annoyed) \n Need I remind the two of you that \n Elliot Harmsway - Sir Elliot Harmsway \n - is directly descended from the Earl \n of Aberdeen? That his Scottish \n ancestors practically invented Hong \n Kong - and out of sheer gratitude,"," million. Daily. - \n \n BOND \n 'Able to topple governments with a single \n story' - as he says in his press. \n \n JOHNSTONE \n (hurrumph) \n Exactly. \n \n Bond looks at Johnstone quizzically. Then a very tight-lipped M. He \n senses he's about to enter a minefield: \n \n BOND"," (pausing, wistfully) \n It was a city of unlimited possibility. \n \n BOND \n So why did you leave? \n \n HARMSWAY \n Because it's a dying city. Since the \n Chinese take-over, who knows what can \n happen tomorrow? \n (moving to the last two portraits) \n In any case, this is my father, Charles: A"," INT. PENTHOUSE BOARDROOM - DUSK \n \n A CHINESE CHOP comes down firmly on a legal document. GENERAL LI (of \n the People's Revolutionary Army) is seated with a squad of lawyers: \n \n GENERAL LI \n And that is the fifth document. With \n your counter-signature, the sale will \n be complete. \n \n The document is passed across to HARMSWAY, sitting with his own legal"," I want you to find that gold, and \n secure it. \n \n They've arrived at her car. The door is already open. \n \n BOND \n ... Didn't Elliot Harmsway just move \n his headquarters to Kuala Lumpur? \n \n She turns, freezes Bond with a look: \n \n M \n Contrary to what you may believe, \n 007, the world is not filled with"," CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \n \n On the wall behind M's DESK. It's night. Moneypenny sits across \n from M, with a steno pad. \n \n M \n Moneypenny, take the following release: \n (beat) \n The body of Sir Elliot Harmsway was \n found floating in the South China Sea"," How will I meet the informant? \n \n She hands Bond a CARNIVAL MASK: \n \n M \n You're to wear this mask at the Venice \n Carnival, and wait to be contacted. \n \n BOND \n I understand. \n \n MINISTER JOHNSTONE \n (standing, to leave) \n There is one last thing, 007: Elliot"," Comment.' So if someone asked where \n I was, I could truthfully respond 'No \n Comment.' \n (laughter; he points) \n Over there. \n \n REPORTER #2 \n Sir Elliot: Is it true you're in \n negotiations to move your offices \n from Hong Kong to Kuala Lumpur? \n \n HARMSWAY \n (impishly) \n No comment. \n"," Yes. Shall we kill them? \n \n HARMSWAY \n No. I have a better idea. In fact, \n Mr. Bond may have actually improved \n my original plan. \n (beat) \n Bring them both to Hong Kong. And \n Make sure he has nothing else up his \n sleeve. \n \n DISSOLVE TO: \n \n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -"," Bond reads THE HEADLINES, sourly: \n \n BOND \n ... Hong Kong destroyed by nuclear \n meltdown... British agent found in \n reactor suspected of sabotage; Harmsway \n calls for British government to resign. \n \n Harmsway smiles at Bond: \n \n HARMSWAY \n ...As the advertising says: Tomorrow \n never lies. \n \n BOND \n What about the gold?"," What did you do, Harmsway? Make some \n deal with the Chinese government for \n the gold?.. Was the radioactive \n uranium I found in Venice part of it? \n \n He finally has the remote control in the right position. \n \n HARMSWAY \n Questions, questions, Mr. Bond... \n Which I'm afraid I've neither the \n time, nor the inclination to answer. \n (to the guards)"," it back, I intend to return it in \n exactly the same condition: A \n barren, lifeless rock. \n (beat) \n The gold is merely reparations - \n payment from the spineless British \n government who wouldn't listen. \n \n BOND \n (to Sidney, glancing at the gun) \n ... I think Uncle Elliot is having \n his own melt-down. \n \n YUNG"],[" Paris' eyes flicker at something over Bond's shoulder. She swoons: \n \n PARIS \n Kiss me. \n \n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \n across the mouth. \n \n PARIS \n Bastard! Leave me alone! \n \n She shoves him off, darts away. Bond is bleeding from his mouth - \n and not altogether surprised at her behavior. He turns to see - \n"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," I'm so sorry, James. I promise, I'll \n never leave you again. \n \n BOND \n (patting her head) \n Shhhhh... \n \n PARIS \n Just hold me. \n \n Bond thinks for a moment, then gently pushes her away, a foot \n backwards, to look in her eyes: \n \n BOND \n How do you know Harmsway? \n"," Looking for someone? \n \n Recovering her breath (it was a violent yank,) the woman - PARIS \n removes her mask. She shines a sexy, 1000-watt smile at 007: \n \n PARIS \n Hello, James. \n \n Bond reacts. He is not happy to see her. \n \n BOND \n Paris?!? What are you doing here? \n \n PARIS"," Paris looks up at him like a hurt child. She wants some contact; she \n wants to hear him say 'I love you.' \n \n PARIS \n Just - say it. Say it just once. \n \n BOND \n (pauses, discomfited) \n One thing at a time. I'll see you \n in twenty minutes. Go. \n \n She exits; he goes to the bulkhead door... And we pan up to see the"," I want you to meet my wife. \n \n A woman appears in frame, her face obscured by a large sun hat. As \n she reveals her face to the camera - and Bond - \n \n HARMSWAY \n Paris Harmsway, allow me to introduce \n you to James Bond. \n \n There is a terrified look on her face. Harmsway continues, beaming \n his most insinuating smile: \n \n HARMSWAY"," Is that any way to say hello? \n \n BOND \n I thought your specialty was good-bye. \n \n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \n \n PARIS \n Oh, James. I've missed you - \n \n BOND \n (grabbing her by the wrist) \n Is this another one of your games? \n \n PARIS"," Stop it! You're hurting me! Can't \n you just be nice? \n \n BOND \n I've got half the British government \n breathing down my neck. I don't have \n time for your nonsense. \n \n She's surprised - and hurt - by his coldness. \n \n PARIS \n Don't you even miss me? Didn't I \n mean anything to you? \n \n BOND"," BOND \n Paris? Paris? \n \n He sees the French doors open onto the canal. The curtains billowing \n outward. Bond rushes to the window and looks down: \n \n EXT. GRAND CANAL - BOND'S POV \n \n Paris Harmsway is dead, floating in the water. \n \n RETURN ON BOND - \n \n Crushed. Devastated. And to make matters worse: \n"," How will I meet the informant? \n \n She hands Bond a CARNIVAL MASK: \n \n M \n You're to wear this mask at the Venice \n Carnival, and wait to be contacted. \n \n BOND \n I understand. \n \n MINISTER JOHNSTONE \n (standing, to leave) \n There is one last thing, 007: Elliot"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \n \n SIDNEY \n What is HE doing here? \n \n HARMSWAY \n I see you two have met. \n \n BOND \n Briefly. \n \n HARMSWAY \n (crossing to his desk) \n Don't pout, Sidney. I invited him \n here hoping he might shed some light"," Come. Let me show you. \n \n And he leads the procession off, through the bulkhead door. Bond is \n left with Paris. She is white with fear. Bond moves to console her: \n \n BOND \n Paris - \n \n PARIS \n Leave me alone! He's going to kill me!! \n \n BOND \n Why didn't you tell me? Why wasn't \n it in our files? \n"," She gives him a wry look; starts to write. He notes her WEDDING BAND. \n \n BOND \n Married? \n \n DOMINIQUE \n Happily. \n \n BOND \n ... Kids? \n \n DOMINIQUE \n Three. You? Married? \n \n BOND \n No. \n \n DOMINIQUE \n (smiles)"," You've got to help me, James. I'm \n sorry. I'm sorry for everything. I \n know I was wrong - but you've got to \n protect me. I know you still love - \n \n BOND SLAPS HER. She's stunned. He waits. She's angered: \n \n PARIS \n Do you feel better now? \n \n BOND \n (not giving an inch)"," Do you? \n \n She turns away. Bond feels remorse for hitting her. Softens: \n \n BOND \n What about the uranium? \n \n PARIS \n It's on the boat. He's holding a \n press conference tomorrow. \n \n Bond reaches out to touch her. She falls into his arms, burying her \n face in his shoulder. \n \n PARIS"," I think you should go - \n \n BOND \n Not quite yet, Taro - \n \n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \n \n SIDNEY \n Uncle Elliot!! \n \n Watching this, Bond seethes with memory of Paris and his hatred of \n Harmsway. Taro tightens his grip - \n \n TARO \n I said you should -"," PARIS \n (anguished) \n He didn't want anyone to know. He \n kept it out of the papers. He said a \n third wife was bad for his image. \n (beat) \n You've got to protect me! \n \n Bond wants to help her - and follow Harmsway. He pulls out a key: \n \n BOND \n Go to my hotel room. I'll be there \n in twenty minutes. \n"," BOTH BOND and WADE clock the woman - who we will later learn is \n SIDNEY WINCH. Wade stares after her: \n \n WADE \n I think I've just seen my next future \n ex-wife. \n \n BOND \n (seeing they're about to crash) \n Not if you kill us first - unless \n that's how you plan to leave Muffy. \n"," He laughs. Bond decides to pull Harmsway's chain. \n \n BOND \n It's a beautiful boat, Sir Elliot. \n Practically glows in the dark. \n \n HARMSWAY \n (smiles) \n I can tell you're a man with an eye \n for exquisite possessions, Mr. Bond. \n (signaling off camera) \n Darling! Come here. \n (beat)"],[" up with the British Navy in the \n Strait. Rescue planes, helicopters; \n two ships supposedly sailing from the \n Persian gulf. They just chased away \n one of our news boats. \n \n HARMSWAY \n (feigning complete innocence) \n Is that so? \n \n NEWS EDITOR 4 \n Yeah. Sounds like a plane went down \n or something... Either way, they're"," MINISTER JOHNSTONE \n As I was saying: Approximately forty- \n five minutes ago, we received an abandon \n ship signal from the H.M.S. Indomitable. \n (flicks on a map display) \n Looking at these infrared satellite \n images - provided by Mr. Tanner of \n MI-6 -the ship is presumed lost here, \n just south of Kuala Lumpur, where she"," It seems - Mr. Bond - that Miss Winch \n has told me the most incredible story: A \n sunken British warship filled with gold; \n a British cutter firing on her; billions \n of dollars in bullion lying on the \n bottom of the Strait. \n \n Bond isn't enjoying this charade. \n \n HARMSWAY \n Obviously, the British government \n denies all of this - \n"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," DiGIACOMO'S VOICE \n Signore Bond? \n \n Bond turns. A flashbulb goes off, capturing Bond and DiGiacomo. \n \n DiGIACOMO \n You're under arrest. \n \n CUT TO: \n \n THE SOUTH CHINA SEA - DUSK \n \n The HMS INDOMITABLE - a 3,300 ton British frigate, surges through the"," We have traffic on the deck - \n \n They look down and see an HNN (Harmsway News Network) boat. \n \n BOND \n Get rid of them. \n \n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \n \n The chopper hovers above the HNN boat - \n \n PILOT (on pa speaker) \n Please leave the area. please leave \n the area. \n"," THE CRUISE MISSILE - \n \n Hugging the surface, crossing from water to land. \n \n MI-6 SITUATION ROOM - \n \n VOICE FROM WARSHIP \n Time to target: Three minutes. \n (sfx: Beep!) \n Target acquired. Weapon armed. \n \n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has"," Bond glances at the REARVIEW MIRROR. Sees the HUM-VEES. Presses \n another switch - \n \n CLOSE ON BOND'S EXHAUST PIPE - \n \n Whoosh! A MISSILE blasts out, trailing smoke as it hones in on - \n \n THE FIRST HUM-VEE. \n \n BOOM! It's decimated. \n \n ANGLE ON HARMSWAY - ON HIS RADIO - \n"," A three-thousand ton frigate doesn't \n just vanish into thin air. \n \n She nods and pushes through the door. He follows. \n \n EXT. BANK OF LONDON - NIGHT - CONTINUOUS - \n \n M \n I've already contacted our station in \n Kuala Lumpur. They're lining up a \n local contact. \n (beat)"," newspapers. \n \n Harmsway slowly brings up the gun. \n \n HARMSWAY \n Pity you'll miss your obituary. \n \n Bond smacks the gun out of his hand with contempt. Moves closer. \n \n BOND \n Where is she, Harmsway? \n \n BOOM! The fuel tanks explode in the distance. The bridge rocks \n violently; the room tilts to a greater angle. \n"," He laughs. Bond decides to pull Harmsway's chain. \n \n BOND \n It's a beautiful boat, Sir Elliot. \n Practically glows in the dark. \n \n HARMSWAY \n (smiles) \n I can tell you're a man with an eye \n for exquisite possessions, Mr. Bond. \n (signaling off camera) \n Darling! Come here. \n (beat)"," A launcher rotates, and - BOOM - a Cruise missile blasts off. \n \n INT. WARSHIP WEAPONS CONTROL ROOM - \n \n FIRING OFFICER \n Cruise missile away - \n \n MI-6 SITUATION ROOM - \n \n FIRING OFFICER'S VOICE (Cont'd) \n Time to target: Four minutes. \n \n ADMIRAL ROEBUCK"," Taro motions with his Uzi for Bond and Wade to follow... \n \n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \n 007 wants to get it, but Taro nudges him out with the gun muzzle. \n \n EXT. MALACCA STRAIT - DAY \n \n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \n \n On the wall behind M's DESK. It's night. Moneypenny sits across \n from M, with a steno pad. \n \n M \n Moneypenny, take the following release: \n (beat) \n The body of Sir Elliot Harmsway was \n found floating in the South China Sea"," water, heading toward the setting sun. \n \n CLOSER - \n \n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \n weapons. Whatever is going on here, it's not business as usual.' \n \n INT. BRIDGE - DUSK \n \n Close on A VERTICAL GLASS MAP. An electronic panel display with a \n BLINKING YELLOW DOT indicates - \n \n NAVIGATOR"," The windows rattle as Bond's chopper thunders by. Perplexed, \n Harmsway stands, opens the porthole curtains. He cranes his neck, \n but sees nothing. He presses an intercom button: \n \n HARMSWAY \n What the hell is going on? \n \n INT. BRIDGE - \n \n THE CAPTAIN \n (on a phone) \n I don't know sir - \n"," The helicopter suddenly appears in front of him. Shooting from the \n pilot's window, Bond shatters the glass windows - \n \n And the Captain slumps forward on the wheel, spinning it as he slides \n to the deck. \n \n INT. HARMSWAY'S CABIN - \n \n The boat pitches wildly; Harmsway looses his balance, crashing into a \n wall. \n \n INT. STORAGE CABIN - \n"," passenger door. Climbing in. The SHORT ROUND MAN floors the \n accelerator, driving them away. \n \n THE CRUISE MISSILE - STARTING ITS DESCENT DOWN A MOUNTAIN \n \n MI-6 SITUATION ROOM - M, WATCHING HELPLESSLY - \n \n VOICE FROM WARSHIP \n Time to target: Thirty seconds. \n \n WIDE ON MiG-1 - \n"," HARMSWAY \n The maiden voyage begins tonight. I \n have some business in London - but \n the ship will sail down the Nile, \n across the South China Sea, stopping \n in Australia, winding up in San \n Francisco. \n \n Bond stands at the rail, AIMS HIS WATCH at the cafe - \n \n HARMSWAY (cont'd) \n But having said that - let's get to"],[" As the passageway shifts, tilting to the stern, the Captain screams \n and WHOOSH! - is sucked down into the water - the worm's vortex - \n like meat being fed into a Cuisinart: A churning, spinning death. \n \n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \n \n Bow rises completely out of the water as the stern goes under. \n \n EXT. DECK - \n"," water, heading toward the setting sun. \n \n CLOSER - \n \n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \n weapons. Whatever is going on here, it's not business as usual.' \n \n INT. BRIDGE - DUSK \n \n Close on A VERTICAL GLASS MAP. An electronic panel display with a \n BLINKING YELLOW DOT indicates - \n \n NAVIGATOR"," BOND \n We should be right over it. \n \n They hear a SHARP DINGING SOUND - \n \n OPERATOR 2 \n Wait - I'm getting something. \n \n BOND \n Where? What is it? \n \n The man points at one of the screens, where Bond sees a COMPUTER \n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \n"," TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \n \n CUT TO: \n \n THE H.M.S. INDOMITABLE - \n \n Moving through FOG in the STRAIT OF MALACCA, night. \n \n INT. BRIDGE - NIGHT \n"," They'd never sail this close to the shore. \n \n BOND \n Wait a minute - \n (beat, pointing to the \n screen) \n I've got it. There! Off the port bow! \n \n INSERT SONAR SCREEN - \n \n The murky electronic outline of a ship. \n \n BACK TO SCENE - \n \n Bond watches the sonar screen. Wade slows engines, consults charts. \n"," sir! Extremely close. Bearing 240 - \n \n The First Officer is surprised. All hell is about to break loose: - \n \n FIRST OFFICER \n Punch up the radar - \n \n RADAR OPERATOR \n I've got it, sir. A large craft - \n XX,OOO tons. Range - \n (disbelief) \n 200 yards? It's anchored in a cove! \n"," First Officer has no choice: \n \n FIRST OFFICER \n Abandon ship! Break radio silence! \n Send our position! \n \n INSERT - COMPUTER SCREEN - \n \n The Communications Officer types: \"Top Secret. Indian Ocean Naval \n Command. H.M.S. Indomitable Sinking.\" \n \n COMMUNICATIONS OFFICER \n (calling out) \n What's our position? \n"," Command to Nelson: Authorization to \n fire. \n \n EXT. A BRITISH WARSHIP - STEAMING IN THE GULF OF OMAN - \n \n INT. WEAPONS CONTROL ROOM - BRITISH WARSHIP - \n \n CAPTAIN \n Weapons authorized. Prepare to fire. \n On my count: Five. Four. Three. Two - \n \n EXT. DECK OF THE WARSHIP - \n"," Electronic silence was the safest way \n to move that gold. Otherwise, any \n country - or individual - with the \n crudest missile could just lock onto \n our signals, and take out the boat. \n (beat) \n That's what happened to the Sheffield \n in the Falklands. \n (beat) \n Since then, it's standard operating \n procedure for any sensitive shipment. \n"," SEA KING command and control helicopter, hovering above. \n \n INT. SEA KING HELICOPTER - AIRBORNE - DAY \n \n Bond holds a map of the channel. He's standing over several CREWMAN \n seated at radar, sonar, and navigation consoles. \n \n CREWMAN 1 \n Sounding: Bottom is thirty fathoms. \n \n CREWMAN 2 \n Nothing. Negative bounce."," MINISTER JOHNSTONE \n As I was saying: Approximately forty- \n five minutes ago, we received an abandon \n ship signal from the H.M.S. Indomitable. \n (flicks on a map display) \n Looking at these infrared satellite \n images - provided by Mr. Tanner of \n MI-6 -the ship is presumed lost here, \n just south of Kuala Lumpur, where she"," FIRST OFFICER, hands him a SLIP OF PAPER: \n \n CAPTAIN \n Orders from London: For the next \n ninety-six hours, we're to run on \n full radio silence. Double watches, \n full alert. \n (beat) \n We're to send one encrypted positioning \n burst to London every six hours - \n otherwise, zero electronic emissions. \n \n The first officer nods."," We have traffic on the deck - \n \n They look down and see an HNN (Harmsway News Network) boat. \n \n BOND \n Get rid of them. \n \n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \n \n The chopper hovers above the HNN boat - \n \n PILOT (on pa speaker) \n Please leave the area. please leave \n the area. \n"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \n to speed. The drill's BLACK TEETH glisten in the water. \n \n THE WORM'S POV - (UNDERWATER, NIGHT) \n \n Closing in on the hull like a torpedo. It gets closer, picking up \n speed, until - on IMPACT - \n \n INT. ENGINE ROOM - \n"," The room is bathed in blue light as the crew monitors the Indomita- \n ble's command and control systems. \n \n At the VERTICAL GLASS MAP, the ship's course has been charted from \n Hong Kong, south, down around Singapore, then north, where the YELLOW \n BLINKING dot indicates it's currently in the Strait of Malacca. \n \n Standing in front of the map, however, THE NAVIGATION OFFICER seems"," Harmsway lowers the binoculars' smiling. Stamper appears, hands \n Harmsway a piece of paper. \n \n STAMPER \n We've decoded their last transmission. \n \n Harmsway studies it for a moment - smiles. \n \n HARMSWAY \n Perfect. They'll be searching miles from here. \n (then) \n Time for phase two. You can get the \n men in the water. \n"," THE CRUISE MISSILE - \n \n Hugging the surface, crossing from water to land. \n \n MI-6 SITUATION ROOM - \n \n VOICE FROM WARSHIP \n Time to target: Three minutes. \n (sfx: Beep!) \n Target acquired. Weapon armed. \n \n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has"," (to one of the cameramen) \n Put her in the storage room. \n \n The cameraman takes her away. Harmsway turns to the captain: \n \n HARMSWAY (CONT'D) \n We'll get rid of her when we're in \n International waters. \n (then) \n Set sail, full speed, due south. \n I'll be in my cabin. Let me know"," The helicopter suddenly appears in front of him. Shooting from the \n pilot's window, Bond shatters the glass windows - \n \n And the Captain slumps forward on the wheel, spinning it as he slides \n to the deck. \n \n INT. HARMSWAY'S CABIN - \n \n The boat pitches wildly; Harmsway looses his balance, crashing into a \n wall. \n \n INT. STORAGE CABIN - \n"],[" How will I meet the informant? \n \n She hands Bond a CARNIVAL MASK: \n \n M \n You're to wear this mask at the Venice \n Carnival, and wait to be contacted. \n \n BOND \n I understand. \n \n MINISTER JOHNSTONE \n (standing, to leave) \n There is one last thing, 007: Elliot"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," Stamper's limousine parks near a Gulfstream jet. He opens the back \n door for Number Three. At last, the man believes he is safe. \n \n NUMBER THREE \n Thank you! Thank you so much. You \n must thank Sir Elliot for me. \n \n STAMPER \n (producing a NEWSPAPER) \n Here. Something to read on the plane. \n"," ELIOT HARMSWAY appears on the wall behind her. Mid-50's, regal. \n \n M \n Tell me, 007, what do you know about \n Elliot Harmsway? \n \n BOND \n (quipping) \n Only what I read in the newspapers. \n \n MINISTER JOHNSTONE \n (disdainfully) \n His newspapers? \n \n BOND"," Oh, please, Sidney. There's a \n hundred billion dollars at stake. \n (beat) \n Besides, I never really liked your \n father that much. He cheated at cards. \n \n Bond has removed the CAR REMOTE CONTROL. He palms it. \n \n BOND \n Are your guards really going to kill \n a helpless girl? \n \n HARMSWAY"," CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \n \n On the wall behind M's DESK. It's night. Moneypenny sits across \n from M, with a steno pad. \n \n M \n Moneypenny, take the following release: \n (beat) \n The body of Sir Elliot Harmsway was \n found floating in the South China Sea"," the gun out, Mr. Bond. \n \n Bond SLIDES THE GUN several feet in front of him... And THROWS A LOOK \n TO HIS CAR, noting THE GUARDS ARE LINED UP DIRECTLY IN ITS PATH. \n Bond begins to scheme. \n \n SIDNEY \n Uncle Elliot: How could you do this \n to me? \n \n Bond sneaks his hand in his pocket. \n \n HARMSWAY"," I want you to find that gold, and \n secure it. \n \n They've arrived at her car. The door is already open. \n \n BOND \n ... Didn't Elliot Harmsway just move \n his headquarters to Kuala Lumpur? \n \n She turns, freezes Bond with a look: \n \n M \n Contrary to what you may believe, \n 007, the world is not filled with"," I appreciate your assistance, M. But \n this is now a military operation. \n \n M \n (urgently, to Tanner) \n Bring up the tracking satellite. And \n get 007 out of there. \n \n Tanner hits a button - and a third video screen appears, displaying a \n satellite view of the area, detailing the Cruise's path and progress. \n \n TANNER \n One to seven: Exit target area."," He laughs. Bond decides to pull Harmsway's chain. \n \n BOND \n It's a beautiful boat, Sir Elliot. \n Practically glows in the dark. \n \n HARMSWAY \n (smiles) \n I can tell you're a man with an eye \n for exquisite possessions, Mr. Bond. \n (signaling off camera) \n Darling! Come here. \n (beat)"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," I used to sell weapons; now I buy votes. \n (then) \n Off the record. \n \n BOND \n Of course. If you can't beat the \n government, you might as well own it. \n \n Valentin spots someone off-camera. \n \n VALENTIN \n Wait - I want you to meet a friend of \n mine. \n (calling out) \n Elliot! Elliot! Come here."," James Bond... I believe he's a field \n adjuster for Lloyd's of London... \n \n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \n \n HARMSWAY \n Then we have this James Bond. \n \n INSERT VIDEO SCREEN - BOND'S KGB FILE - \n \n HARMSWAY \n (reading from the screen) \n ... Licensed to Kill..."," He pulls on his £2000 Saville Row suit-jacket. \n \n BOND \n ... And how many of those newspapers \n carried Paris Harmsway's obituary? \n \n Harmsway turns, and presses the ELEVATOR BUTTON. The doors open, \n instantly. HE SMILES: \n \n HARMSWAY \n All of them, Mister Bond... \n (motioning inside) \n After you?"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," with SEVERAL PRESSMEN - a fresh issue of \"Tomorrow\" outstretched in \n his hands. \n \n HARMSWAY \n (spotting Bond, yelling:) \n Mr. Bond! Nice to see you. \n \n BOND \n Sir Elliot. \n \n HARMSWAY \n Come. Let's get out of the noise. \n (escorting Bond off)"," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," HARMSWAY \n What the hell is going on? \n \n STAMPER (O. S. ) \n It's Bond! \n \n HARMSWAY \n Kill him! Finish it! \n \n ANGLE ON STAMPER (EXT. MID-SHIP) - \n \n With the worm dangling from a boom in the background, he watches: \n \n EXT. HELICOPTER/SHIP \n"," BOND \n I forgot to mention: The job comes \n with a car. \n \n 007 begins shooting, as - \n \n HARMSWAY \n Kill it! Shoot the damn thing - \n \n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \n out the headlights, while - \n \n BOND is having trouble coordinating driving and shooting at the same"," another face, and the man's stats appear in London. \n \n TANNER \n Vilko Barkoviac. Bosnian war \n criminal; thought to be operating \n freelance out of Teheran. \n (pressing a button) \n Full house, seven. Bid to the North. \n \n Bond complies. Another face, another set of stats: \n \n TANNER \n Sitoshi Isagura. Japanese religious"],[" I want you to find that gold, and \n secure it. \n \n They've arrived at her car. The door is already open. \n \n BOND \n ... Didn't Elliot Harmsway just move \n his headquarters to Kuala Lumpur? \n \n She turns, freezes Bond with a look: \n \n M \n Contrary to what you may believe, \n 007, the world is not filled with"," Yes. Shall we kill them? \n \n HARMSWAY \n No. I have a better idea. In fact, \n Mr. Bond may have actually improved \n my original plan. \n (beat) \n Bring them both to Hong Kong. And \n Make sure he has nothing else up his \n sleeve. \n \n DISSOLVE TO: \n \n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -"," Oh, please, Sidney. There's a \n hundred billion dollars at stake. \n (beat) \n Besides, I never really liked your \n father that much. He cheated at cards. \n \n Bond has removed the CAR REMOTE CONTROL. He palms it. \n \n BOND \n Are your guards really going to kill \n a helpless girl? \n \n HARMSWAY"," How will I meet the informant? \n \n She hands Bond a CARNIVAL MASK: \n \n M \n You're to wear this mask at the Venice \n Carnival, and wait to be contacted. \n \n BOND \n I understand. \n \n MINISTER JOHNSTONE \n (standing, to leave) \n There is one last thing, 007: Elliot"," concerned glance at his office, then turns to Stamper: \n \n HARMSWAY \n Let's find out exactly what he knows. \n \n EXT. KUALA LUMPUR - ROADWAY -(BOND CAR) - LATE AFTERNOON - \n \n Bond's car approaches the camera, passes it, and heads for HARMSWAY \n TOWERS, looming over Kuala Lumpur in the distance. \n"," OFFICE DOOR, we can see Harmsway's EXECUTIVE SECRETARY serving \n someone coffee from a SILVER TRAY - but we can't see who it is. \n \n HARMSWAY \n Elliot Harmsway! I heard you were in \n K.L. and thought we might get \n together for a chat... \n \n RETURN ON BOND - (INT. BOND'S CAR - MOVING) - \n"," Nothing. \n \n She turns away from him, fighting back tears. Bond doesn't care: \n \n BOND \n What about Elliot Harmsway? Or is \n this just another one of your stunts? \n \n PARIS \n (anguished) \n No! He's crazy - he's insane. He \n hates everybody. He's got these \n plans - \n (facing Bond, becoming hysterical:)"," (glancing at his watch) \n Look at the time! Come. There's \n someone I want you meet - about a \n story I'm thinking of publishing. \n \n As they leave, Bond is frustrated by Harmsway's \"I don't care what \n you think you know - I can crush you\" attitude... And now, Harmsway \n plans (and the operative word here is plans,) to use Bond, to tie off \n the one other loose thread in his perfect crime:"," people, 007. No matter who we may be \n foolish enough to elect. \n \n Bond is silent, chastised. M looks away, then looks back: \n \n M \n But if Elliot Harmsway is involved \n with that uranium, I want him \n prosecuted to the ends of the earth. \n \n BOND \n Hopefully, it won't get that far. \n"," Stamper moves towards Bond and Sidney. Bond edges closer to the gun. \n \n BOND \n You'll never get away with it, \n Harmsway. Too many people know. \n \n Bond tenses, ready to spring - \n \n HARMSWAY \n Who, Mr. Bond? The kooks - the \n crazies - the conspiracy theorists? \n The Oliver Stones of the world?"," BOND \n Listen to me! I'm a British secret \n service agent. And we have about two \n minutes before Harmsway kills both of us. \n \n He glances up at the escape panel at the rear of the car. \n \n SIDNEY \n Has anyone ever suggested that you're \n a paranoid psychotic? \n \n Bond ignores the insult, explaining as he moves under the panel: \n \n BOND"," CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \n \n On the wall behind M's DESK. It's night. Moneypenny sits across \n from M, with a steno pad. \n \n M \n Moneypenny, take the following release: \n (beat) \n The body of Sir Elliot Harmsway was \n found floating in the South China Sea"," No matter what the British government \n says, I won't kill this story. \n (his secretary appears in the doorway) \n Miss Oxford will show both of you to \n the elevator... And one of my people \n will definitely be in touch sooner \n than later. \n \n BOND \n I'm sure they will. \n \n HARMSWAY \n Good-bye, Mister Bond. \n"," I think you should go - \n \n BOND \n Not quite yet, Taro - \n \n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \n \n SIDNEY \n Uncle Elliot!! \n \n Watching this, Bond seethes with memory of Paris and his hatred of \n Harmsway. Taro tightens his grip - \n \n TARO \n I said you should -"," BOND \n I forgot to mention: The job comes \n with a car. \n \n 007 begins shooting, as - \n \n HARMSWAY \n Kill it! Shoot the damn thing - \n \n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \n out the headlights, while - \n \n BOND is having trouble coordinating driving and shooting at the same"," The lights come on. The car is a twisted wreck, smashed against the \n wall. Bond and Sidney are slumped forward, unconscious. \n \n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \n \n HARMSWAY \n - Built to withstand a nuclear blast. \n (to Stamper, checking \n Bond's pulse) \n Are they alive? \n \n STAMPER"," I appreciate your assistance, M. But \n this is now a military operation. \n \n M \n (urgently, to Tanner) \n Bring up the tracking satellite. And \n get 007 out of there. \n \n Tanner hits a button - and a third video screen appears, displaying a \n satellite view of the area, detailing the Cruise's path and progress. \n \n TANNER \n One to seven: Exit target area."," the gun out, Mr. Bond. \n \n Bond SLIDES THE GUN several feet in front of him... And THROWS A LOOK \n TO HIS CAR, noting THE GUARDS ARE LINED UP DIRECTLY IN ITS PATH. \n Bond begins to scheme. \n \n SIDNEY \n Uncle Elliot: How could you do this \n to me? \n \n Bond sneaks his hand in his pocket. \n \n HARMSWAY"," man's bio and vitals appear on another video screen. \n \n TANNER \n Gustav Meinholtz. Neo-Nazi, former \n East German STASI agent. Ties to the \n Beider-Meinhoff gang. \n (pressing a button) \n Aces high, seven. Bid to the east. \n \n Bond shifts his aim, east. (Intercut as necessary) He zeroes in on"," with SEVERAL PRESSMEN - a fresh issue of \"Tomorrow\" outstretched in \n his hands. \n \n HARMSWAY \n (spotting Bond, yelling:) \n Mr. Bond! Nice to see you. \n \n BOND \n Sir Elliot. \n \n HARMSWAY \n Come. Let's get out of the noise. \n (escorting Bond off)"],[" Arriving at a BULKHEAD DOOR, Bond checks both directions down the \n passageway, then pokes his head inside - \n \n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \n against a railing. \n \n Bond looks up: \n \n STAMPER stands with a smile on his face. One arm is raised above his \n head, grasping the WORM on the swinging boom. The worm is attached"," BOND'S POV - \n \n The helicopter clears the island: Bright blue sea ahead. Bond sees \n then passes over - the HNN boat, bobbing empty in the water... \n \n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \n in the instance. \n \n REAR DECK - SEA DOLPHIN II - \n \n Looking north, off the back of the boat Stamper and a crewman see the"," TARO \n Get him up. Take his belt. \n (motioning to Wade) \n Take the two of them to the Captain. \n \n The men grab Bond roughly, and shove him next to Wade. \n \n TARO \n By the way. I almost forgot. \n (smashing Bond) \n I owed you one. \n \n Bond and Wade are frog-marched to the bridge, passing under the gaze"," to the boom by a thin metal cable. \n \n STAMPER \n You're mine now. \n \n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \n With his free hand, he grabs Bond by his shirt, and throws him \n against a steel wall. Bond crashes to the deck. \n \n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a"," top. Stamper is behind him, holding a gun on Sidney. \n \n STAMPER \n Put on your clothes. \n (to the guard) \n Cuff him. \n \n The guard cuffs Bond's hands (in the front,) and we cut back to: \n \n INT. POWER PLANT CONTROL ROOM - \n \n Yung and the Cameramen sweep into the control room: Lots of con-"," HARMSWAY \n What the hell is going on? \n \n STAMPER (O. S. ) \n It's Bond! \n \n HARMSWAY \n Kill him! Finish it! \n \n ANGLE ON STAMPER (EXT. MID-SHIP) - \n \n With the worm dangling from a boom in the background, he watches: \n \n EXT. HELICOPTER/SHIP \n"," The lights come on. The car is a twisted wreck, smashed against the \n wall. Bond and Sidney are slumped forward, unconscious. \n \n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \n \n HARMSWAY \n - Built to withstand a nuclear blast. \n (to Stamper, checking \n Bond's pulse) \n Are they alive? \n \n STAMPER"," Fortunately, Bond has a back-up plan. As Stamper hustles them off - \n \n BOND \n One problem, Harmsway: The girl. And \n the handcuffs. They'll give it away. \n \n Harmsway considers this for a second. Sidney takes Bond's arm. \n \n SIDNEY \n No. I want to stay with him. \n"," The boat shudders violently, sending Harmsway crashing against a \n wall, cutting his head. \n \n EXT. THE DECK - \n \n As the boat rocks, Bond steadies himself, then starts for the bridge, \n using the same route as the cameramen lifted by the chopper: \n \n First climbing up on some machinery, then up onto the bridge roof. \n \n INT. STORAGE ROOM - \n"," (to the cameramen) \n Up the stairs! \n \n They follow Yung up a set of stairs leading to the reactor control \n room. Meanwhile, back at the HNN boat: \n \n INT. CABIN - HNN BOAT \n \n Bond is at the porthole, wearing only shorts, trying to figure a way \n out. He hears the door click open, and - \n \n A Guard enters carrying a pile of Bond's clothing with his shoes on"," Harmsway looks up, hearing: \n \n BOND \n I see you're in your natural element, \n Harmsway: A room filled with lethal \n power... \n (beat) \n ...With a toxic core at its center. \n \n Harmsway smiles at Bond and Sidney, who have entered (handcuffed, at \n gun point,) with Stamper and a guard. Harmsway is charming as ever: \n"," ...Somehow, that's not reassuring. \n \n INT. BRIDGE - SALVAGE BARGE - DAY \n \n We're back in Bond-land: A high-tech control room, with lots of \n monitors and white-suited TECHNICIANS. Bond and Wade are pushed \n through the-door, followed by Taro and the two goons. \n \n TARO \n Here they are, Captain. \n"," BOND \n (shoots, then) \n Up. \n \n Bond and Sidney bound up the stairs through a METAL DOOR, just as - \n \n INT. HALLWAY - \n \n Stamper and the Guard bound down the hallway, heading for the door. \n \n INT. SECURITY CENTER - \n \n Harmsway smiles, watching Bond on a monitor: \n \n HARMSWAY \n ... And so much for that."," The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \n #1 is built like a bank vault.) Stamper looks steadily at Bond \n \n STAMPER \n Who is he? \n \n PARIS \n Nobody. Just some drunk. Leave him \n alone - \n \n STAMPER \n (to Thug #3) \n Take her to the boat. \n"," CAPTAIN MORTON \n Guard! Arrest these men! Escort \n them to the cutter! \n \n Bond and Wade are stunned. The Marines move in. Bond struggles - \n \n BOND \n Wait a minute - \n \n CAPTAIN MORTON \n Get them out of here. If he says one \n word, shoot him. \n"," escape panel. Peers up. Sees nothing. Turns to the Guard: \n \n STAMPER \n Help me up. \n \n ELEVATOR SHAFT - \n \n Stamper's head pokes up through the hole just as Bond and Sidney have \n disappeared into - \n \n INT. HALLWAY - (ELEVATOR BANK) - 71ST FLOOR. \n \n Squeezing out from between the elevator doors, (which immediately"," Amidst more laughter, Bond disappears into the bulkhead door. \n \n INT. SEA DOLPHIN II - BELOW DECKS - \n \n Bond moves cautiously down a STAIRCASE... \n \n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \n sure they're locked. Bond withdraws for a moment, looks back: The \n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \n"," WADE \n Yeah. Russian Minister of Transportation. \n \n BOND \n She married a hockey player. \n \n WADE \n I envy your 'undercover' assignments. \n \n BOND \n (a look, then) \n We work in the dark. We do what we can. \n \n INT. HARBOR MASTER OFFICE - PORT KLANG - DAY \n"," Pulling the device back, Stamper thrusts a second time - (same \n action,) then a third (same action) - still missing Bond. \n \n INSERT - CLOSE ON THE CABLE SPOOL/CABLE - \n \n With all the yanking and pulling, a loop of slack has developed in \n the cable, on the ground. \n \n RETURN TO SCENE - \n \n Stamper is about to attack Bond a fourth time when Bond kicks him in"," Stamper, running up steps with the guard. They exit into: \n \n A SHORT SERVICE HALLWAY - 71ST. FLOOR - \n \n They rush though it, bursting through a door into: \n \n THE ELEVATOR BANK HALLWAY - \n \n Stamper and the Guard start hunting Bond. \n \n RETURN ON SIDNEY (HALLWAY/KITCHEN) - \n \n As she continues to exchange fire with the guards... \n"],[" TARO \n Get him up. Take his belt. \n (motioning to Wade) \n Take the two of them to the Captain. \n \n The men grab Bond roughly, and shove him next to Wade. \n \n TARO \n By the way. I almost forgot. \n (smashing Bond) \n I owed you one. \n \n Bond and Wade are frog-marched to the bridge, passing under the gaze"," Harmsway regains control of the boat; he TAKES A GUN from the dead \n captain, and pushes the body out. \n \n EXT. PASSAGEWAY - \n \n With FLAMING DEBRIS still falling around him, Bond is stealthily \n moving down a passageway toward the front of the ship. \n \n (Bond has two goals in mind at this point: First, to neutralize any \n threats, and second, to save Sidney if she's still alive.) \n"," One of the goons reaches forward, ripping off Bond's mask. 007 sees: \n \n TARO - (EXT. SALVAGE BARGE, DECK) - \n \n Brandishing an UZI at Bond, with a malevolent smile: \n \n TARO \n Uzi beats knife. \n \n BOND \n ...Interesting point. \n \n Bond sticks the knife into the deck, and releases the hostage. \n"," The helicopter suddenly appears in front of him. Shooting from the \n pilot's window, Bond shatters the glass windows - \n \n And the Captain slumps forward on the wheel, spinning it as he slides \n to the deck. \n \n INT. HARMSWAY'S CABIN - \n \n The boat pitches wildly; Harmsway looses his balance, crashing into a \n wall. \n \n INT. STORAGE CABIN - \n"," The boat shudders violently, sending Harmsway crashing against a \n wall, cutting his head. \n \n EXT. THE DECK - \n \n As the boat rocks, Bond steadies himself, then starts for the bridge, \n using the same route as the cameramen lifted by the chopper: \n \n First climbing up on some machinery, then up onto the bridge roof. \n \n INT. STORAGE ROOM - \n"," Taro motions with his Uzi for Bond and Wade to follow... \n \n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \n 007 wants to get it, but Taro nudges him out with the gun muzzle. \n \n EXT. MALACCA STRAIT - DAY \n \n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN"," CAPTAIN MORTON \n Guard! Arrest these men! Escort \n them to the cutter! \n \n Bond and Wade are stunned. The Marines move in. Bond struggles - \n \n BOND \n Wait a minute - \n \n CAPTAIN MORTON \n Get them out of here. If he says one \n word, shoot him. \n"," EVERYONE ON THE BARGE DIVES FOR THE DECK... Except for Bond and \n Wade, who might as well be having tea. Bond looks down at Taro, \n cowering on the boards. \n \n BOND \n Gatling gun beats Uzi. \n \n NEW ANGLE - (CUTTER/BARGE) - DAY \n \n An ARMED BOARDING PARTY is coming across an aluminum bridge that has"," Fortunately, Bond has a back-up plan. As Stamper hustles them off - \n \n BOND \n One problem, Harmsway: The girl. And \n the handcuffs. They'll give it away. \n \n Harmsway considers this for a second. Sidney takes Bond's arm. \n \n SIDNEY \n No. I want to stay with him. \n"," Bond SWOOPS IN LOW on the port side of the boat, FIRING HIS GUN from \n the pilot's window, and using the CHOPPER'S BLADES to threaten the \n men on deck. \n \n About half of them DIVE INTO THE WATER FOR SAFETY, only to be quickly \n left behind. \n \n Flying up the port side toward the front of the boat, Bond passes - \n \n INT. HARMSWAY'S CABIN -"," And yanks him off the instrument panel, flinging him backwards \n against the rear wall of the bridge. \n \n BOND \n Where is she, Harmsway?!? Or did you \n kill her like Paris? \n \n Suddenly, THE BOAT GROANS. The BRIDGE RISES OUT OF THE WATER! AND \n BOND loses his balance, FALLING ONTO HARMSWAY - \n \n HARMSWAY"," Amidst more laughter, Bond disappears into the bulkhead door. \n \n INT. SEA DOLPHIN II - BELOW DECKS - \n \n Bond moves cautiously down a STAIRCASE... \n \n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \n sure they're locked. Bond withdraws for a moment, looks back: The \n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \n"," Wade scowls, setting the boat back on course. \n \n DOCKSIDE - PORT KLANG - DAY - \n \n Bond hops off the boat, securing the lines. Wade joins him. \n \n WADE \n By the way, Jimbo - whatever happened \n to that girl - in Cuba - ? \n \n Finished tying the boat, they walk toward the Harbor Master's office. \n \n BOND \n Natalya? \n"," Seized it from a guy smuggling \n computer chips out of Bangkok. \n (beat) \n Should have seen his rose garden: \n Blooms the size of hand grenades. \n \n Bond looks at Wade: The man remains, forever deranged. \n \n EXT. PORT KLANG - ESTABLISHING - DAY \n \n The Harbor Master's tower overlooks a small armada of yachts, fishing"," Smashing through the water at breakneck speed. Wade and Bond yell \n over the engines. \n \n WADE \n What do you want with the Harbor Master? \n \n BOND \n Tide and current charts. Work \n backward from the body - find where \n the ship sank. \n (Wade nods appreciatively) \n Where did you get the boat? \n \n WADE"," Arriving at a BULKHEAD DOOR, Bond checks both directions down the \n passageway, then pokes his head inside - \n \n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \n against a railing. \n \n Bond looks up: \n \n STAMPER stands with a smile on his face. One arm is raised above his \n head, grasping the WORM on the swinging boom. The worm is attached"," to the boom by a thin metal cable. \n \n STAMPER \n You're mine now. \n \n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \n With his free hand, he grabs Bond by his shirt, and throws him \n against a steel wall. Bond crashes to the deck. \n \n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a"," ...Somehow, that's not reassuring. \n \n INT. BRIDGE - SALVAGE BARGE - DAY \n \n We're back in Bond-land: A high-tech control room, with lots of \n monitors and white-suited TECHNICIANS. Bond and Wade are pushed \n through the-door, followed by Taro and the two goons. \n \n TARO \n Here they are, Captain. \n"," You won't get away with this! \n \n CAPTAIN MORTON \n (stepping onto the bridge) \n Good-day, Miss Winch. I advise you \n to get some steam up - before you run \n aground. \n \n As she floats away, Sidney calls out to the Captain, Bond and Wade: \n \n SIDNEY \n You bastards! Believe me - you"," One carries a strange-looking HARPOON-TYPE GUN; another trails a \n CABLE. The divers have fanned out, looking for 007. \n \n BOND - \n \n Realizes his best chance is to take one of the men hostage. \n \n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \n"]],"string":"[\n [\n \" Tanner points to the video wall with a RED LASER PEN. \\n \\n TANNER \\n (ironically) \\n A regular terrorist swap meet. Death \\n at discount: Two Chinese Long March \\n Scuds, a pair of Soviet A-17 attack \\n helicopters - \\n \\n BUKHARIN \\n (interrupting) \\n Stolen - \\n \\n TANNER\",\n \" EVERYONE ON THE BARGE DIVES FOR THE DECK... Except for Bond and \\n Wade, who might as well be having tea. Bond looks down at Taro, \\n cowering on the boards. \\n \\n BOND \\n Gatling gun beats Uzi. \\n \\n NEW ANGLE - (CUTTER/BARGE) - DAY \\n \\n An ARMED BOARDING PARTY is coming across an aluminum bridge that has\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" Sidney is thrown from her bench, slamming against scuba tanks. \\n \\n EXT. MID-SHIP - DECK - \\n \\n Stamper bounces himself, handing out AUTOMATIC WEAPONS from an arms \\n cache hidden inside a DINGHY. \\n \\n The two cameramen take their M-16's and rush forward, jumping up on \\n some machinery to climb onto - \\n \\n THE ROOF OF THE BRIDGE - \\n\",\n \" Near a QUONSET HUT, a TRUCK-MOUNTED RADAR DISH scans the area, with \\n INFRARED GATLING GUNS mounted on either side. \\n \\n BOND - AT THE ROCK OUTCROPPING - \\n \\n Props his rife on the boulder, and peers through the GUN SIGHT. \\n \\n THROUGH THE TELESCOPIC SIGHT - \\n\",\n \" And the crates look like American M-16 \\n assault rifles, Chilean antipersonnel \\n mines, six French Exocet missiles, and \\n 75 - no maybe a hundred - kilograms of \\n Czech made C-4 Semtech explosive. \\n (beat) \\n Something for everyone. Fun for the \\n whole family. \\n \\n M \\n (freezing him with a glance) \\n What about ID's? \\n\",\n \" Bond glances at the REARVIEW MIRROR. Sees the HUM-VEES. Presses \\n another switch - \\n \\n CLOSE ON BOND'S EXHAUST PIPE - \\n \\n Whoosh! A MISSILE blasts out, trailing smoke as it hones in on - \\n \\n THE FIRST HUM-VEE. \\n \\n BOOM! It's decimated. \\n \\n ANGLE ON HARMSWAY - ON HIS RADIO - \\n\",\n \" Bond's headset lies on top of the rock, along with the telescopic \\n sight - still broadcasting. \\n \\n Find Bond, crouching BEHIND the rock. Automatic rifle in one hand, \\n GRENADE in the other. He pulls the pin, hurls it 40 feet away. \\n Pauses. Waits, counting down time. Then - \\n \\n BOND SPRINGS. SHOOTS at one of the CRATES. IT BLOWS UP, just as -\",\n \" Harmsway lowers the binoculars' smiling. Stamper appears, hands \\n Harmsway a piece of paper. \\n \\n STAMPER \\n We've decoded their last transmission. \\n \\n Harmsway studies it for a moment - smiles. \\n \\n HARMSWAY \\n Perfect. They'll be searching miles from here. \\n (then) \\n Time for phase two. You can get the \\n men in the water. \\n\",\n \" A launcher rotates, and - BOOM - a Cruise missile blasts off. \\n \\n INT. WARSHIP WEAPONS CONTROL ROOM - \\n \\n FIRING OFFICER \\n Cruise missile away - \\n \\n MI-6 SITUATION ROOM - \\n \\n FIRING OFFICER'S VOICE (Cont'd) \\n Time to target: Four minutes. \\n \\n ADMIRAL ROEBUCK\",\n \" THE CRUISE MISSILE - \\n \\n Hugging the surface, crossing from water to land. \\n \\n MI-6 SITUATION ROOM - \\n \\n VOICE FROM WARSHIP \\n Time to target: Three minutes. \\n (sfx: Beep!) \\n Target acquired. Weapon armed. \\n \\n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has\",\n \" They rush forward, and assume positions shooting at Bond. \\n \\n ANGLE ON THE HELICOPTER - \\n \\n Taking hits. Bond pivots and turns the chopper, heading straight for \\n them. \\n \\n BOND'S POV - (INT. HELICOPTER) - \\n \\n The men turn, and start to run as the chopper chases them - \\n \\n CLOSE ON THE CHOPPER'S LANDING SKIDS - \\n\",\n \" 50 feet down, 200 yards away: 50 MEN are unloading CARGO from a dozen \\n MILITARY TRANSPORT TRUCKS; there are TWO NORTH KOREAN MiG-29s on the \\n ground (one partially obscured by a truck,) plus FLATBEDS carrying \\n HELICOPTERS and SCUD MISSILES. \\n\",\n \" TANNER \\n (pushes a button on a console) \\n One to seven: Deal the face cards. \\n \\n THE ROCK OUTCROPPING - \\n \\n Bond adjusts a knob on the scope. \\n \\n MI-6 SITUATION ROOM - \\n \\n On the video-screen, the picture zooms to a CLOSE UP of one of the \\n arms traders. Tanner presses a button, and - almost instantly - the\",\n \" hanging from a steel boom.) \\n \\n THE DECK - \\n \\n Coming up the ladder first, Harmsway is greeted by the Captain. \\n \\n HARMSWAY \\n Any news? \\n \\n THE CAPTAIN \\n The call just went out on the Hong \\n Kong police radio: Fire at the power \\n plant. \\n \\n HARMSWAY \\n (ironically) \\n Alert the media! \\n\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" Take them out to the jungle and - \\n \\n Suddenly, BOND'S CAR ENGINE STARTS WITH A ROAR. The GUARDS TURN, in \\n shock TOWARDS THE CAR, as: \\n \\n BOND retrieves the gun he slid out, and pulls Sidney behind the \\n newspaper trolley, while - \\n \\n THE CAR BEGINS TO MOVE, sending the guards scrambling. \\n \\n BOND takes his position with Sidney.\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" bottom, where the snow thins, he comes to: \\n \\n A ROCK OUTCROPPING. \\n \\n Hiding behind the rock, Bond takes off his skis, knapsack. He \\n unpacks (and unfolds) a HIGH TECH AUTOMATIC RIFLE. Puts on a \\n HEADSET. He creeps up on the rock, and looks out on: \\n \\n A SECRET MILITARY BASE/AIR STRIP (BOND'S POV)\"\n ],\n [\n \" I think we've been holed, sir! \\n \\n THE CAPTAIN \\n On my way! \\n \\n He speeds along the passageway, going through a water-tight door, \\n slamming it behind him. Meanwhile, on - \\n \\n THE BRIDGE - \\n \\n HELMSMAN \\n The engines are gone! \\n \\n DAMAGE CONTROL \\n Flooding on D deck! \\n\",\n \" No. \\n \\n CAPTAIN MORTON \\n You leave me no alternative. \\n \\n CAPTAIN MORTON \\n (upholstering a walkie-talkie) \\n Cut her anchor. \\n \\n As Sidney yells \\\"NO!\\\" - THE FORWARD GATLING GUN erupts to life. One \\n short, bone rattling burst CUTS THE CHAIN. \\n \\n SIDNEY\",\n \" The helicopter suddenly appears in front of him. Shooting from the \\n pilot's window, Bond shatters the glass windows - \\n \\n And the Captain slumps forward on the wheel, spinning it as he slides \\n to the deck. \\n \\n INT. HARMSWAY'S CABIN - \\n \\n The boat pitches wildly; Harmsway looses his balance, crashing into a \\n wall. \\n \\n INT. STORAGE CABIN - \\n\",\n \" As the passageway shifts, tilting to the stern, the Captain screams \\n and WHOOSH! - is sucked down into the water - the worm's vortex - \\n like meat being fed into a Cuisinart: A churning, spinning death. \\n \\n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \\n \\n Bow rises completely out of the water as the stern goes under. \\n \\n EXT. DECK - \\n\",\n \" And with this, Harmsway turns, and walks off, jauntily whistling \\n \\\"Wouldn't It Be Loverly.\\\" \\n \\n Stamper looks at Yung, re: Harmsway's glee. \\n \\n YUNG \\n You heard him. Get the men in the water! \\n \\n NEW ANGLE - SIDE OF THE SEA DOLPHIN II - NIGHT - \\n \\n In the water next to the chip, FOUR DIVERS drop the last of their\",\n \" He throws a look back: \\n \\n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \\n \\n Sprinting for his life, the Captain rushes up the stairs, two at a \\n time. The humming behind him grows louder. He glances back: \\n \\n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \\n \\n He rushes up the last four steps, just as - \\n\",\n \" GENERATOR ROOM - \\n \\n The men have closed the door, but... HEAR A HIGH-PITCHED WHINING, \\n GRINDING SOUND from the other side. They exchange a quizzical look; \\n they don't know what to make of it, when: \\n \\n BANG! The door explodes inward - and a high-pressured stream of \\n water blasts in, blowing them back against the walls. \\n \\n BRIDGE - \\n\",\n \" SECOND OFFICER (on intercom) \\n Proceed to emergency stations at once! \\n \\n The men start to move, but halt at A HUMMING SOUND. They look \\n around: Where is it coming from? \\n \\n Suddenly a THREE FOOT SECTION OF THE DECK EXPLODES IN A FOUNTAIN OF \\n WATER. The men are swept off their feet. \\n \\n PASSAGEWAY/GANTRY #2 - \\n\",\n \" WATER. As it closes in for the kill - \\n \\n THE BRIDGE - \\n \\n Shifts, suddenly, to the stern. A confusion of anxious voices: \\n \\n HELMSMAN \\n Slipping to stern! \\n \\n DAMAGE OFFICER \\n All major compartments flooded! \\n \\n With all hands still awaiting orders - \\n \\n THE ROOM LURCHES AS THE BOW RISES! Papers fly! Men slide! The\",\n \" Sidney is thrown from her bench, slamming against scuba tanks. \\n \\n EXT. MID-SHIP - DECK - \\n \\n Stamper bounces himself, handing out AUTOMATIC WEAPONS from an arms \\n cache hidden inside a DINGHY. \\n \\n The two cameramen take their M-16's and rush forward, jumping up on \\n some machinery to climb onto - \\n \\n THE ROOF OF THE BRIDGE - \\n\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \\n to speed. The drill's BLACK TEETH glisten in the water. \\n \\n THE WORM'S POV - (UNDERWATER, NIGHT) \\n \\n Closing in on the hull like a torpedo. It gets closer, picking up \\n speed, until - on IMPACT - \\n \\n INT. ENGINE ROOM - \\n\",\n \" As the Captain rushes up the steps, he turns around, reacting to a \\n GRINDING NOISE - \\n \\n CAPTAIN'S POV - THE CLOSED WATER-TIGHT DOOR - \\n \\n BOOM! Water blasts through, like 1000 fire hydrants turned on full. \\n \\n With terror in his eyes, THE CAPTAIN sprints up the rest of the \\n stairs, through a water-tight door, into: \\n\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" TWO CREWMAN manage to get a LIFEBOAT away. TWO OTHERS scramble up \\n from below and leap into the water. \\n \\n WIDER \\n \\n The bow is at a forty-five degree angle... And the H.M.S. \\n Indomitable pauses - for just a moment - before SLIPPING UNDER, STERN \\n FIRST, throwing up a series of great waves. \\n \\n EXT. LIFEBOAT - \\n\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" extended from the Cutter onto the barge. \\n \\n CAPTAIN MORTON \\n (a tiny popinjay) \\n Who's in charge here? \\n \\n SIDNEY \\n I am. What do you want? \\n \\n CAPTAIN MORTON \\n You have precisely one minute to pull \\n up your anchor and be under way. \\n \\n SIDNEY\",\n \" We have traffic on the deck - \\n \\n They look down and see an HNN (Harmsway News Network) boat. \\n \\n BOND \\n Get rid of them. \\n \\n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \\n \\n The chopper hovers above the HNN boat - \\n \\n PILOT (on pa speaker) \\n Please leave the area. please leave \\n the area. \\n\",\n \" They'd never sail this close to the shore. \\n \\n BOND \\n Wait a minute - \\n (beat, pointing to the \\n screen) \\n I've got it. There! Off the port bow! \\n \\n INSERT SONAR SCREEN - \\n \\n The murky electronic outline of a ship. \\n \\n BACK TO SCENE - \\n \\n Bond watches the sonar screen. Wade slows engines, consults charts. \\n\"\n ],\n [\n \" But Bond pulls him back down, and holds him down, pushing down on \\n Harmsway's shoulders. \\n \\n Harmsway is thrashing about, flailing in all directions, pounding at \\n Bond in a haze of bubbles... \\n \\n Then falls still. \\n \\n With his lungs aching, bursting with fire, Bond rockets up - \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n through the bridge windows, up to - \\n\",\n \" THE SURFACE. \\n \\n He breaks through the water, gasping for air... And then, almost \\n instantly, dives down again. \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n Bond dives for the boat - down, and down, chasing it, as if he could \\n just grab it, and stop it from sinking. \\n \\n He goes deeper, and deeper, as it sinks further and further away, \\n just beyond his reach. \\n\",\n \" (glaring, insanely:) \\n We all go down together!!! \\n \\n Harmsway lunges for Bond's throat - \\n \\n AND THE BRIDGE SLIPS UNDERWATER - \\n \\n Where Bond breaks Harmsway's grasp in a violent struggle - then \\n punches him. Air bubbles break from Harmsway's mouth. He \\n frantically tries to break free for the surface - \\n\",\n \" They break through the water. Sidney yanks off her mask. Teases: \\n \\n SIDNEY \\n What do you mean, you'd rather die \\n alone? \\n \\n BOND \\n I didn't say when I want to die - \\n \\n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \\n dinghy floating nearby. \\n \\n NEW ANGLE - THE DINGHY - \\n\",\n \" And yanks him off the instrument panel, flinging him backwards \\n against the rear wall of the bridge. \\n \\n BOND \\n Where is she, Harmsway?!? Or did you \\n kill her like Paris? \\n \\n Suddenly, THE BOAT GROANS. The BRIDGE RISES OUT OF THE WATER! AND \\n BOND loses his balance, FALLING ONTO HARMSWAY - \\n \\n HARMSWAY\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" Wade pulls back his shirt to reveal TWO SIX-SHOOTERS. \\n \\n WADE \\n I got you covered. \\n \\n BOND \\n That's reassuring. \\n \\n Bond rolls backward into the water and disappears. \\n \\n UNDERWATER - \\n \\n Bond swims to the anchor line, and begins pulling himself downward, \\n handover-hand, deeper and deeper into a monochromatic gloom. \\n\",\n \" Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \\n \\n And just as Bond overcomes the man - spinning him around, holding the \\n knife to the diver's throat - \\n \\n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \\n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \\n 'fish friendly' research tool.) \\n\",\n \" HARMSWAY \\n You want to kill me, Bond? Go ahead. \\n \\n With both arms, Bond pushes Harmsway backwards, flinging him downward \\n against the starboard wall. The water is rising on the bridge. \\n \\n BOND \\n (moving in on him) \\n Where is she Harmsway? - \\n \\n He grabs Harmsway by the lapels, and throws him against the front \\n wall, crashing onto the instrument panel head first.\",\n \" where he collides with something floating just below the ceiling. \\n Dropping the flare on the impact, Bond twists around to see: \\n \\n THE FACE OF A FLOATING DEAD SAILOR. \\n \\n BACK TO SCENE - \\n \\n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \\n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD\",\n \" HARMSWAY \\n What the hell is going on? \\n \\n STAMPER (O. S. ) \\n It's Bond! \\n \\n HARMSWAY \\n Kill him! Finish it! \\n \\n ANGLE ON STAMPER (EXT. MID-SHIP) - \\n \\n With the worm dangling from a boom in the background, he watches: \\n \\n EXT. HELICOPTER/SHIP \\n\",\n \" Amidst more laughter, Bond disappears into the bulkhead door. \\n \\n INT. SEA DOLPHIN II - BELOW DECKS - \\n \\n Bond moves cautiously down a STAIRCASE... \\n \\n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \\n sure they're locked. Bond withdraws for a moment, looks back: The \\n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \\n\",\n \" One carries a strange-looking HARPOON-TYPE GUN; another trails a \\n CABLE. The divers have fanned out, looking for 007. \\n \\n BOND - \\n \\n Realizes his best chance is to take one of the men hostage. \\n \\n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \\n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \\n\",\n \" whose idea of 'cruise-wear' runs to tattoos and grotesque scars. \\n \\n BOND'S POV - THROUGH HIS DIVING MASK - \\n \\n As the water drains from his mask, Bond sees the mesh being pulled \\n away, and FIVE GOONS come into focus, training AUTOMATIC WEAPONS on \\n him. (Bond still has the diver from behind, knife to his throat.) \\n\",\n \" BOND \\n Cut the engines! It's about two- \\n hundred fifty feet down. \\n \\n JUMP CUT TO: \\n \\n AN ANCHOR BEING PITCHED INTO THE WATER - (BOW OF SPORT FISHING BOAT) - \\n \\n By Wade. Bond is strapping on his scuba tank. \\n \\n WADE \\n Two-fifty's pretty deep for air. You\",\n \" BOND'S POV - \\n \\n The helicopter clears the island: Bright blue sea ahead. Bond sees \\n then passes over - the HNN boat, bobbing empty in the water... \\n \\n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \\n in the instance. \\n \\n REAR DECK - SEA DOLPHIN II - \\n \\n Looking north, off the back of the boat Stamper and a crewman see the\",\n \" BOND HOOKS BOTH OF THEM WITH THE SKIDS, BY THE BACK OF THEIR UNTUCKED \\n SHIRTS!!!! The man are flailing like crazy as - \\n \\n BOND PULLS BACK ON THE CYCLIC PITCH LEVER - \\n \\n THE HELICOPTER REARS BACKWARDS, AND UP - \\n \\n And the men burst through their shirt buttons, FALLING, SHIRTLESS, \\n into the sea. \\n\",\n \" Bond SWOOPS IN LOW on the port side of the boat, FIRING HIS GUN from \\n the pilot's window, and using the CHOPPER'S BLADES to threaten the \\n men on deck. \\n \\n About half of them DIVE INTO THE WATER FOR SAFETY, only to be quickly \\n left behind. \\n \\n Flying up the port side toward the front of the boat, Bond passes - \\n \\n INT. HARMSWAY'S CABIN -\",\n \" Breaking off with a groan, tumbling onto the rocks below. \\n \\n IN THE WATERBED - \\n \\n A torrent of water crashes over 007. Fighting the oncoming deluge, \\n he crawls - on his belly - through the water - 25 feet inland. \\n \\n NEW ANGLE - (TOP OF THE WATER FALL, INLAND) \\n \\n Bond stands, walks out of the riverbed. He looks back at the cliff: \\n\",\n \" HIS POV - \\n \\n A black HULL has blotted out the light... And SOMETHING LARGE AND \\n HEAVY IS FALLING straight at 007. \\n \\n BOND - \\n \\n kicks away from the anchor-line just as a 1000 POUND ANCHOR streaks \\n by. He looks up again: \\n \\n THREE DIVERS ARE IN THE WATER. \\n\"\n ],\n [\n \" Having failed at the cable, Stamper goes at the PULLEY feeding it. \\n He swings. Swings again. With each blow, the pulley shaft weakens. \\n \\n BOND AND SIDNEY - (WINDOW WASHER'S RIG) - \\n \\n Dropping in VIOLENT SPURTS - just trying to stay in the damn bucket. \\n \\n STAMPER - WIELDING THE AX - \\n\",\n \" STAMPER \\n Good - \\n \\n He lunges for her, grabs her, spins her around, overwhelming her. \\n She struggles, yelling: \\n \\n SIDNEY \\n This is a mistake! \\n \\n STAMPER \\n (gun against her skull) \\n Shut up! \\n \\n Using Sidney as a HUMAN SHIELD, Stamper marches her in front of the\",\n \" closed elevator doors. The guard follows. THEY POSITION THEMSELVES \\n FOR A MASSACRE. Reaching around Sidney, Stamper pulls out his RADIO: \\n \\n STAMPER (into radio) \\n Open 14. \\n \\n A beat. It opens. The men unleash a HAIL OF BULLETS, then realize - \\n \\n NEW ANGLE - (INT. ELEVATOR) - \\n\",\n \" wall, and THE WORM comes to life. \\n \\n Stamper closes in on Bond with the worm. \\n \\n Bond tries to stand, but Stamper flings him back down, pinning Bond \\n against the wall with his free hand as he - \\n \\n MANEUVERS THE WORM TOWARDS BOND'S HEAD. \\n \\n With the cutting blades whirring inches away from Bond's nose - \\n \\n STAMPER\",\n \" THEY EXPLODE AGAINST THE CLOSING DOOR - TO NO EFFECT. \\n \\n BOND'S CAR GETS CLOSER AND CLOSER - \\n \\n SIDNEY SCREAMS! BOND BRACES, AND - \\n \\n BOOM! CRASH! SILENCE. BLACK. After a moment, we HEAR THE SOUND OF \\n FOOTSTEPS ON CEMENT. \\n \\n INT. GARAGE - \\n\",\n \" YUNG \\n A generator blew. Nothing to worry about. \\n (beat) \\n But I need one last shot of you. Why \\n don't you stand by the alarm? \\n \\n POWER PLANT GUARD \\n No problem. \\n \\n The guard stands, and smiles, posing for the video camera... And Yung \\n pulls a pistol from his pocket and shoots him. \\n \\n YUNG\",\n \" The two of them make a break for the car, DIVING INSIDE. \\n \\n INT. BOND'S CAR - MOVING - GARAGE - \\n \\n - Bond guns the engine, slams the transmission into gear. Burning \\n rubber, GUARDS bounce off the front fenders. \\n \\n THE GUARDS - \\n \\n Continue to shoot at the car. \\n \\n OTHER GUARDS - \\n\",\n \" Now what? \\n \\n Bond's first concern is to make sure Stamper can't get them. Amidst \\n a pile of CONSTRUCTION EQUIPMENT, he spots a PNEUMATIC NAIL GUN. He \\n grabs it, and - \\n \\n BANG. BANG. BANG. He fires 3 NAILS through the door into the frame. \\n \\n BOND \\n That should buy us some time. \\n\",\n \" Okay. So it wasn't a mistake. \\n (Bond lets go a blast) \\n What do we do now? Offer them \\n dinner?!?! \\n \\n Bond glances back at the KITCHEN SUPPLIES. GETS AN IDEA. He sud- \\n denly TWISTS, SMASHING the BUTT OF HIS GUN down on some GLASSWARE on \\n the counter, then TWISTS BACK, returning a BURST OF GUNFIRE.\",\n \" No. \\n \\n CAPTAIN MORTON \\n You leave me no alternative. \\n \\n CAPTAIN MORTON \\n (upholstering a walkie-talkie) \\n Cut her anchor. \\n \\n As Sidney yells \\\"NO!\\\" - THE FORWARD GATLING GUN erupts to life. One \\n short, bone rattling burst CUTS THE CHAIN. \\n \\n SIDNEY\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" But before he finishes, Bond spins, and: 1) slams Taro's head on the \\n bar, 2) snatches the ice-pick from the bartender, 3) yanks Taro back- \\n ward by his collar, 4) slams the ice-pick through Taro's tie into the \\n wooden bar, and 5) kicks the stool out from under the goon. \\n \\n Taro is now hanging by his tie, from the bar, choking. \\n\",\n \" tries to open it. Won't budge. \\n \\n GUARD \\n I'll call for a battering ram - \\n \\n STAMPER \\n No. Get the fire ax. \\n \\n One of the guards grabs it from inside a FIRE CABINET. He hands the \\n AX to Stamper, who takes the first SWING AT THE DOOR. \\n\",\n \" Seemingly at once, (1) Sidney bites the Guard's forearm, (2) Bond \\n ducks, (3) the Guard shoots wildly, (4) the gun drops, and (5) - \\n \\n Bond rushes the man, KNOCKING HIM BACKWARDS INTO THE PRINTING PRESS, \\n pulling Sidney away at the last moment. \\n \\n The Guard is sucked up in the press rollers, and... \\n\",\n \" Arriving at a BULKHEAD DOOR, Bond checks both directions down the \\n passageway, then pokes his head inside - \\n \\n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \\n against a railing. \\n \\n Bond looks up: \\n \\n STAMPER stands with a smile on his face. One arm is raised above his \\n head, grasping the WORM on the swinging boom. The worm is attached\",\n \" The lights come on. The car is a twisted wreck, smashed against the \\n wall. Bond and Sidney are slumped forward, unconscious. \\n \\n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \\n \\n HARMSWAY \\n - Built to withstand a nuclear blast. \\n (to Stamper, checking \\n Bond's pulse) \\n Are they alive? \\n \\n STAMPER\",\n \" I'm going to do this slowly - \\n \\n Bond executes a scissor kick to Stamper's ankles. Stamper tumbles \\n sideways. Bond rolls away from the worm - \\n \\n But by the time Bond gets to his feet, Stamper has recovered, and is \\n rushing at Bond full force, with the worm. \\n \\n Stamper thrusts the worm at Bond once. Bond ducks. The worm chews \\n into the wall. \\n\",\n \" He throws a look back: \\n \\n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \\n \\n Sprinting for his life, the Captain rushes up the stairs, two at a \\n time. The humming behind him grows louder. He glances back: \\n \\n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \\n \\n He rushes up the last four steps, just as - \\n\",\n \" Pulling the device back, Stamper thrusts a second time - (same \\n action,) then a third (same action) - still missing Bond. \\n \\n INSERT - CLOSE ON THE CABLE SPOOL/CABLE - \\n \\n With all the yanking and pulling, a loop of slack has developed in \\n the cable, on the ground. \\n \\n RETURN TO SCENE - \\n \\n Stamper is about to attack Bond a fourth time when Bond kicks him in\"\n ],\n [\n \" Paris' eyes flicker at something over Bond's shoulder. She swoons: \\n \\n PARIS \\n Kiss me. \\n \\n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \\n across the mouth. \\n \\n PARIS \\n Bastard! Leave me alone! \\n \\n She shoves him off, darts away. Bond is bleeding from his mouth - \\n and not altogether surprised at her behavior. He turns to see - \\n\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" Come. Let me show you. \\n \\n And he leads the procession off, through the bulkhead door. Bond is \\n left with Paris. She is white with fear. Bond moves to console her: \\n \\n BOND \\n Paris - \\n \\n PARIS \\n Leave me alone! He's going to kill me!! \\n \\n BOND \\n Why didn't you tell me? Why wasn't \\n it in our files? \\n\",\n \" Paris looks up at him like a hurt child. She wants some contact; she \\n wants to hear him say 'I love you.' \\n \\n PARIS \\n Just - say it. Say it just once. \\n \\n BOND \\n (pauses, discomfited) \\n One thing at a time. I'll see you \\n in twenty minutes. Go. \\n \\n She exits; he goes to the bulkhead door... And we pan up to see the\",\n \" Do you? \\n \\n She turns away. Bond feels remorse for hitting her. Softens: \\n \\n BOND \\n What about the uranium? \\n \\n PARIS \\n It's on the boat. He's holding a \\n press conference tomorrow. \\n \\n Bond reaches out to touch her. She falls into his arms, burying her \\n face in his shoulder. \\n \\n PARIS\",\n \" (to his underlings) \\n Seize the boat! \\n \\n A set of frozen glances goes from Bond, to Paris, to Harmsway. \\n \\n VALENTIN \\n I think I suddenly remembered an \\n urgent meeting in Moscow. \\n \\n To everyone's surprise, Harmsway guffaws. \\n \\n HARMSWAY \\n My friends, there's been a terrible mistake. \\n (putting his arm around DiGiacomo)\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" PARIS \\n (anguished) \\n He didn't want anyone to know. He \\n kept it out of the papers. He said a \\n third wife was bad for his image. \\n (beat) \\n You've got to protect me! \\n \\n Bond wants to help her - and follow Harmsway. He pulls out a key: \\n \\n BOND \\n Go to my hotel room. I'll be there \\n in twenty minutes. \\n\",\n \" The two of them make a break for the car, DIVING INSIDE. \\n \\n INT. BOND'S CAR - MOVING - GARAGE - \\n \\n - Bond guns the engine, slams the transmission into gear. Burning \\n rubber, GUARDS bounce off the front fenders. \\n \\n THE GUARDS - \\n \\n Continue to shoot at the car. \\n \\n OTHER GUARDS - \\n\",\n \" Bond nods, continuing to look at his watch. Glances at her: \\n \\n BOND \\n Not a lot of difference. \\n \\n SIDNEY \\n What do you mean? \\n \\n Bond reaches forward to toss the coffee can - \\n \\n BOND \\n Either way, you're taking the goods \\n from dead hulks. \\n \\n He tosses the can, and PULLS HER BACKWARDS, covering her. \\n\",\n \" Stop it! You're hurting me! Can't \\n you just be nice? \\n \\n BOND \\n I've got half the British government \\n breathing down my neck. I don't have \\n time for your nonsense. \\n \\n She's surprised - and hurt - by his coldness. \\n \\n PARIS \\n Don't you even miss me? Didn't I \\n mean anything to you? \\n \\n BOND\",\n \" Bond, looking up - for Stamper - and down - to check their progress. \\n \\n SIDNEY \\n All I know is one thing: If we get \\n out of here alive, that gold is mine. \\n (beat) \\n I've earned it. \\n \\n Looking upward, Bond SEES STAMPER peering over the rail. BOND FIRES. \\n \\n BOND \\n One thing at a time. \\n\",\n \" ANOTHER ANGLE - SAN GIACOMO SQUARE - (BOND'S POV) - \\n \\n Paris running to FOUR MEN dressed alike in three-corner hats, \\n enveloped from head-to-foot in BLACK CAPES. Their faces are \\n completely concealed behind flat, bone-white masks covering all but \\n their chins. They look like messengers of death. \\n \\n CLOSER ON PARIS AND THE MEN - \\n\",\n \" Take them out to the jungle and - \\n \\n Suddenly, BOND'S CAR ENGINE STARTS WITH A ROAR. The GUARDS TURN, in \\n shock TOWARDS THE CAR, as: \\n \\n BOND retrieves the gun he slid out, and pulls Sidney behind the \\n newspaper trolley, while - \\n \\n THE CAR BEGINS TO MOVE, sending the guards scrambling. \\n \\n BOND takes his position with Sidney.\",\n \" to the boom by a thin metal cable. \\n \\n STAMPER \\n You're mine now. \\n \\n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \\n With his free hand, he grabs Bond by his shirt, and throws him \\n against a steel wall. Bond crashes to the deck. \\n \\n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" You've got to help me, James. I'm \\n sorry. I'm sorry for everything. I \\n know I was wrong - but you've got to \\n protect me. I know you still love - \\n \\n BOND SLAPS HER. She's stunned. He waits. She's angered: \\n \\n PARIS \\n Do you feel better now? \\n \\n BOND \\n (not giving an inch)\"\n ],\n [\n \" Actually, you're just in time. \\n (she turns to) \\n Admiral Roebuck: You know Commander \\n Bond, don't you? \\n \\n ADMIRAL ROEBUCK \\n (deflated) \\n Yes. Of course. \\n \\n BOND \\n I've looked forward to meeting you. \\n \\n Bond sits. M glances at Johnstone as if to say \\\"proceed.\\\" \\n\",\n \" MINISTER JOHNSTONE \\n And I have the entire British economy \\n to worry about. \\n \\n BOND \\n (breaking in) \\n Minister - \\n (all turn to him) \\n Obviously, MI-6 was not involved in \\n this operation. But I have to defend \\n the Admiral. \\n \\n Roebuck looks at Bond with great surprise. Bond continues: \\n \\n BOND (cont'd)\",\n \" - Thank you, M. But this is more \\n than your man can handle. \\n (to Bukharin) \\n Are we in agreement? \\n \\n BUKHARIN \\n (hesitant, at first) \\n - Yes. Yes. \\n \\n M \\n Admiral - \\n \\n Moving swiftly, the Admiral has picked up a RED PHONE: \\n \\n ADMIRAL ROEBUCK\",\n \" TANNER, A TREASURY OFFICIAL, and various UNIFORMS and SUITS. \\n \\n MINISTER JOHNSTONE \\n Good evening. I've just spoken with \\n the Prime Minister at the economic \\n summit in Tokyo; he's expecting a \\n full update within the hour. \\n (beat) \\n For those of you still unaware, some \\n forty minutes ago - \\n \\n ADMIRAL ROEBUCK\",\n \" third in America, and another third \\n in Hong Kong - in case of a nuclear \\n attack. And with the turn-over of \\n Hong Kong to the Chinese - \\n \\n MINISTER JOHNSTONE \\n Why wasn't the ship protected?!?! \\n Why was it sailing without radar? \\n \\n ADMIRAL ROEBUCK \\n I resent your tone, sir. I have men \\n who are missing - \\n\",\n \" MINISTER JOHNSTONE \\n (frowns) \\n At least we know where the gold is. \\n When are the recovery ships due? \\n \\n ADMIRAL ROEBUCK \\n 36 hours. They've already sailed \\n from the Persian gulf. \\n \\n MINISTER JOHNSTONE \\n I expect to have that gold recovered \\n in 36 hours. Until then, I'm\",\n \" Watching this display is M, TANNER, and a handful of MILITARY BRASS, \\n including a RUSSIAN GENERAL, BUKHARIN, and BRITISH ADMIRAL ROEBUCK, \\n an aging sea-lion with no love for M, or MI-6. \\n \\n M deals with the humorless Admiral by, well, humoring him: \\n \\n M \\n ... What were you saying, Admiral? \\n Something about this 'not being a job\",\n \" A launcher rotates, and - BOOM - a Cruise missile blasts off. \\n \\n INT. WARSHIP WEAPONS CONTROL ROOM - \\n \\n FIRING OFFICER \\n Cruise missile away - \\n \\n MI-6 SITUATION ROOM - \\n \\n FIRING OFFICER'S VOICE (Cont'd) \\n Time to target: Four minutes. \\n \\n ADMIRAL ROEBUCK\",\n \" imposing my own electronic silence: \\n For the sake of the economy, not a \\n word to NATO, the press, the CIA. \\n (beat, looking at:) \\n ...And so long as Commander Bond here \\n seems to be such an expert on these \\n matters, I want him to go along as an \\n observer. Are we agreed? \\n \\n ROEBUCK \\n Yes. \\n \\n BOND \\n Yes.\",\n \" water, heading toward the setting sun. \\n \\n CLOSER - \\n \\n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \\n weapons. Whatever is going on here, it's not business as usual.' \\n \\n INT. BRIDGE - DUSK \\n \\n Close on A VERTICAL GLASS MAP. An electronic panel display with a \\n BLINKING YELLOW DOT indicates - \\n \\n NAVIGATOR\",\n \" First Officer has no choice: \\n \\n FIRST OFFICER \\n Abandon ship! Break radio silence! \\n Send our position! \\n \\n INSERT - COMPUTER SCREEN - \\n \\n The Communications Officer types: \\\"Top Secret. Indian Ocean Naval \\n Command. H.M.S. Indomitable Sinking.\\\" \\n \\n COMMUNICATIONS OFFICER \\n (calling out) \\n What's our position? \\n\",\n \" FIRST OFFICER, hands him a SLIP OF PAPER: \\n \\n CAPTAIN \\n Orders from London: For the next \\n ninety-six hours, we're to run on \\n full radio silence. Double watches, \\n full alert. \\n (beat) \\n We're to send one encrypted positioning \\n burst to London every six hours - \\n otherwise, zero electronic emissions. \\n \\n The first officer nods.\",\n \" Command to Nelson: Authorization to \\n fire. \\n \\n EXT. A BRITISH WARSHIP - STEAMING IN THE GULF OF OMAN - \\n \\n INT. WEAPONS CONTROL ROOM - BRITISH WARSHIP - \\n \\n CAPTAIN \\n Weapons authorized. Prepare to fire. \\n On my count: Five. Four. Three. Two - \\n \\n EXT. DECK OF THE WARSHIP - \\n\",\n \" ADMIRAL ROEBUCK \\n It's too late - \\n \\n M \\n GET BOND OUT OF THERE. \\n \\n TANNER \\n One to seven - one to seven - \\n \\n BOND - SQUINTING THROUGH THE RIFLE AT THE OUTCROPPING - \\n \\n BOND \\n Negative, one. NOT YET. \\n\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" EXT. THE BANK OF LONDON - NIGHT \\n \\n Passing a NEWSPAPER DELIVERY TRUCK with an ad for \\\"TOMORROW\\\" (\\\"The \\n Paper that Never Lies,\\\") Bond's DB-5 roars past the guard. \\n \\n INT. CONFERENCE ROOM - BANK OF LONDON - NIGHT \\n \\n ADMIRAL ROEBUCK glares as MINISTER JOHNSTONE enters to address M,\",\n \" Bond replies with a wry smile: \\n \\n BOND \\n Yes... \\n (pause) \\n But some days... Are longer than \\n others. \\n \\n And with this, he reaches up over his head, and pulls a tarp over the \\n two of them... \\n \\n And the camera pulls back, and up, rising into the air to reveal: \\n \\n The entire British Navy closing in on them from all points of the \\n compass. \\n \\n\",\n \" MI-6 SITUATION ROOM - \\n \\n TANNER \\n Soviet SB-9 nuclear torpedo. Yield, \\n one kiloton. \\n \\n M \\n Will the cruise set it off? \\n \\n TANNER \\n Yes. \\n \\n ADMIRAL ROEBUCK \\n (to Bukharin) \\n Jesus. Can't you people keep \\n anything locked up? \\n\",\n \" MINISTER JOHNSTONE \\n As I was saying: Approximately forty- \\n five minutes ago, we received an abandon \\n ship signal from the H.M.S. Indomitable. \\n (flicks on a map display) \\n Looking at these infrared satellite \\n images - provided by Mr. Tanner of \\n MI-6 -the ship is presumed lost here, \\n just south of Kuala Lumpur, where she\",\n \" for a wine-sniffing, skirt-chasing \\n playboy spy?' \\n \\n ADMIRAL ROEBUCK \\n - I'll be sure to acknowledge 007's \\n 'assistance' in my report to the \\n Prime Minister. But this is, still, \\n a naval operation. \\n \\n M \\n What do they say in Russia, General \\n Bukharin? \\n (asks questions in\"\n ],\n [\n \" Rocked by waves from the sinking ship. The Cook, a Marine, and Three \\n Crewmen hear a splash along side. Two of the Crew pull the SONAR \\n OFFICER aboard. He takes a minute to catch his breath, then: \\n \\n SONAR OPERATOR \\n Six. That's it? Only six of us? \\n \\n COOK \\n Most of the crew never made it to \\n their life jackets. The Captain? \\n\",\n \" As the passageway shifts, tilting to the stern, the Captain screams \\n and WHOOSH! - is sucked down into the water - the worm's vortex - \\n like meat being fed into a Cuisinart: A churning, spinning death. \\n \\n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \\n \\n Bow rises completely out of the water as the stern goes under. \\n \\n EXT. DECK - \\n\",\n \" I think we've been holed, sir! \\n \\n THE CAPTAIN \\n On my way! \\n \\n He speeds along the passageway, going through a water-tight door, \\n slamming it behind him. Meanwhile, on - \\n \\n THE BRIDGE - \\n \\n HELMSMAN \\n The engines are gone! \\n \\n DAMAGE CONTROL \\n Flooding on D deck! \\n\",\n \" where he collides with something floating just below the ceiling. \\n Dropping the flare on the impact, Bond twists around to see: \\n \\n THE FACE OF A FLOATING DEAD SAILOR. \\n \\n BACK TO SCENE - \\n \\n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \\n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD\",\n \" through all this and the ship isn't \\n even down there? \\n \\n BOND \\n Yes, the ship is down there. But the \\n gold is gone. \\n \\n CAPTAIN MORTON \\n That's absurd! It took two squads of \\n forty men fifteen days to load that \\n gold. \\n \\n BOND \\n I know what I saw - \\n \\n CAPTAIN\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" (off the others' quizzical looks) \\n Water logged timber. Floats straight \\n up. You sometimes see them on the east \\n side of the channel - from the logging \\n camps on Sumatra - but they don't \\n usually float this far west. \\n (calling out) \\n Muncy! Engines to half! \\n \\n HELMSMAN \\n Aye-aye sir. Engines to half. \\n\",\n \" WATER. As it closes in for the kill - \\n \\n THE BRIDGE - \\n \\n Shifts, suddenly, to the stern. A confusion of anxious voices: \\n \\n HELMSMAN \\n Slipping to stern! \\n \\n DAMAGE OFFICER \\n All major compartments flooded! \\n \\n With all hands still awaiting orders - \\n \\n THE ROOM LURCHES AS THE BOW RISES! Papers fly! Men slide! The\",\n \" TWO CREWMAN manage to get a LIFEBOAT away. TWO OTHERS scramble up \\n from below and leap into the water. \\n \\n WIDER \\n \\n The bow is at a forty-five degree angle... And the H.M.S. \\n Indomitable pauses - for just a moment - before SLIPPING UNDER, STERN \\n FIRST, throwing up a series of great waves. \\n \\n EXT. LIFEBOAT - \\n\",\n \" INT. CARGO HOLD - UNDER WATER - \\n \\n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \\n space. Bond's flare sputters and dies. He drops it, lights another. \\n \\n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \\n He moves toward it. \\n \\n NEW ANGLE - CLOSER - \\n\",\n \" of the sluice, and excess water flows off the side of the ship. \\n \\n AT THE STERN HOLD - \\n \\n where all the water has been drained off, leaving a cascade of gold \\n nuggets pouring into the ship's hold - \\n \\n HARMSWAY reaches into the shimmering cascade, and takes a hand-full \\n of gold. He sees Stamper approaching. \\n \\n HARMSWAY \\n Remember the golden rule, Mr.\",\n \" It seems - Mr. Bond - that Miss Winch \\n has told me the most incredible story: A \\n sunken British warship filled with gold; \\n a British cutter firing on her; billions \\n of dollars in bullion lying on the \\n bottom of the Strait. \\n \\n Bond isn't enjoying this charade. \\n \\n HARMSWAY \\n Obviously, the British government \\n denies all of this - \\n\",\n \" The SEA DOLPHIN II emerges from a cove, looking like a ghostly white \\n apparition in the fog. \\n \\n RETURN ON THE LIFEBOAT - \\n \\n The men yell and wave and whistle, hoping to be saved. \\n \\n CLOSER ON THE SEA DOLPHIN II - DECK - \\n \\n Elliot Harmsway removes a pair of binoculars from his face. Turns to \\n YUNG, standing next to him at the rail:\",\n \" As the Captain rushes up the steps, he turns around, reacting to a \\n GRINDING NOISE - \\n \\n CAPTAIN'S POV - THE CLOSED WATER-TIGHT DOOR - \\n \\n BOOM! Water blasts through, like 1000 fire hydrants turned on full. \\n \\n With terror in his eyes, THE CAPTAIN sprints up the rest of the \\n stairs, through a water-tight door, into: \\n\",\n \" With the water cascading over the camera, (as if we were riding \\n inside an ocean wave,) the worm heads for a tank marked \\\"FUEL.\\\" \\n \\n EXT. THE SEA DOLPHIN II - \\n \\n The boat is sinking. Bond is running across the bridge roof, when: \\n THE BOAT SUDDENLY LISTS TO THE STARBOARD SIDE. \\n \\n INT. BRIDGE - \\n\",\n \" No. \\n \\n CAPTAIN MORTON \\n You leave me no alternative. \\n \\n CAPTAIN MORTON \\n (upholstering a walkie-talkie) \\n Cut her anchor. \\n \\n As Sidney yells \\\"NO!\\\" - THE FORWARD GATLING GUN erupts to life. One \\n short, bone rattling burst CUTS THE CHAIN. \\n \\n SIDNEY\",\n \" M \\n As you wish. \\n \\n EXT. SEA DOLPHIN II - NIGHT \\n \\n Harmsway walks along the side of the ship, observing the operation: \\n \\n The WORM'S DREDGING PUMP sucks up the ground-up GOLD AND WATER SLUR- \\n RY, (through the TUBE hanging over the side,) and dumps it into a \\n SERIES OF SLUICES. At each stage the gold nuggets fall to the bottom\",\n \" third in America, and another third \\n in Hong Kong - in case of a nuclear \\n attack. And with the turn-over of \\n Hong Kong to the Chinese - \\n \\n MINISTER JOHNSTONE \\n Why wasn't the ship protected?!?! \\n Why was it sailing without radar? \\n \\n ADMIRAL ROEBUCK \\n I resent your tone, sir. I have men \\n who are missing - \\n\",\n \" And with this, Harmsway turns, and walks off, jauntily whistling \\n \\\"Wouldn't It Be Loverly.\\\" \\n \\n Stamper looks at Yung, re: Harmsway's glee. \\n \\n YUNG \\n You heard him. Get the men in the water! \\n \\n NEW ANGLE - SIDE OF THE SEA DOLPHIN II - NIGHT - \\n \\n In the water next to the chip, FOUR DIVERS drop the last of their\",\n \" THE SURFACE. \\n \\n He breaks through the water, gasping for air... And then, almost \\n instantly, dives down again. \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n Bond dives for the boat - down, and down, chasing it, as if he could \\n just grab it, and stop it from sinking. \\n \\n He goes deeper, and deeper, as it sinks further and further away, \\n just beyond his reach. \\n\"\n ],\n [\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" TOTING CARBINIERI, along with his own VIDEO AND STILL CREWS. \\n \\n DiGIACOMO \\n Elliot Harmsway: Under the auspices \\n of the Italian government, I, Franco \\n DiGiacomo - \\n (pauses; smiles at a camera; \\n POP! A flash goes off) \\n Am arresting you for the illegal \\n possession of weapons grade enriched \\n uranium.\",\n \" YUNG \\n You must go. Now. Otherwise the \\n boat won't be out of range - \\n \\n Stamper and the guard appear nervous, itching to leave - \\n \\n HARMSWAY \\n Thirty seconds. \\n (then, to Bond) \\n That's the most brilliant part of the \\n plan, Mr. Bond: To save the economy, \\n I'll let the new British government - \\n my British government - announce that\",\n \" No matter what the British government \\n says, I won't kill this story. \\n (his secretary appears in the doorway) \\n Miss Oxford will show both of you to \\n the elevator... And one of my people \\n will definitely be in touch sooner \\n than later. \\n \\n BOND \\n I'm sure they will. \\n \\n HARMSWAY \\n Good-bye, Mister Bond. \\n\",\n \" Stamper's limousine parks near a Gulfstream jet. He opens the back \\n door for Number Three. At last, the man believes he is safe. \\n \\n NUMBER THREE \\n Thank you! Thank you so much. You \\n must thank Sir Elliot for me. \\n \\n STAMPER \\n (producing a NEWSPAPER) \\n Here. Something to read on the plane. \\n\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" STAMPER \\n Good - \\n \\n He lunges for her, grabs her, spins her around, overwhelming her. \\n She struggles, yelling: \\n \\n SIDNEY \\n This is a mistake! \\n \\n STAMPER \\n (gun against her skull) \\n Shut up! \\n \\n Using Sidney as a HUMAN SHIELD, Stamper marches her in front of the\",\n \" You see, Mr. Bond, you and I are both \\n men of action. But your era is passing. \\n Words are the new weapons; satellites the \\n new artillery. And make no mistake about \\n it: In the right hands, they can be as \\n deadly as your Walther PPK. \\n \\n BOND \\n ...Words to live by? \\n \\n HARMSWAY \\n Your choice.\",\n \" YUNG \\n A generator blew. Nothing to worry about. \\n (beat) \\n But I need one last shot of you. Why \\n don't you stand by the alarm? \\n \\n POWER PLANT GUARD \\n No problem. \\n \\n The guard stands, and smiles, posing for the video camera... And Yung \\n pulls a pistol from his pocket and shoots him. \\n \\n YUNG\",\n \" The two of them make a break for the car, DIVING INSIDE. \\n \\n INT. BOND'S CAR - MOVING - GARAGE - \\n \\n - Bond guns the engine, slams the transmission into gear. Burning \\n rubber, GUARDS bounce off the front fenders. \\n \\n THE GUARDS - \\n \\n Continue to shoot at the car. \\n \\n OTHER GUARDS - \\n\",\n \" NUMBER FIVE \\n Consider him slimed, sir. \\n \\n HARMSWAY \\n Splendid. Next... \\n (with noticeable reserve) \\n Number Three. Your report? \\n \\n A SHORT MIDDLE-EASTERN MAN stands. Nervous. \\n \\n NUMBER THREE \\n I regret to inform you, sir, that \\n Saddam Hussein is still demanding a\",\n \" thug, who is still stumbling, blinded by the flashbulb. \\n \\n The CART SLAMS INTO THE MAN, knocking him on his back. The cart \\n stops on top of him, pinning him down. \\n \\n BOND takes off, threading through the crowd toward a SIDESTREET. \\n \\n Meanwhile, THE STREET SELLER rushes to his wrecked cart. It ERUPTS\",\n \" (to one of the cameramen) \\n Put her in the storage room. \\n \\n The cameraman takes her away. Harmsway turns to the captain: \\n \\n HARMSWAY (CONT'D) \\n We'll get rid of her when we're in \\n International waters. \\n (then) \\n Set sail, full speed, due south. \\n I'll be in my cabin. Let me know\",\n \" Tanner points to the video wall with a RED LASER PEN. \\n \\n TANNER \\n (ironically) \\n A regular terrorist swap meet. Death \\n at discount: Two Chinese Long March \\n Scuds, a pair of Soviet A-17 attack \\n helicopters - \\n \\n BUKHARIN \\n (interrupting) \\n Stolen - \\n \\n TANNER\",\n \" Harmsway is vital to the economic \\n interests of this nation. He's also \\n a major contributor to the party. I \\n expect him to be given every consideration. \\n \\n BOND \\n Political considerations? \\n \\n MINISTER JOHNSTONE \\n To the best of my recollection, Mr. \\n Bond, I suggested no such thing. \\n (beat, at the door) \\n In fact, I was never here.\",\n \" - Thank you, M. But this is more \\n than your man can handle. \\n (to Bukharin) \\n Are we in agreement? \\n \\n BUKHARIN \\n (hesitant, at first) \\n - Yes. Yes. \\n \\n M \\n Admiral - \\n \\n Moving swiftly, the Admiral has picked up a RED PHONE: \\n \\n ADMIRAL ROEBUCK\",\n \" third in America, and another third \\n in Hong Kong - in case of a nuclear \\n attack. And with the turn-over of \\n Hong Kong to the Chinese - \\n \\n MINISTER JOHNSTONE \\n Why wasn't the ship protected?!?! \\n Why was it sailing without radar? \\n \\n ADMIRAL ROEBUCK \\n I resent your tone, sir. I have men \\n who are missing - \\n\",\n \" BOND \\n I forgot to mention: The job comes \\n with a car. \\n \\n 007 begins shooting, as - \\n \\n HARMSWAY \\n Kill it! Shoot the damn thing - \\n \\n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \\n out the headlights, while - \\n \\n BOND is having trouble coordinating driving and shooting at the same\",\n \" Stamper moves towards Bond and Sidney. Bond edges closer to the gun. \\n \\n BOND \\n You'll never get away with it, \\n Harmsway. Too many people know. \\n \\n Bond tenses, ready to spring - \\n \\n HARMSWAY \\n Who, Mr. Bond? The kooks - the \\n crazies - the conspiracy theorists? \\n The Oliver Stones of the world?\"\n ],\n [\n \" sir! Extremely close. Bearing 240 - \\n \\n The First Officer is surprised. All hell is about to break loose: - \\n \\n FIRST OFFICER \\n Punch up the radar - \\n \\n RADAR OPERATOR \\n I've got it, sir. A large craft - \\n XX,OOO tons. Range - \\n (disbelief) \\n 200 yards? It's anchored in a cove! \\n\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" on the stove. \\n \\n INT. SHIP'S HEAD - \\n \\n CREW MEMBER with an ELECTRIC SHAVER. \\n \\n FIRST OFFICER (INTERCOM) \\n All personal radios, video devices \\n and computers will be stowed at once. \\n \\n He stops shaving. \\n \\n INT. ENGINE ROOM - \\n\",\n \" They'd never sail this close to the shore. \\n \\n BOND \\n Wait a minute - \\n (beat, pointing to the \\n screen) \\n I've got it. There! Off the port bow! \\n \\n INSERT SONAR SCREEN - \\n \\n The murky electronic outline of a ship. \\n \\n BACK TO SCENE - \\n \\n Bond watches the sonar screen. Wade slows engines, consults charts. \\n\",\n \" water, heading toward the setting sun. \\n \\n CLOSER - \\n \\n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \\n weapons. Whatever is going on here, it's not business as usual.' \\n \\n INT. BRIDGE - DUSK \\n \\n Close on A VERTICAL GLASS MAP. An electronic panel display with a \\n BLINKING YELLOW DOT indicates - \\n \\n NAVIGATOR\",\n \" Bond walks down a long dock towards a lone boat, moored at the end. \\n \\n EXT./INT. BOAT AT MARINA - MORNING - \\n \\n Bond looks around furtively, before climbing aboard the sleek ocean- \\n going craft. On the aft-deck, there's a large covered object. \\n \\n As Bond reaches for the CABIN DOOR, it opens by itself - and a\",\n \" The Captain heads for the door. \\n \\n SECOND OFFICER \\n Captain leaving the bridge. \\n \\n The officers salute as he exits. With a shrug, the FIRST OFFICER \\n picks up the INTERCOM MICROPHONE: \\n \\n FIRST OFFICER \\n Attention all hands. Now hear this... \\n \\n INT. CREW'S MESS - \\n\",\n \" The boat shudders violently, sending Harmsway crashing against a \\n wall, cutting his head. \\n \\n EXT. THE DECK - \\n \\n As the boat rocks, Bond steadies himself, then starts for the bridge, \\n using the same route as the cameramen lifted by the chopper: \\n \\n First climbing up on some machinery, then up onto the bridge roof. \\n \\n INT. STORAGE ROOM - \\n\",\n \" GPS OFFICER \\n (reading off his screen) \\n One hundred degrees, thirty-one \\n minutes, and seven seconds East, by \\n two degrees, twenty-nine minutes, ten \\n seconds, North. \\n \\n As he types, the room lurches again, tilting more to the stern. \\n \\n THE CAPTAIN - (STAIRCASE, PASSAGEWAY #5) \\n\",\n \" The First Officer looks over the shoulder of RATING at radar screen. \\n \\n RATING \\n Radar switched to passive mode; sonar \\n re-set to low-power operation. \\n (beat) \\n You couldn't find our signature with \\n a magnifying glass. \\n \\n FIRST OFFICER \\n Let's hope so. \\n \\n The First Officer joins the Second Officer at the windows, scanning\",\n \" Near a QUONSET HUT, a TRUCK-MOUNTED RADAR DISH scans the area, with \\n INFRARED GATLING GUNS mounted on either side. \\n \\n BOND - AT THE ROCK OUTCROPPING - \\n \\n Props his rife on the boulder, and peers through the GUN SIGHT. \\n \\n THROUGH THE TELESCOPIC SIGHT - \\n\",\n \" INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \\n to speed. The drill's BLACK TEETH glisten in the water. \\n \\n THE WORM'S POV - (UNDERWATER, NIGHT) \\n \\n Closing in on the hull like a torpedo. It gets closer, picking up \\n speed, until - on IMPACT - \\n \\n INT. ENGINE ROOM - \\n\",\n \" dredging pipe. \\n \\n CLOSER - THE HEAD OF THE WORM - \\n \\n Motionless, hanging in the water. Then the monster awakes: A metal \\n sphere retracts, revealing a wide angle CAMERA LENS. \\n \\n INT. BRIDGE - NIGHT \\n \\n The Communications Officer reacts to his monitor with ALARM: \\n \\n COMMUNICATIONS OFFICER \\n I'm getting an electrical emission,\",\n \" INT. CARGO HOLD - UNDER WATER - \\n \\n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \\n space. Bond's flare sputters and dies. He drops it, lights another. \\n \\n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \\n He moves toward it. \\n \\n NEW ANGLE - CLOSER - \\n\",\n \" GENERATOR ROOM - \\n \\n The men have closed the door, but... HEAR A HIGH-PITCHED WHINING, \\n GRINDING SOUND from the other side. They exchange a quizzical look; \\n they don't know what to make of it, when: \\n \\n BANG! The door explodes inward - and a high-pressured stream of \\n water blasts in, blowing them back against the walls. \\n \\n BRIDGE - \\n\",\n \" where he collides with something floating just below the ceiling. \\n Dropping the flare on the impact, Bond twists around to see: \\n \\n THE FACE OF A FLOATING DEAD SAILOR. \\n \\n BACK TO SCENE - \\n \\n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \\n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD\",\n \" Smashing through the water at breakneck speed. Wade and Bond yell \\n over the engines. \\n \\n WADE \\n What do you want with the Harbor Master? \\n \\n BOND \\n Tide and current charts. Work \\n backward from the body - find where \\n the ship sank. \\n (Wade nods appreciatively) \\n Where did you get the boat? \\n \\n WADE\",\n \" SONAR OFFICER \\n (shrugs, then:) \\n The First officer stayed on the bridge. \\n \\n One of the CREWMAN SPOTS SOMETHING IN THE DISTANCE: \\n \\n CREWMAN \\n Hey - look! Over there! \\n \\n NEW ANGLE - (ROCK OUTCROPPING - STRAIT OF MALACCA - NIGHT) \\n\",\n \" He throws a look back: \\n \\n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \\n \\n Sprinting for his life, the Captain rushes up the stairs, two at a \\n time. The humming behind him grows louder. He glances back: \\n \\n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \\n \\n He rushes up the last four steps, just as - \\n\",\n \" Clear skies and blue water. The only vessel in sight is a thirty- \\n five foot SPORT FISHING BOAT underway at full throttle. \\n \\n EXT. SPORT FISHING BOAT, FLYING BRIDGE - DAY - \\n \\n Wade at the helm; Bond next to him, near sonar, holding Q's map. \\n \\n BOND \\n Slow down. We're close. \\n \\n Wade pulls back on the throttle. \\n\"\n ],\n [\n \" James Bond... I believe he's a field \\n adjuster for Lloyd's of London... \\n \\n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \\n \\n HARMSWAY \\n Then we have this James Bond. \\n \\n INSERT VIDEO SCREEN - BOND'S KGB FILE - \\n \\n HARMSWAY \\n (reading from the screen) \\n ... Licensed to Kill...\",\n \" Harmsway appears. Ebullient as ever. \\n \\n VALENTIN \\n Elliot Harmsway, I want to introduce \\n you to an old friend - \\n \\n BOND \\n (putting out a hand to shake) \\n The name is Bond. James Bond. \\n \\n Harmsway greets Bond with a warm smile. Yet his words are ambiguous: \\n \\n HARMSWAY \\n Always nice to meet one of her\",\n \" AN ICE FALL. A 600 foot waterfall whose face is frozen solid. \\n \\n Pushing in still closer, there is a tiny black dot inching its way up \\n the ice. A human figure. This is: \\n \\n JAMES BOND, BRITISH SECRET SERVICE AGENT, 007. \\n \\n Bond is sweating and straining, four hundred feet in the air. He has\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" ac inconspicuous as possible. A hand clasps his shoulder: \\n \\n VALENTIN'S VOICE \\n Mr. James Bond! \\n \\n Bond spins to see Valentin, surrounded by the usual assortment of \\n cheaply dressed goons. \\n \\n BOND \\n Valentin. What an unpleasant surprise. \\n \\n VALENTIN \\n What is it that brings you to \\n Venezia, Mr. Bond? Business -\",\n \" BOND \\n I forgot to mention: The job comes \\n with a car. \\n \\n 007 begins shooting, as - \\n \\n HARMSWAY \\n Kill it! Shoot the damn thing - \\n \\n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \\n out the headlights, while - \\n \\n BOND is having trouble coordinating driving and shooting at the same\",\n \" BOND \\n Bond. \\n \\n HARMSWAY'S VOICE \\n Hello, Mister Bond. \\n \\n BOND \\n (with an edge) \\n Who is this? \\n \\n INT. HARMSWAY'S OUTER OFFICE - \\n \\n Harmsway is perched on a desk. In the background, THROUGH HIS OPEN\",\n \" She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \\n \\n SIDNEY \\n What is HE doing here? \\n \\n HARMSWAY \\n I see you two have met. \\n \\n BOND \\n Briefly. \\n \\n HARMSWAY \\n (crossing to his desk) \\n Don't pout, Sidney. I invited him \\n here hoping he might shed some light\",\n \" WOMAN \\n I can't believe it took us so long to \\n finally get together! What exactly \\n do you do for the government? \\n \\n BOND \\n (after a beat) \\n You might say... 'Public relations.' \\n \\n WOMAN \\n How fascinating! I bet you meet all \\n the most fabulous people. \\n \\n Before Bond can answer, the MAITRE D' interrupts. \\n\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" MAITRE D' \\n Excuse me - Mr. Bond? You have a call. \\n \\n Bond excuses himself. \\n \\n NEW ANGLE - BOND AT PHONE - \\n \\n 007 picks up the receiver, without saying hello: \\n \\n BOND \\n Moneypenny! You're early. You \\n weren't supposed to call until - \\n (he stiffens) \\n Yes. I understand. Twenty minutes.\",\n \" I'm so sorry, James. I promise, I'll \\n never leave you again. \\n \\n BOND \\n (patting her head) \\n Shhhhh... \\n \\n PARIS \\n Just hold me. \\n \\n Bond thinks for a moment, then gently pushes her away, a foot \\n backwards, to look in her eyes: \\n \\n BOND \\n How do you know Harmsway? \\n\",\n \" BOND \\n ... How did you get into marine \\n salvage? \\n \\n SIDNEY \\n (gun burst, then) \\n My father left me the business. \\n \\n Bond glances at his watch, timing the bomb. The guards shoot; she \\n shoots back, then explains: \\n \\n SIDNEY \\n I used to be a divorce lawyer in New \\n York City. \\n\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" Actually, you're just in time. \\n (she turns to) \\n Admiral Roebuck: You know Commander \\n Bond, don't you? \\n \\n ADMIRAL ROEBUCK \\n (deflated) \\n Yes. Of course. \\n \\n BOND \\n I've looked forward to meeting you. \\n \\n Bond sits. M glances at Johnstone as if to say \\\"proceed.\\\" \\n\",\n \" on your story. He's from 'Lloyd's of \\n London.' \\n (sly glance to Bond) \\n ...Aren't you, Mr. Bond? \\n \\n SIDNEY \\n He's not going to tell the truth! He \\n was diving for the gold! \\n \\n Harmsway sits, and addresses Bond, matter-of-factly: \\n \\n HARMSWAY\",\n \" BOND \\n Not at all, Moneypenny. I was just \\n brushing up on a little Chinese. \\n \\n (In the background, Jenny insists \\\"I am not little.\\\") \\n \\n MONEYPENNY \\n I'm sure she is, James. But I'm \\n afraid you'll have to 'kiss off' the \\n rest of your lessons this afternoon. \\n \\n BOND \\n (mock chagrin)\",\n \" You've got to help me, James. I'm \\n sorry. I'm sorry for everything. I \\n know I was wrong - but you've got to \\n protect me. I know you still love - \\n \\n BOND SLAPS HER. She's stunned. He waits. She's angered: \\n \\n PARIS \\n Do you feel better now? \\n \\n BOND \\n (not giving an inch)\",\n \" Is that any way to say hello? \\n \\n BOND \\n I thought your specialty was good-bye. \\n \\n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \\n \\n PARIS \\n Oh, James. I've missed you - \\n \\n BOND \\n (grabbing her by the wrist) \\n Is this another one of your games? \\n \\n PARIS\",\n \" Bond and Jenny Wu emerge from the office. (She's still in the gown.) \\n They pass a flock of young students: \\n \\n STUDENT \\n Good afternoon, Professor Wu. \\n \\n JENNY WU \\n Good afternoon. \\n (then to Bond) \\n Are you sure you can't stay for the \\n lecture? \\n \\n BOND \\n I can't. But I did enjoy the dress\"\n ],\n [\n \" THE TRUCK/MiG-l, ON THE GROUND/THROUGH THE SCOPE - \\n \\n THE BALD MAN slaps the back of the truck obscuring MiG-1. THE TRUCK \\n PULLS AWAY, revealing MiG-l's WING. Hanging from the weapons pod: A \\n NUCLEAR BOMB. \\n \\n BOND - AT THE ROCK OUTCROPPING - \\n \\n Mutters a curse. \\n\",\n \" Bond goes into evasive maneuvers - jinks right, jinks left - when, \\n suddenly, THE COPILOT REVIVES, and starts trying to STRANGLE Bond \\n with a METAL LANYARD. Struggling, Bond HEARS a THIN HIGH-PITCHED \\n TONE - \\n \\n INT./EXT. MIG-2 \\n \\n The pilot has locked onto Bond's MiG. Boom! TWO HEAT-SEEKING\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" MISSILES roar away. \\n \\n INT./EXT. BOND'S MIG - \\n \\n Fighting the garrote, Bond KICKS THE THROTTLES forward and PULLS BACK \\n ON THE YOKE. The MiG goes into a spine crushing climb as - \\n \\n THE TWO HEAT SEEKING MISSILES FOLLOW HIM, LOOPING UPWARD. \\n \\n INT. MIG-2 - \\n\",\n \" Bond's MiG has disappeared from the pilot's view: Not in front. Not \\n on the left. Not on the right. Where did he go? The pilot looks up: \\n \\n BOND'S MIG APPEARS, FLYING INVERTED, COCKPIT DOWN, 10 FEET ABOVE MIG-2. \\n \\n THE PILOT OF MIG-2 IS STUNNED. \\n \\n INT./EXT. BOND'S MIG - \\n\",\n \" Bond takes the lighter, begins to play with it... \\n \\n SAUNDERS \\n Stop fidgeting, 007. Next - \\n \\n He takes out a pair of SHOELACES. \\n \\n BOND \\n ... Shoelaces? \\n \\n SAUNDERS \\n Plastique explosive shoelaces. \\n (holding them out at length) \\n Cut them to regulate the size of the\",\n \" Bond's headset lies on top of the rock, along with the telescopic \\n sight - still broadcasting. \\n \\n Find Bond, crouching BEHIND the rock. Automatic rifle in one hand, \\n GRENADE in the other. He pulls the pin, hurls it 40 feet away. \\n Pauses. Waits, counting down time. Then - \\n \\n BOND SPRINGS. SHOOTS at one of the CRATES. IT BLOWS UP, just as -\",\n \" from the pilot's body and THROWS IT - thwack - into the man's heart. \\n \\n ANGLE ON MIG-2'S PILOT - WATCHING THIS FROM HIS COCKPIT. \\n \\n RETURN ON BOND - CLIMBING INTO THE COCKPIT - \\n \\n Where the COPILOT (having climbed in from the other side,) sees it's\",\n \" Laughter. Bond studies the man. Harmsway continues, pointing to a \\n LARGE DRILL/BORING OBJECT, the size of a jet engine, attached to a \\n long flexible hose/tube. \\n \\n HARMSWAY \\n With our six custom designed sea-bed \\n coring drills, we will probe the \\n long-term effects of pollution; our \\n sonars, radars, and research labs \\n will study the wind, the water, and\",\n \" BOND BRACES HIMSELF INSIDE THE AIRLOCK. \\n \\n THE GUARD PEERS INTO THE WINDOW - \\n \\n And suddenly... BOOM! The door blows open with a shattering blast! \\n \\n NEW ANGLE - THE CONTROL ROOM - \\n \\n The guard is blasted backward, dead. Bond rolls out, scrambling for \\n the weapon. Yung slams his hand on a button marked \\\"AUTO-PILOT.\\\" A\",\n \" Taking the machine pistol from the dead guard's lap, he opens the \\n small pilot's window, and balances it on his knees. Ahead, he sees: \\n \\n BOND'S POV - DECK - SEA DOLPHIN II - \\n \\n The crewmen are lining up on either side of the landing pad, near the \\n ship's railings. \\n \\n RETURN ON BOND - \\n \\n Ready for war. He pushes the cyclic pitch lever forward, and the\",\n \" Saunders has opened the briefcase. Bond tries to look inside, but \\n Saunders repositions it. Saunders continues: \\n \\n SAUNDERS \\n In the meantime, perhaps this will \\n spark your interest. \\n (takes out a disposable lighter) \\n Cigarette lighter. Thumb here, press here - \\n \\n A small flame appears. Bond, unimpressed, reaches for it - \\n \\n BOND\",\n \" bottom, where the snow thins, he comes to: \\n \\n A ROCK OUTCROPPING. \\n \\n Hiding behind the rock, Bond takes off his skis, knapsack. He \\n unpacks (and unfolds) a HIGH TECH AUTOMATIC RIFLE. Puts on a \\n HEADSET. He creeps up on the rock, and looks out on: \\n \\n A SECRET MILITARY BASE/AIR STRIP (BOND'S POV)\",\n \" Bond walks down a long dock towards a lone boat, moored at the end. \\n \\n EXT./INT. BOAT AT MARINA - MORNING - \\n \\n Bond looks around furtively, before climbing aboard the sleek ocean- \\n going craft. On the aft-deck, there's a large covered object. \\n \\n As Bond reaches for the CABIN DOOR, it opens by itself - and a\",\n \" Bond replies with a wry smile: \\n \\n BOND \\n Yes... \\n (pause) \\n But some days... Are longer than \\n others. \\n \\n And with this, he reaches up over his head, and pulls a tarp over the \\n two of them... \\n \\n And the camera pulls back, and up, rising into the air to reveal: \\n \\n The entire British Navy closing in on them from all points of the \\n compass. \\n \\n\",\n \" Bond reads THE HEADLINES, sourly: \\n \\n BOND \\n ... Hong Kong destroyed by nuclear \\n meltdown... British agent found in \\n reactor suspected of sabotage; Harmsway \\n calls for British government to resign. \\n \\n Harmsway smiles at Bond: \\n \\n HARMSWAY \\n ...As the advertising says: Tomorrow \\n never lies. \\n \\n BOND \\n What about the gold?\",\n \" MI-6 SITUATION ROOM - ROEBUCK, TANNER, M, WATCHING, UNABLE TO BREATHE - \\n \\n HIGH ANGLE - THE RUNWAY - \\n \\n The CRUISE SKIMS IN DIRECTLY OVER BOND'S PLANE, speeding to takeoff. \\n \\n (INT. BOND'S MiG) BOND SHOVES THE THROTTLES TO THE FIREBALL AND - \\n\",\n \" For a second, MiG-2 hangs in the air. Until... BOOM!!! The TWO HEAT \\n SEEKING MISSILES BLAST IT TO SMITHEREENS. \\n \\n Back in MiG-1, Bond fiddles with the radio. \\n \\n MI-6 - SITUATION ROOM - \\n \\n BOND'S VOICE \\n Seven to base. I have a full \\n house. Your bid. \\n\",\n \" INT. HELICOPTER - \\n \\n The gauges go crazy; the alarms go berserk. The entire cockpit is \\n chattering as Bond struggles to remain in control. \\n \\n EXT. LADDER LEADING TO THE BRIDGE - \\n \\n HARMSWAY is trying to make his way up the ladder as the boat \\n continues to veer out of control. He pauses to look up at: \\n \\n THE HELICOPTER, GYRATING WILDLY -\",\n \" The worm bares its lethal teeth; and revs up to speed. Meanwhile - \\n \\n BOND - \\n \\n Closes his eyes, presses the detonator, and - \\n \\n YUNG - \\n \\n HEARS a small BOOM from inside the airlock. \\n \\n YUNG \\n (to the guard) \\n Check it out. Be careful. \\n \\n The guard picks up his machine pistol, starts to the door. \\n\"\n ],\n [\n \" Xichang (shi-chung) China... And - \\n (mortise shot of:) \\n A special report on the situation in \\n Hong Kong, since the Chinese take- \\n over from Great Britain. \\n \\n EXT. MI-6 LONDON - DAY \\n \\n The DB-5 drives past the guard. \\n \\n INT. CONFERENCE ROOM - DAY \\n\",\n \" ...Most eloquently put, Sir Elliot. \\n \\n HARMSWAY \\n Thank you, General Li. Now I'll just \\n sign this last document - \\n \\n He puts the pen to the paper, and BREAKS THE PEN. Alarmed looks. \\n \\n HARMSWAY (cont'd) \\n Terribly sorry. Mr. Stamper? \\n \\n From behind, Stamper hands him a pen. Harmsway innocently starts to\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" ... Didn't we once investigate Harmsway? \\n \\n M \\n Yes. 1988. He was furious at the \\n British plan to return Hong Kong, and \\n supposedly started his own negotiations \\n with the Chinese Government. The inquiry \\n went nowhere - but it did earn MI-6 a \\n rather powerful enemy - \\n \\n MINISTER JOHNSTONE \\n Not to mention the chaos it caused at\",\n \" (pausing, wistfully) \\n It was a city of unlimited possibility. \\n \\n BOND \\n So why did you leave? \\n \\n HARMSWAY \\n Because it's a dying city. Since the \\n Chinese take-over, who knows what can \\n happen tomorrow? \\n (moving to the last two portraits) \\n In any case, this is my father, Charles: A\",\n \" from Nepal - a Ghurka warrior - con- \\n scripted by the British government to \\n fight in China during World War II - \\n after which the family settled in \\n Hong Kong, where the young Stamper \\n was undoubtedly treated like a second \\n class citizen by both the Hong Kong \\n Chinese, and local British. \\n (beat, aside:) \\n We've all read about the signs at the \\n British swimming pools in Hong Kong\",\n \" Yes. Shall we kill them? \\n \\n HARMSWAY \\n No. I have a better idea. In fact, \\n Mr. Bond may have actually improved \\n my original plan. \\n (beat) \\n Bring them both to Hong Kong. And \\n Make sure he has nothing else up his \\n sleeve. \\n \\n DISSOLVE TO: \\n \\n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -\",\n \" INT. PENTHOUSE BOARDROOM - DUSK \\n \\n A CHINESE CHOP comes down firmly on a legal document. GENERAL LI (of \\n the People's Revolutionary Army) is seated with a squad of lawyers: \\n \\n GENERAL LI \\n And that is the fifth document. With \\n your counter-signature, the sale will \\n be complete. \\n \\n The document is passed across to HARMSWAY, sitting with his own legal\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" HARMSWAY \\n Confusion to the enemy. In 48 hours, \\n that building - and all of Hong Kong \\n around it - will cease to exist. \\n \\n AERIAL - SKIES ABOVE STRAIT OF MALACCA - DAY - \\n \\n A BRITISH MILITARY C-130 airship is dropping sono-buoys into the \\n water from a low altitude. me plane veers off, revealing A BRITISH\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" Captain Cheong's ferry was late. He \\n runs the line across the Strait \\n between here and Sumatra. The lumber \\n mill workers coming back for the \\n weekend missed the last bus. Slept \\n on the docks. Hundreds of them. \\n \\n BOND \\n Thanks. \\n \\n EXT. HARBOR MASTER'S TOWER - DAY \\n \\n Bond emerges, carrying the charts, along with Wade.\",\n \" Taro motions with his Uzi for Bond and Wade to follow... \\n \\n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \\n 007 wants to get it, but Taro nudges him out with the gun muzzle. \\n \\n EXT. MALACCA STRAIT - DAY \\n \\n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN\",\n \" YUNG \\n You must go. Now. Otherwise the \\n boat won't be out of range - \\n \\n Stamper and the guard appear nervous, itching to leave - \\n \\n HARMSWAY \\n Thirty seconds. \\n (then, to Bond) \\n That's the most brilliant part of the \\n plan, Mr. Bond: To save the economy, \\n I'll let the new British government - \\n my British government - announce that\",\n \" Bond reads THE HEADLINES, sourly: \\n \\n BOND \\n ... Hong Kong destroyed by nuclear \\n meltdown... British agent found in \\n reactor suspected of sabotage; Harmsway \\n calls for British government to resign. \\n \\n Harmsway smiles at Bond: \\n \\n HARMSWAY \\n ...As the advertising says: Tomorrow \\n never lies. \\n \\n BOND \\n What about the gold?\",\n \" the gold was irradiated in Hong Kong \\n - where no one will be able to touch \\n it for a hundred years. \\n (beat) \\n And just by coincidence: \\n \\n He turns the paper over and reads/reveals a smaller headline: \\n \\n HARMSWAY \\n ...Gold mine opens in Vietnam. \\n (turns to Stamper) \\n Let's go. Put them in the airlock. \\n\",\n \" YUNG \\n That was too close. \\n \\n HARMSWAY \\n Don't worry. Mr. Bond will get the \\n message. So will his boss. \\n \\n Harmsway presses a button - and suddenly the red box lifts, and a \\n second red box appears underneath it, like shuffling a deck of cards. \\n \\n HARMSWAY \\n I'm going to the plane. Tell the \\n captain to set sail at once.\",\n \" No matter what the British government \\n says, I won't kill this story. \\n (his secretary appears in the doorway) \\n Miss Oxford will show both of you to \\n the elevator... And one of my people \\n will definitely be in touch sooner \\n than later. \\n \\n BOND \\n I'm sure they will. \\n \\n HARMSWAY \\n Good-bye, Mister Bond. \\n\",\n \" What did you do, Harmsway? Make some \\n deal with the Chinese government for \\n the gold?.. Was the radioactive \\n uranium I found in Venice part of it? \\n \\n He finally has the remote control in the right position. \\n \\n HARMSWAY \\n Questions, questions, Mr. Bond... \\n Which I'm afraid I've neither the \\n time, nor the inclination to answer. \\n (to the guards)\",\n \" concerned glance at his office, then turns to Stamper: \\n \\n HARMSWAY \\n Let's find out exactly what he knows. \\n \\n EXT. KUALA LUMPUR - ROADWAY -(BOND CAR) - LATE AFTERNOON - \\n \\n Bond's car approaches the camera, passes it, and heads for HARMSWAY \\n TOWERS, looming over Kuala Lumpur in the distance. \\n\"\n ],\n [\n \" Paris' eyes flicker at something over Bond's shoulder. She swoons: \\n \\n PARIS \\n Kiss me. \\n \\n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \\n across the mouth. \\n \\n PARIS \\n Bastard! Leave me alone! \\n \\n She shoves him off, darts away. Bond is bleeding from his mouth - \\n and not altogether surprised at her behavior. He turns to see - \\n\",\n \" Paris looks up at him like a hurt child. She wants some contact; she \\n wants to hear him say 'I love you.' \\n \\n PARIS \\n Just - say it. Say it just once. \\n \\n BOND \\n (pauses, discomfited) \\n One thing at a time. I'll see you \\n in twenty minutes. Go. \\n \\n She exits; he goes to the bulkhead door... And we pan up to see the\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" Stop it! You're hurting me! Can't \\n you just be nice? \\n \\n BOND \\n I've got half the British government \\n breathing down my neck. I don't have \\n time for your nonsense. \\n \\n She's surprised - and hurt - by his coldness. \\n \\n PARIS \\n Don't you even miss me? Didn't I \\n mean anything to you? \\n \\n BOND\",\n \" Do you? \\n \\n She turns away. Bond feels remorse for hitting her. Softens: \\n \\n BOND \\n What about the uranium? \\n \\n PARIS \\n It's on the boat. He's holding a \\n press conference tomorrow. \\n \\n Bond reaches out to touch her. She falls into his arms, burying her \\n face in his shoulder. \\n \\n PARIS\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" You've got to help me, James. I'm \\n sorry. I'm sorry for everything. I \\n know I was wrong - but you've got to \\n protect me. I know you still love - \\n \\n BOND SLAPS HER. She's stunned. He waits. She's angered: \\n \\n PARIS \\n Do you feel better now? \\n \\n BOND \\n (not giving an inch)\",\n \" Is that any way to say hello? \\n \\n BOND \\n I thought your specialty was good-bye. \\n \\n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \\n \\n PARIS \\n Oh, James. I've missed you - \\n \\n BOND \\n (grabbing her by the wrist) \\n Is this another one of your games? \\n \\n PARIS\",\n \" Looking for someone? \\n \\n Recovering her breath (it was a violent yank,) the woman - PARIS \\n removes her mask. She shines a sexy, 1000-watt smile at 007: \\n \\n PARIS \\n Hello, James. \\n \\n Bond reacts. He is not happy to see her. \\n \\n BOND \\n Paris?!? What are you doing here? \\n \\n PARIS\",\n \" I'm so sorry, James. I promise, I'll \\n never leave you again. \\n \\n BOND \\n (patting her head) \\n Shhhhh... \\n \\n PARIS \\n Just hold me. \\n \\n Bond thinks for a moment, then gently pushes her away, a foot \\n backwards, to look in her eyes: \\n \\n BOND \\n How do you know Harmsway? \\n\",\n \" Come. Let me show you. \\n \\n And he leads the procession off, through the bulkhead door. Bond is \\n left with Paris. She is white with fear. Bond moves to console her: \\n \\n BOND \\n Paris - \\n \\n PARIS \\n Leave me alone! He's going to kill me!! \\n \\n BOND \\n Why didn't you tell me? Why wasn't \\n it in our files? \\n\",\n \" PARIS \\n (anguished) \\n He didn't want anyone to know. He \\n kept it out of the papers. He said a \\n third wife was bad for his image. \\n (beat) \\n You've got to protect me! \\n \\n Bond wants to help her - and follow Harmsway. He pulls out a key: \\n \\n BOND \\n Go to my hotel room. I'll be there \\n in twenty minutes. \\n\",\n \" BOND \\n (to Wade) \\n You have to excuse Miss Winch: She \\n thinks she's on a 'seduce and \\n destroy' mission through life... \\n (pauses) \\n ...But she won't kill us. \\n \\n SIDNEY \\n No? \\n \\n BOND \\n No. First, because I don't think \\n it's in your nature. And second,\",\n \" She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \\n \\n SIDNEY \\n What is HE doing here? \\n \\n HARMSWAY \\n I see you two have met. \\n \\n BOND \\n Briefly. \\n \\n HARMSWAY \\n (crossing to his desk) \\n Don't pout, Sidney. I invited him \\n here hoping he might shed some light\",\n \" I want you to meet my wife. \\n \\n A woman appears in frame, her face obscured by a large sun hat. As \\n she reveals her face to the camera - and Bond - \\n \\n HARMSWAY \\n Paris Harmsway, allow me to introduce \\n you to James Bond. \\n \\n There is a terrified look on her face. Harmsway continues, beaming \\n his most insinuating smile: \\n \\n HARMSWAY\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" Fortunately, Bond has a back-up plan. As Stamper hustles them off - \\n \\n BOND \\n One problem, Harmsway: The girl. And \\n the handcuffs. They'll give it away. \\n \\n Harmsway considers this for a second. Sidney takes Bond's arm. \\n \\n SIDNEY \\n No. I want to stay with him. \\n\",\n \" I think you should go - \\n \\n BOND \\n Not quite yet, Taro - \\n \\n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \\n \\n SIDNEY \\n Uncle Elliot!! \\n \\n Watching this, Bond seethes with memory of Paris and his hatred of \\n Harmsway. Taro tightens his grip - \\n \\n TARO \\n I said you should -\",\n \" 4) She's a smart-ass. He decides to see if he can rattle her: \\n \\n BOND \\n Actually, I'm here on business. You \\n might say it was a... Golden opportunity. \\n \\n SIDNEY \\n (a chill in her voice) \\n And exactly what business are you in, \\n Mr. Bond? \\n \\n BOND \\n Insurance. Lloyds of London. \\n\",\n \" INT. ELEVATOR - \\n \\n The doors close. Bond clocks the security camera in the ceiling. \\n Harmsway is about to take great delight in making Bond squirm: \\n \\n HARMSWAY \\n Before I became involved with Paris, \\n she was always involved with the most \\n inappropriate' men... \\n (beat) \\n Playboys. Thrill seekers. Middle \\n aged Peter Pans who only brought out\"\n ],\n [\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" Paris' eyes flicker at something over Bond's shoulder. She swoons: \\n \\n PARIS \\n Kiss me. \\n \\n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \\n across the mouth. \\n \\n PARIS \\n Bastard! Leave me alone! \\n \\n She shoves him off, darts away. Bond is bleeding from his mouth - \\n and not altogether surprised at her behavior. He turns to see - \\n\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" Come. Let me show you. \\n \\n And he leads the procession off, through the bulkhead door. Bond is \\n left with Paris. She is white with fear. Bond moves to console her: \\n \\n BOND \\n Paris - \\n \\n PARIS \\n Leave me alone! He's going to kill me!! \\n \\n BOND \\n Why didn't you tell me? Why wasn't \\n it in our files? \\n\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" Paris looks up at him like a hurt child. She wants some contact; she \\n wants to hear him say 'I love you.' \\n \\n PARIS \\n Just - say it. Say it just once. \\n \\n BOND \\n (pauses, discomfited) \\n One thing at a time. I'll see you \\n in twenty minutes. Go. \\n \\n She exits; he goes to the bulkhead door... And we pan up to see the\",\n \" Stop it! You're hurting me! Can't \\n you just be nice? \\n \\n BOND \\n I've got half the British government \\n breathing down my neck. I don't have \\n time for your nonsense. \\n \\n She's surprised - and hurt - by his coldness. \\n \\n PARIS \\n Don't you even miss me? Didn't I \\n mean anything to you? \\n \\n BOND\",\n \" You've got to help me, James. I'm \\n sorry. I'm sorry for everything. I \\n know I was wrong - but you've got to \\n protect me. I know you still love - \\n \\n BOND SLAPS HER. She's stunned. He waits. She's angered: \\n \\n PARIS \\n Do you feel better now? \\n \\n BOND \\n (not giving an inch)\",\n \" I'm so sorry, James. I promise, I'll \\n never leave you again. \\n \\n BOND \\n (patting her head) \\n Shhhhh... \\n \\n PARIS \\n Just hold me. \\n \\n Bond thinks for a moment, then gently pushes her away, a foot \\n backwards, to look in her eyes: \\n \\n BOND \\n How do you know Harmsway? \\n\",\n \" PARIS \\n (anguished) \\n He didn't want anyone to know. He \\n kept it out of the papers. He said a \\n third wife was bad for his image. \\n (beat) \\n You've got to protect me! \\n \\n Bond wants to help her - and follow Harmsway. He pulls out a key: \\n \\n BOND \\n Go to my hotel room. I'll be there \\n in twenty minutes. \\n\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" Do you? \\n \\n She turns away. Bond feels remorse for hitting her. Softens: \\n \\n BOND \\n What about the uranium? \\n \\n PARIS \\n It's on the boat. He's holding a \\n press conference tomorrow. \\n \\n Bond reaches out to touch her. She falls into his arms, burying her \\n face in his shoulder. \\n \\n PARIS\",\n \" Looking for someone? \\n \\n Recovering her breath (it was a violent yank,) the woman - PARIS \\n removes her mask. She shines a sexy, 1000-watt smile at 007: \\n \\n PARIS \\n Hello, James. \\n \\n Bond reacts. He is not happy to see her. \\n \\n BOND \\n Paris?!? What are you doing here? \\n \\n PARIS\",\n \" Bond, looking up - for Stamper - and down - to check their progress. \\n \\n SIDNEY \\n All I know is one thing: If we get \\n out of here alive, that gold is mine. \\n (beat) \\n I've earned it. \\n \\n Looking upward, Bond SEES STAMPER peering over the rail. BOND FIRES. \\n \\n BOND \\n One thing at a time. \\n\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" I want you to meet my wife. \\n \\n A woman appears in frame, her face obscured by a large sun hat. As \\n she reveals her face to the camera - and Bond - \\n \\n HARMSWAY \\n Paris Harmsway, allow me to introduce \\n you to James Bond. \\n \\n There is a terrified look on her face. Harmsway continues, beaming \\n his most insinuating smile: \\n \\n HARMSWAY\",\n \" ANOTHER ANGLE - SAN GIACOMO SQUARE - (BOND'S POV) - \\n \\n Paris running to FOUR MEN dressed alike in three-corner hats, \\n enveloped from head-to-foot in BLACK CAPES. Their faces are \\n completely concealed behind flat, bone-white masks covering all but \\n their chins. They look like messengers of death. \\n \\n CLOSER ON PARIS AND THE MEN - \\n\",\n \" (to his underlings) \\n Seize the boat! \\n \\n A set of frozen glances goes from Bond, to Paris, to Harmsway. \\n \\n VALENTIN \\n I think I suddenly remembered an \\n urgent meeting in Moscow. \\n \\n To everyone's surprise, Harmsway guffaws. \\n \\n HARMSWAY \\n My friends, there's been a terrible mistake. \\n (putting his arm around DiGiacomo)\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" Is that any way to say hello? \\n \\n BOND \\n I thought your specialty was good-bye. \\n \\n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \\n \\n PARIS \\n Oh, James. I've missed you - \\n \\n BOND \\n (grabbing her by the wrist) \\n Is this another one of your games? \\n \\n PARIS\"\n ],\n [\n \" INT. CARGO HOLD - UNDER WATER - \\n \\n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \\n space. Bond's flare sputters and dies. He drops it, lights another. \\n \\n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \\n He moves toward it. \\n \\n NEW ANGLE - CLOSER - \\n\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" TARO \\n Get him up. Take his belt. \\n (motioning to Wade) \\n Take the two of them to the Captain. \\n \\n The men grab Bond roughly, and shove him next to Wade. \\n \\n TARO \\n By the way. I almost forgot. \\n (smashing Bond) \\n I owed you one. \\n \\n Bond and Wade are frog-marched to the bridge, passing under the gaze\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \\n \\n And just as Bond overcomes the man - spinning him around, holding the \\n knife to the diver's throat - \\n \\n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \\n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \\n 'fish friendly' research tool.) \\n\",\n \" where he collides with something floating just below the ceiling. \\n Dropping the flare on the impact, Bond twists around to see: \\n \\n THE FACE OF A FLOATING DEAD SAILOR. \\n \\n BACK TO SCENE - \\n \\n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \\n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD\",\n \" INT. SEA KING HELICOPTER - AIRBORNE - DAY \\n \\n Frowning, Bond peers at the Sonar Operator's screen. \\n \\n BOND \\n Still nothing? \\n \\n The operator shakes his head. The pilot calls back from the cockpit: \\n \\n CO-PILOT \\n Commander Bond: They've found one of \\n the crewman's bodies! \\n\",\n \" One carries a strange-looking HARPOON-TYPE GUN; another trails a \\n CABLE. The divers have fanned out, looking for 007. \\n \\n BOND - \\n \\n Realizes his best chance is to take one of the men hostage. \\n \\n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \\n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \\n\",\n \" BOND'S POV - \\n \\n The helicopter clears the island: Bright blue sea ahead. Bond sees \\n then passes over - the HNN boat, bobbing empty in the water... \\n \\n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \\n in the instance. \\n \\n REAR DECK - SEA DOLPHIN II - \\n \\n Looking north, off the back of the boat Stamper and a crewman see the\",\n \" Smashing through the water at breakneck speed. Wade and Bond yell \\n over the engines. \\n \\n WADE \\n What do you want with the Harbor Master? \\n \\n BOND \\n Tide and current charts. Work \\n backward from the body - find where \\n the ship sank. \\n (Wade nods appreciatively) \\n Where did you get the boat? \\n \\n WADE\",\n \" through all this and the ship isn't \\n even down there? \\n \\n BOND \\n Yes, the ship is down there. But the \\n gold is gone. \\n \\n CAPTAIN MORTON \\n That's absurd! It took two squads of \\n forty men fifteen days to load that \\n gold. \\n \\n BOND \\n I know what I saw - \\n \\n CAPTAIN\",\n \" The \\\"Captain\\\" turns from a monitor: IT'S SIDNEY. \\n \\n SIDNEY \\n Just give me one goad reason - Mister \\n Bond, from Lloyds of London - why I \\n shouldn't kill both of you, burn your \\n boat, and use your bodies for shark bait. \\n \\n WADE \\n (chirping up) \\n So you two know each other!?! Small\",\n \" And just when it seems impossible for him to survive - to hold his \\n breath a second longer - \\n \\n A FIGURE IN SCUBA GEAR (mask and tank) GRABS HIM. \\n \\n Bond turns in disbelief. Stares into the mask: IT'S SIDNEY. She \\n puts her regulator in Bond's mouth... \\n \\n And they share the air as they rise from the depths. \\n \\n THE SURFACE - \\n\",\n \" Taro motions with his Uzi for Bond and Wade to follow... \\n \\n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \\n 007 wants to get it, but Taro nudges him out with the gun muzzle. \\n \\n EXT. MALACCA STRAIT - DAY \\n \\n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN\",\n \" They break through the water. Sidney yanks off her mask. Teases: \\n \\n SIDNEY \\n What do you mean, you'd rather die \\n alone? \\n \\n BOND \\n I didn't say when I want to die - \\n \\n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \\n dinghy floating nearby. \\n \\n NEW ANGLE - THE DINGHY - \\n\",\n \" With the water cascading over the camera, (as if we were riding \\n inside an ocean wave,) the worm heads for a tank marked \\\"FUEL.\\\" \\n \\n EXT. THE SEA DOLPHIN II - \\n \\n The boat is sinking. Bond is running across the bridge roof, when: \\n THE BOAT SUDDENLY LISTS TO THE STARBOARD SIDE. \\n \\n INT. BRIDGE - \\n\",\n \" INT. ENGINE ROOM - UNDERWATER - \\n \\n Bond sees the damage on the passageway door. Swims through it. \\n \\n INT. PASSAGEWAY - UNDER WATER - \\n \\n The flare throws eerie shadows along the corridor; Bond swims to the \\n busted bilge-hold hatch. Again, he pauses to examine the marks made \\n by the worm. He drops into the hold. \\n\",\n \" Amidst more laughter, Bond disappears into the bulkhead door. \\n \\n INT. SEA DOLPHIN II - BELOW DECKS - \\n \\n Bond moves cautiously down a STAIRCASE... \\n \\n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \\n sure they're locked. Bond withdraws for a moment, looks back: The \\n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \\n\",\n \" But Bond pulls him back down, and holds him down, pushing down on \\n Harmsway's shoulders. \\n \\n Harmsway is thrashing about, flailing in all directions, pounding at \\n Bond in a haze of bubbles... \\n \\n Then falls still. \\n \\n With his lungs aching, bursting with fire, Bond rockets up - \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n through the bridge windows, up to - \\n\",\n \" The helicopter suddenly appears in front of him. Shooting from the \\n pilot's window, Bond shatters the glass windows - \\n \\n And the Captain slumps forward on the wheel, spinning it as he slides \\n to the deck. \\n \\n INT. HARMSWAY'S CABIN - \\n \\n The boat pitches wildly; Harmsway looses his balance, crashing into a \\n wall. \\n \\n INT. STORAGE CABIN - \\n\"\n ],\n [\n \" But the case was terminal. \\n \\n And on this note, we - \\n \\n DISSOLVE TO: \\n \\n EXT. VENICE HARBOR - THE NEXT DAY - \\n \\n Under a beautiful blue sky, the gleaming white SEA DOLPHIN II sits at \\n dock, festooned with pennants and banners. There's a crowd onboard. \\n At the same time, however, 500 feet away... \\n\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" THEY EXPLODE AGAINST THE CLOSING DOOR - TO NO EFFECT. \\n \\n BOND'S CAR GETS CLOSER AND CLOSER - \\n \\n SIDNEY SCREAMS! BOND BRACES, AND - \\n \\n BOOM! CRASH! SILENCE. BLACK. After a moment, we HEAR THE SOUND OF \\n FOOTSTEPS ON CEMENT. \\n \\n INT. GARAGE - \\n\",\n \" The two of them make a break for the car, DIVING INSIDE. \\n \\n INT. BOND'S CAR - MOVING - GARAGE - \\n \\n - Bond guns the engine, slams the transmission into gear. Burning \\n rubber, GUARDS bounce off the front fenders. \\n \\n THE GUARDS - \\n \\n Continue to shoot at the car. \\n \\n OTHER GUARDS - \\n\",\n \" With the chopper about 15 feet above the gold hold - just barely \\n under control - Bond opens the door. \\n \\n He leaps out onto the hatch, and rolls off, disappearing as - \\n \\n THE CHOPPER CRASHES onto the gold hold, in a GIANT BALL OF FLAME and \\n twisted metal. \\n \\n INT. STORAGE COMPARTMENT - \\n \\n Sidney looks up, hearing and feeling the explosion. \\n \\n INT. BRIDGE -\",\n \" Seemingly at once, (1) Sidney bites the Guard's forearm, (2) Bond \\n ducks, (3) the Guard shoots wildly, (4) the gun drops, and (5) - \\n \\n Bond rushes the man, KNOCKING HIM BACKWARDS INTO THE PRINTING PRESS, \\n pulling Sidney away at the last moment. \\n \\n The Guard is sucked up in the press rollers, and... \\n\",\n \" Shaking his head, he pulls out a HANDKERCHIEF to mop the flop sweat. \\n \\n RETURN ON THE MANOR HOUSE - FAVORING THE HNN HELICOPTER - \\n \\n Amidst ad-libbed 'good-bye's\\\" from the gang of six (now five,) \\n Harmsway gets in the waiting HNN chopper. It powers up, takes off. \\n \\n EXT. SMALL AIRPORT - SCOTLAND - \\n\",\n \" (glaring, insanely:) \\n We all go down together!!! \\n \\n Harmsway lunges for Bond's throat - \\n \\n AND THE BRIDGE SLIPS UNDERWATER - \\n \\n Where Bond breaks Harmsway's grasp in a violent struggle - then \\n punches him. Air bubbles break from Harmsway's mouth. He \\n frantically tries to break free for the surface - \\n\",\n \" As the passageway shifts, tilting to the stern, the Captain screams \\n and WHOOSH! - is sucked down into the water - the worm's vortex - \\n like meat being fed into a Cuisinart: A churning, spinning death. \\n \\n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \\n \\n Bow rises completely out of the water as the stern goes under. \\n \\n EXT. DECK - \\n\",\n \" But Bond pulls him back down, and holds him down, pushing down on \\n Harmsway's shoulders. \\n \\n Harmsway is thrashing about, flailing in all directions, pounding at \\n Bond in a haze of bubbles... \\n \\n Then falls still. \\n \\n With his lungs aching, bursting with fire, Bond rockets up - \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n through the bridge windows, up to - \\n\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" Having failed at the cable, Stamper goes at the PULLEY feeding it. \\n He swings. Swings again. With each blow, the pulley shaft weakens. \\n \\n BOND AND SIDNEY - (WINDOW WASHER'S RIG) - \\n \\n Dropping in VIOLENT SPURTS - just trying to stay in the damn bucket. \\n \\n STAMPER - WIELDING THE AX - \\n\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" The lights come on. The car is a twisted wreck, smashed against the \\n wall. Bond and Sidney are slumped forward, unconscious. \\n \\n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \\n \\n HARMSWAY \\n - Built to withstand a nuclear blast. \\n (to Stamper, checking \\n Bond's pulse) \\n Are they alive? \\n \\n STAMPER\",\n \" No. \\n \\n CAPTAIN MORTON \\n You leave me no alternative. \\n \\n CAPTAIN MORTON \\n (upholstering a walkie-talkie) \\n Cut her anchor. \\n \\n As Sidney yells \\\"NO!\\\" - THE FORWARD GATLING GUN erupts to life. One \\n short, bone rattling burst CUTS THE CHAIN. \\n \\n SIDNEY\",\n \" YUNG \\n A generator blew. Nothing to worry about. \\n (beat) \\n But I need one last shot of you. Why \\n don't you stand by the alarm? \\n \\n POWER PLANT GUARD \\n No problem. \\n \\n The guard stands, and smiles, posing for the video camera... And Yung \\n pulls a pistol from his pocket and shoots him. \\n \\n YUNG\",\n \" He throws a look back: \\n \\n THE ENTRANCE DOOR IS BEGINNING TO HUM AND VIBRATE. \\n \\n Sprinting for his life, the Captain rushes up the stairs, two at a \\n time. The humming behind him grows louder. He glances back: \\n \\n THE DOOR BLASTS OPEN. WATER SHOOTS IN. \\n \\n He rushes up the last four steps, just as - \\n\",\n \" Rocked by waves from the sinking ship. The Cook, a Marine, and Three \\n Crewmen hear a splash along side. Two of the Crew pull the SONAR \\n OFFICER aboard. He takes a minute to catch his breath, then: \\n \\n SONAR OPERATOR \\n Six. That's it? Only six of us? \\n \\n COOK \\n Most of the crew never made it to \\n their life jackets. The Captain? \\n\",\n \" wall, and THE WORM comes to life. \\n \\n Stamper closes in on Bond with the worm. \\n \\n Bond tries to stand, but Stamper flings him back down, pinning Bond \\n against the wall with his free hand as he - \\n \\n MANEUVERS THE WORM TOWARDS BOND'S HEAD. \\n \\n With the cutting blades whirring inches away from Bond's nose - \\n \\n STAMPER\",\n \" gun to the right: TWO BURSTS. THREE MEN DIE. Still running, he \\n swings to the left: ANOTHER BURST. TWO MORE DOWN. \\n \\n Ahead, Bond sees the FLIGHT CREWS DASHING for the MiG's. He makes a \\n beeline for MiG-1. \\n \\n ANGLE ON THE BALD MAN - \\n \\n Slamming the gate on the RED BOX in a cargo truck. Rushing to the\"\n ],\n [\n \" THE SURFACE. \\n \\n He breaks through the water, gasping for air... And then, almost \\n instantly, dives down again. \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n Bond dives for the boat - down, and down, chasing it, as if he could \\n just grab it, and stop it from sinking. \\n \\n He goes deeper, and deeper, as it sinks further and further away, \\n just beyond his reach. \\n\",\n \" But Bond pulls him back down, and holds him down, pushing down on \\n Harmsway's shoulders. \\n \\n Harmsway is thrashing about, flailing in all directions, pounding at \\n Bond in a haze of bubbles... \\n \\n Then falls still. \\n \\n With his lungs aching, bursting with fire, Bond rockets up - \\n \\n UNDERWATER - (BOND/BOAT) - \\n \\n through the bridge windows, up to - \\n\",\n \" And just when it seems impossible for him to survive - to hold his \\n breath a second longer - \\n \\n A FIGURE IN SCUBA GEAR (mask and tank) GRABS HIM. \\n \\n Bond turns in disbelief. Stares into the mask: IT'S SIDNEY. She \\n puts her regulator in Bond's mouth... \\n \\n And they share the air as they rise from the depths. \\n \\n THE SURFACE - \\n\",\n \" (glaring, insanely:) \\n We all go down together!!! \\n \\n Harmsway lunges for Bond's throat - \\n \\n AND THE BRIDGE SLIPS UNDERWATER - \\n \\n Where Bond breaks Harmsway's grasp in a violent struggle - then \\n punches him. Air bubbles break from Harmsway's mouth. He \\n frantically tries to break free for the surface - \\n\",\n \" One carries a strange-looking HARPOON-TYPE GUN; another trails a \\n CABLE. The divers have fanned out, looking for 007. \\n \\n BOND - \\n \\n Realizes his best chance is to take one of the men hostage. \\n \\n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \\n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \\n\",\n \" Breaking off with a groan, tumbling onto the rocks below. \\n \\n IN THE WATERBED - \\n \\n A torrent of water crashes over 007. Fighting the oncoming deluge, \\n he crawls - on his belly - through the water - 25 feet inland. \\n \\n NEW ANGLE - (TOP OF THE WATER FALL, INLAND) \\n \\n Bond stands, walks out of the riverbed. He looks back at the cliff: \\n\",\n \" Wade pulls back his shirt to reveal TWO SIX-SHOOTERS. \\n \\n WADE \\n I got you covered. \\n \\n BOND \\n That's reassuring. \\n \\n Bond rolls backward into the water and disappears. \\n \\n UNDERWATER - \\n \\n Bond swims to the anchor line, and begins pulling himself downward, \\n handover-hand, deeper and deeper into a monochromatic gloom. \\n\",\n \" They break through the water. Sidney yanks off her mask. Teases: \\n \\n SIDNEY \\n What do you mean, you'd rather die \\n alone? \\n \\n BOND \\n I didn't say when I want to die - \\n \\n She splashes him. Turning away, Bond spots Stamper's 'arms cache' \\n dinghy floating nearby. \\n \\n NEW ANGLE - THE DINGHY - \\n\",\n \" Bond rockets up, SLAMMING INTO DIVER #1. A confusion of bubbles. \\n \\n And just as Bond overcomes the man - spinning him around, holding the \\n knife to the diver's throat - \\n \\n DIVER #2 SHOOTS the HARPOON-TYPE GUN, and A DOLPHIN NET explodes out, \\n ENVELOPING BOND AND THE DIVER in a mesh. (Note: This is a real, \\n 'fish friendly' research tool.) \\n\",\n \" Enjoy the rest of your life. \\n \\n As Stamper pushes Bond into the reactor room airlock, he hears: \\n \\n HARMSWAY \\n I'll meet you on the boat, south of \\n Lantau Island. \\n \\n INT. AIRLOCK - \\n \\n The door closes. Bond looks out the small window at: \\n \\n HARMSWAY AND YUNG IN THE CONTROL ROOM - \\n \\n YUNG\",\n \" BOND \\n Cut the engines! It's about two- \\n hundred fifty feet down. \\n \\n JUMP CUT TO: \\n \\n AN ANCHOR BEING PITCHED INTO THE WATER - (BOW OF SPORT FISHING BOAT) - \\n \\n By Wade. Bond is strapping on his scuba tank. \\n \\n WADE \\n Two-fifty's pretty deep for air. You\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" EXT. THE TOP OF THE WATER FALL - \\n \\n Exhausted, Bond reaches up, over the edge. He drives a pick down - \\n through the ice, into the hard, flat, ground beneath the waterbed. \\n \\n As he pulls himself up, (his full weight on the first ice-pick,) he \\n smashes a second pick through the ice, into the waterbed, and - \\n \\n THE ENTIRE ICE FALL GIVES WAY - \\n\",\n \" rig, and is descending, FIRING AT THEM. \\n \\n Bond looks at Sidney - \\n \\n BOND \\n Sometimes you just have to - \\n \\n SIDNEY \\n Don't say it. \\n \\n She locks her arms and legs around him, he snaps the leather harness \\n around her waist, and they roll over the railing Amidst gunfire. \\n \\n EXT. HARMSWAY TOWERS - TWILIGHT \\n\",\n \" Taro holds up the BOND'S DIVING BELT, indicating 'nothing'. Angrily: \\n \\n SIDNEY \\n Search him. \\n \\n The men look at Bond - wearing only swim trunks. Nobody moves. \\n \\n SIDNEY \\n Do I have to do everything around here? \\n \\n BOND \\n I hope so. \\n\",\n \" THE ICE WALL SHATTERS, FALLING AWAY IN FRONT OF HIM. IN THE SHOCK - \\n \\n BOND LOSES HIS GRIP ON THE FIRST ICE PICK - \\n \\n And 007 is now dangling, 575 feet in the air, staring at a torrent of \\n water - hanging only by the leather thread around his wrist, attached \\n to the first ice-pick, still embedded in the wall. \\n\",\n \" INT. CARGO HOLD - UNDER WATER - \\n \\n The gold is gone. Bond swims a few yards in: Nothing. A vast empty \\n space. Bond's flare sputters and dies. He drops it, lights another. \\n \\n As he turns to exit, SOMETHING GLINTS on the deck below the hatch. \\n He moves toward it. \\n \\n NEW ANGLE - CLOSER - \\n\",\n \" BOND \\n ... How did you get into marine \\n salvage? \\n \\n SIDNEY \\n (gun burst, then) \\n My father left me the business. \\n \\n Bond glances at his watch, timing the bomb. The guards shoot; she \\n shoots back, then explains: \\n \\n SIDNEY \\n I used to be a divorce lawyer in New \\n York City. \\n\",\n \" where he collides with something floating just below the ceiling. \\n Dropping the flare on the impact, Bond twists around to see: \\n \\n THE FACE OF A FLOATING DEAD SAILOR. \\n \\n BACK TO SCENE - \\n \\n Throwing wildly gyrating shadows, the flare drops to the deck, roll- \\n ing under some debris. Regaining his composure, Bond SLIPS THE GOLD\",\n \" The two of them make a break for the car, DIVING INSIDE. \\n \\n INT. BOND'S CAR - MOVING - GARAGE - \\n \\n - Bond guns the engine, slams the transmission into gear. Burning \\n rubber, GUARDS bounce off the front fenders. \\n \\n THE GUARDS - \\n \\n Continue to shoot at the car. \\n \\n OTHER GUARDS - \\n\"\n ],\n [\n \" James Bond... I believe he's a field \\n adjuster for Lloyd's of London... \\n \\n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \\n \\n HARMSWAY \\n Then we have this James Bond. \\n \\n INSERT VIDEO SCREEN - BOND'S KGB FILE - \\n \\n HARMSWAY \\n (reading from the screen) \\n ... Licensed to Kill...\",\n \" Xichang (shi-chung) China... And - \\n (mortise shot of:) \\n A special report on the situation in \\n Hong Kong, since the Chinese take- \\n over from Great Britain. \\n \\n EXT. MI-6 LONDON - DAY \\n \\n The DB-5 drives past the guard. \\n \\n INT. CONFERENCE ROOM - DAY \\n\",\n \" MINISTER JOHNSTONE \\n And I have the entire British economy \\n to worry about. \\n \\n BOND \\n (breaking in) \\n Minister - \\n (all turn to him) \\n Obviously, MI-6 was not involved in \\n this operation. But I have to defend \\n the Admiral. \\n \\n Roebuck looks at Bond with great surprise. Bond continues: \\n \\n BOND (cont'd)\",\n \" EXT. THE BANK OF LONDON - NIGHT \\n \\n Passing a NEWSPAPER DELIVERY TRUCK with an ad for \\\"TOMORROW\\\" (\\\"The \\n Paper that Never Lies,\\\") Bond's DB-5 roars past the guard. \\n \\n INT. CONFERENCE ROOM - BANK OF LONDON - NIGHT \\n \\n ADMIRAL ROEBUCK glares as MINISTER JOHNSTONE enters to address M,\",\n \" (interrupting) \\n Excuse me, but - \\n (all turn to him:) \\n I must formally protest this meeting. \\n Given the nature of what's occurred - \\n and the need for secrecy - I see no \\n reason to involve the air force, the \\n army, or MI-6. \\n (beat, as M and Tanner exchange a look) \\n This is an internal affair that should \\n be handled strictly by the officers of\",\n \" And he exits. M, frowning, hits a button on her intercom: \\n \\n M \\n Would you send in the new man from \\n equipment branch? \\n \\n MONEYPENNY (O.S.) \\n Right away. \\n \\n BOND \\n .... I hate to ask, but... Did you \\n ever think you'd miss Communism? \\n \\n M \\n We serve the interests of the British\",\n \" her Majesty's Royal Navy. \\n \\n MINISTER JOHNSTONE \\n (furious) \\n Admiral, are you suggesting - \\n \\n He's distracted by the CLICK OF A DOOR OPENING. All turn to SEE BOND \\n entering, wearing a FULL NAVAL UNIFORM. M stifles a smile. \\n \\n BOND \\n Sorry I'm late - \\n \\n M\",\n \" The reason I invited the Minister \\n here, 007, was to reassure him that \\n this investigation will be handled \\n with the utmost discretion. \\n \\n BOND \\n Of course. \\n \\n M \\n Which is also why I've withheld this \\n information from NATO and our allies. \\n \\n BOND \\n (nods, then, recalling)\",\n \" plutonium. They've been arguing. \\n \\n M \\n Come in, 007. You know the Minister? \\n \\n BOND \\n Of course. \\n (nods to) \\n Minister Johnstone. \\n \\n MINISTER JOHNSTONE \\n 007. \\n \\n Bond sits in an armchair. M presses a button, and a video/bio of\",\n \" No matter what the British government \\n says, I won't kill this story. \\n (his secretary appears in the doorway) \\n Miss Oxford will show both of you to \\n the elevator... And one of my people \\n will definitely be in touch sooner \\n than later. \\n \\n BOND \\n I'm sure they will. \\n \\n HARMSWAY \\n Good-bye, Mister Bond. \\n\",\n \" Watching this display is M, TANNER, and a handful of MILITARY BRASS, \\n including a RUSSIAN GENERAL, BUKHARIN, and BRITISH ADMIRAL ROEBUCK, \\n an aging sea-lion with no love for M, or MI-6. \\n \\n M deals with the humorless Admiral by, well, humoring him: \\n \\n M \\n ... What were you saying, Admiral? \\n Something about this 'not being a job\",\n \" Bond replies with a wry smile: \\n \\n BOND \\n Yes... \\n (pause) \\n But some days... Are longer than \\n others. \\n \\n And with this, he reaches up over his head, and pulls a tarp over the \\n two of them... \\n \\n And the camera pulls back, and up, rising into the air to reveal: \\n \\n The entire British Navy closing in on them from all points of the \\n compass. \\n \\n\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" Moneypenny hangs up, looks up, and blanches: M is standing there. \\n \\n MONEYPENNY \\n Don't ask. \\n \\n M \\n Don't tell. \\n (walking away) \\n I don't want to know. \\n \\n INT. HALLWAY - OUTSIDE JENNY'S OFFICE - OXFORD - \\n\",\n \" INT. M'S ANTEROOM - MI-6. \\n \\n MONEYPENNY, at her desk. \\n \\n MONEYPENNY \\n Hello, James. I hope I'm \\n interrupting something important. \\n \\n INT. OFFICE - (INTERCUT AS NECESSARY) \\n \\n (Jenny has a leg on the bed, pulling on a full Victoria's Secret \\n outfit: Nylons, garter/suspenders, bustier, etc.) \\n\",\n \" WOMAN \\n I can't believe it took us so long to \\n finally get together! What exactly \\n do you do for the government? \\n \\n BOND \\n (after a beat) \\n You might say... 'Public relations.' \\n \\n WOMAN \\n How fascinating! I bet you meet all \\n the most fabulous people. \\n \\n Before Bond can answer, the MAITRE D' interrupts. \\n\",\n \" Satisfying as the fantasy. \\n \\n Bond scowls. Moneypenny smiles wryly, points to the inner door: \\n \\n MONEYPENNY \\n Don't keep M waiting. \\n \\n INT. M'S OFFICE - DAY \\n \\n M is behind her desk; MINISTER PETER JOHNSTONE sits across - a high- \\n handed Teflon-coated politician, with the survival instincts of\",\n \" BOND \\n Bond. \\n \\n HARMSWAY'S VOICE \\n Hello, Mister Bond. \\n \\n BOND \\n (with an edge) \\n Who is this? \\n \\n INT. HARMSWAY'S OUTER OFFICE - \\n \\n Harmsway is perched on a desk. In the background, THROUGH HIS OPEN\",\n \" Whitehall when his newspapers began \\n screaming for the recall of the \\n sitting government. \\n \\n M \\n (a beat, then:) \\n I'm sending you to Venice, 007. \\n You're to check out the source, \\n determine whether Elliot Harmsway is \\n involved with the enriched uranium, \\n and, if so, stop him. \\n \\n BOND\",\n \" (smirks at Bond, pauses, then) \\n Oh. I almost forgot. There is one last \\n thing: Before Q retired, he asked that \\n I give you one other protective device. \\n \\n He hands Bond a WEDDING BAND. \\n \\n BOND \\n A wedding band??? What am I supposed \\n to be able to do with this? \\n \\n SAUNDERS \\n I believe Q's exact words were:\"\n ],\n [\n \" Tanner points to the video wall with a RED LASER PEN. \\n \\n TANNER \\n (ironically) \\n A regular terrorist swap meet. Death \\n at discount: Two Chinese Long March \\n Scuds, a pair of Soviet A-17 attack \\n helicopters - \\n \\n BUKHARIN \\n (interrupting) \\n Stolen - \\n \\n TANNER\",\n \" up with the British Navy in the \\n Strait. Rescue planes, helicopters; \\n two ships supposedly sailing from the \\n Persian gulf. They just chased away \\n one of our news boats. \\n \\n HARMSWAY \\n (feigning complete innocence) \\n Is that so? \\n \\n NEWS EDITOR 4 \\n Yeah. Sounds like a plane went down \\n or something... Either way, they're\",\n \" that said \\\"No Ghurka's allowed.\\\" \\n \\n BOND \\n Nothing like a little imperialism to \\n promote loyalty among the faithful. \\n \\n COL. DOMINIQUE EVERHART \\n (stifles a smile, then:) \\n In conclusion: Both these men have a \\n vendetta against the world. They are \\n nuclear armed, and dangerous. And \\n having failed to get the UZ35 through\",\n \" botched attempt to steal fissionable \\n material from a British light-water \\n reactor in South Africa - an accident \\n that left him entirely hairless... \\n \\n Another face appears on the screen: \\n \\n COL. DOMINIQUE EVERHART (cont'd) \\n And Rendera Sikrahm, also known as \\n Richard Stamper. Freelance mercenary, \\n Laos and Cambodia. His father was\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" Taro motions with his Uzi for Bond and Wade to follow... \\n \\n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \\n 007 wants to get it, but Taro nudges him out with the gun muzzle. \\n \\n EXT. MALACCA STRAIT - DAY \\n \\n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN\",\n \" from Nepal - a Ghurka warrior - con- \\n scripted by the British government to \\n fight in China during World War II - \\n after which the family settled in \\n Hong Kong, where the young Stamper \\n was undoubtedly treated like a second \\n class citizen by both the Hong Kong \\n Chinese, and local British. \\n (beat, aside:) \\n We've all read about the signs at the \\n British swimming pools in Hong Kong\",\n \" the old opium route - the Khyber Pass \\n - it's NATO's belief that their next \\n attempt will be through Bulgaria - \\n where the NATO Nuclear Strike Force \\n will be there to stop them. \\n \\n M \\n Thank you Colonel Everhart. \\n (stands, turns to:) \\n 007, I'd like to see you in my office. \\n Why don't you and the Colonel exchange\",\n \" (glancing sideways) \\n Occasionally, yes. \\n (directly to M) \\n British media mogul. Born in Hong Kong; \\n controls newspapers, TV, radio, cable, \\n satellites; books, magazines, movies, \\n computer software. Theme parks. \\n \\n M \\n (holding up a copy of:) \\n - Along with Tomorrow - the first \\n world-wide newspaper. Circulation 27\",\n \" hanging from a steel boom.) \\n \\n THE DECK - \\n \\n Coming up the ladder first, Harmsway is greeted by the Captain. \\n \\n HARMSWAY \\n Any news? \\n \\n THE CAPTAIN \\n The call just went out on the Hong \\n Kong police radio: Fire at the power \\n plant. \\n \\n HARMSWAY \\n (ironically) \\n Alert the media! \\n\",\n \" Stamper: He who has the gold, rules. \\n \\n He drops the gold back in the hold. \\n \\n HARMSWAY \\n Is the helicopter ready? \\n \\n STAMPER \\n Fueled and waiting. \\n \\n HARMSWAY \\n Good. We have an appointment in Hong Kong. \\n \\n INT. HALLWAY - BANK OF LONDON - NIGHT - \\n\",\n \" I know. Pirates from Sumatra want \\n the cargo; smugglers from Thailand \\n and Burma want the ships. \\n \\n CAPTAIN CHEONG \\n Sometimes kill the crew; other times - \\n (points to his eye) \\n Torture them. \\n \\n BOND \\n I'm sorry. \\n \\n CAPTAIN CHEONG \\n The Kuala Lumpur ferry was 35 miles\",\n \" another face, and the man's stats appear in London. \\n \\n TANNER \\n Vilko Barkoviac. Bosnian war \\n criminal; thought to be operating \\n freelance out of Teheran. \\n (pressing a button) \\n Full house, seven. Bid to the North. \\n \\n Bond complies. Another face, another set of stats: \\n \\n TANNER \\n Sitoshi Isagura. Japanese religious\",\n \" THE TABLE OPENS, and a 3-D MAP OF MALAYSIA rises into view. \\n \\n HARMSWAY \\n Gentlemen: In exactly 36 hours, we \\n are going to initiate phase one of \\n the word's most perfect crime: The \\n biggest theft in the history of mankind. \\n (beat, pointing with a laser) \\n Right here. In the Strait of Malacca. \\n\",\n \" GENERAL BUKHARIN \\n We didn't know it was missing. \\n \\n M \\n Get me the Prime Minister. Alert \\n NATO, the CIA, the Pentagon. \\n (presses a button:) \\n Seven: This is a direct order. I \\n want you out of there. Do you copy? \\n \\n THE ROCK OUTCROPPING - \\n\",\n \" Stoned silence. Disbelief. Tanner whispers: \\n \\n TANNER \\n God help him. \\n \\n THE CRUISE MISSILE - FLYING THROUGH A MOUNTAIN RAVINE - \\n \\n God help the rest of us. \\n \\n THE SECRET AIR BASE - \\n \\n As various factions shoot at each other (Who's the traitor?) Bond \\n streaks toward the action. Without breaking stride, he swings his\",\n \" The General SEES THE CABLE GROW TAUT AROUND THE VENTILATION SHAFT. \\n He reacts with horror. \\n \\n INT. HELICOPTER/HARMSWAY ROOFTOP POV - \\n \\n Harmsway glances down to watch the VENTILATION SHAFT TOPPLE onto the \\n General and his aides, scattering them like rats. \\n \\n In the chopper, the pilot cuts the cable, and Harmsway lifts a \\n champagne glass:\",\n \" With its walls of monitors, equipment, and control rooms, the effect \\n is overwhelming. Harmsway will walk Bond around the perimeter: \\n \\n HARMSWAY \\n Welcome to the new world order, Mr. Bond. \\n (starting to walk) \\n Churchill had his armies; Caesar had his \\n legions; I have my divisions: \\n (pointing) \\n News, sports, business, entertainment. \\n And these are my foot soldiers:\",\n \" What's in the box??? \\n \\n BUKHARIN \\n (sheepishly) \\n ... We usually... Transport... \\n Weapons grade uranium. \\n \\n Shock sweeps the room. M turns on Tanner: \\n \\n M \\n Will it go off? \\n \\n TANNER \\n Maybe. Maybe not. \\n \\n M \\n Abort the cruise. \\n\",\n \" Seized it from a guy smuggling \\n computer chips out of Bangkok. \\n (beat) \\n Should have seen his rose garden: \\n Blooms the size of hand grenades. \\n \\n Bond looks at Wade: The man remains, forever deranged. \\n \\n EXT. PORT KLANG - ESTABLISHING - DAY \\n \\n The Harbor Master's tower overlooks a small armada of yachts, fishing\"\n ],\n [\n \" With its walls of monitors, equipment, and control rooms, the effect \\n is overwhelming. Harmsway will walk Bond around the perimeter: \\n \\n HARMSWAY \\n Welcome to the new world order, Mr. Bond. \\n (starting to walk) \\n Churchill had his armies; Caesar had his \\n legions; I have my divisions: \\n (pointing) \\n News, sports, business, entertainment. \\n And these are my foot soldiers:\",\n \" (glancing sideways) \\n Occasionally, yes. \\n (directly to M) \\n British media mogul. Born in Hong Kong; \\n controls newspapers, TV, radio, cable, \\n satellites; books, magazines, movies, \\n computer software. Theme parks. \\n \\n M \\n (holding up a copy of:) \\n - Along with Tomorrow - the first \\n world-wide newspaper. Circulation 27\",\n \" I used to sell weapons; now I buy votes. \\n (then) \\n Off the record. \\n \\n BOND \\n Of course. If you can't beat the \\n government, you might as well own it. \\n \\n Valentin spots someone off-camera. \\n \\n VALENTIN \\n Wait - I want you to meet a friend of \\n mine. \\n (calling out) \\n Elliot! Elliot! Come here.\",\n \" Xichang (shi-chung) China... And - \\n (mortise shot of:) \\n A special report on the situation in \\n Hong Kong, since the Chinese take- \\n over from Great Britain. \\n \\n EXT. MI-6 LONDON - DAY \\n \\n The DB-5 drives past the guard. \\n \\n INT. CONFERENCE ROOM - DAY \\n\",\n \" As you're aware, Sir Elliot, our \\n software division has introduced a new \\n computer operating system, Gates '99. \\n (beat) \\n It's deliberately filled with bugs - \\n so people will be forced to buy our \\n upgrades over the next five years. \\n (beat) \\n The window on revenues is 2.8 billion. \\n \\n HARMSWAY \\n Outstanding, Number Two.\",\n \" ...Most eloquently put, Sir Elliot. \\n \\n HARMSWAY \\n Thank you, General Li. Now I'll just \\n sign this last document - \\n \\n He puts the pen to the paper, and BREAKS THE PEN. Alarmed looks. \\n \\n HARMSWAY (cont'd) \\n Terribly sorry. Mr. Stamper? \\n \\n From behind, Stamper hands him a pen. Harmsway innocently starts to\",\n \" Stamper's limousine parks near a Gulfstream jet. He opens the back \\n door for Number Three. At last, the man believes he is safe. \\n \\n NUMBER THREE \\n Thank you! Thank you so much. You \\n must thank Sir Elliot for me. \\n \\n STAMPER \\n (producing a NEWSPAPER) \\n Here. Something to read on the plane. \\n\",\n \" ELIOT HARMSWAY appears on the wall behind her. Mid-50's, regal. \\n \\n M \\n Tell me, 007, what do you know about \\n Elliot Harmsway? \\n \\n BOND \\n (quipping) \\n Only what I read in the newspapers. \\n \\n MINISTER JOHNSTONE \\n (disdainfully) \\n His newspapers? \\n \\n BOND\",\n \" long-time friend of the people. \\n (beat) \\n If you believe what you read in the papers. \\n \\n MINISTER JOHNSTONE \\n (annoyed) \\n Need I remind the two of you that \\n Elliot Harmsway - Sir Elliot Harmsway \\n - is directly descended from the Earl \\n of Aberdeen? That his Scottish \\n ancestors practically invented Hong \\n Kong - and out of sheer gratitude,\",\n \" million. Daily. - \\n \\n BOND \\n 'Able to topple governments with a single \\n story' - as he says in his press. \\n \\n JOHNSTONE \\n (hurrumph) \\n Exactly. \\n \\n Bond looks at Johnstone quizzically. Then a very tight-lipped M. He \\n senses he's about to enter a minefield: \\n \\n BOND\",\n \" (pausing, wistfully) \\n It was a city of unlimited possibility. \\n \\n BOND \\n So why did you leave? \\n \\n HARMSWAY \\n Because it's a dying city. Since the \\n Chinese take-over, who knows what can \\n happen tomorrow? \\n (moving to the last two portraits) \\n In any case, this is my father, Charles: A\",\n \" INT. PENTHOUSE BOARDROOM - DUSK \\n \\n A CHINESE CHOP comes down firmly on a legal document. GENERAL LI (of \\n the People's Revolutionary Army) is seated with a squad of lawyers: \\n \\n GENERAL LI \\n And that is the fifth document. With \\n your counter-signature, the sale will \\n be complete. \\n \\n The document is passed across to HARMSWAY, sitting with his own legal\",\n \" I want you to find that gold, and \\n secure it. \\n \\n They've arrived at her car. The door is already open. \\n \\n BOND \\n ... Didn't Elliot Harmsway just move \\n his headquarters to Kuala Lumpur? \\n \\n She turns, freezes Bond with a look: \\n \\n M \\n Contrary to what you may believe, \\n 007, the world is not filled with\",\n \" CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \\n \\n On the wall behind M's DESK. It's night. Moneypenny sits across \\n from M, with a steno pad. \\n \\n M \\n Moneypenny, take the following release: \\n (beat) \\n The body of Sir Elliot Harmsway was \\n found floating in the South China Sea\",\n \" How will I meet the informant? \\n \\n She hands Bond a CARNIVAL MASK: \\n \\n M \\n You're to wear this mask at the Venice \\n Carnival, and wait to be contacted. \\n \\n BOND \\n I understand. \\n \\n MINISTER JOHNSTONE \\n (standing, to leave) \\n There is one last thing, 007: Elliot\",\n \" Comment.' So if someone asked where \\n I was, I could truthfully respond 'No \\n Comment.' \\n (laughter; he points) \\n Over there. \\n \\n REPORTER #2 \\n Sir Elliot: Is it true you're in \\n negotiations to move your offices \\n from Hong Kong to Kuala Lumpur? \\n \\n HARMSWAY \\n (impishly) \\n No comment. \\n\",\n \" Yes. Shall we kill them? \\n \\n HARMSWAY \\n No. I have a better idea. In fact, \\n Mr. Bond may have actually improved \\n my original plan. \\n (beat) \\n Bring them both to Hong Kong. And \\n Make sure he has nothing else up his \\n sleeve. \\n \\n DISSOLVE TO: \\n \\n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -\",\n \" Bond reads THE HEADLINES, sourly: \\n \\n BOND \\n ... Hong Kong destroyed by nuclear \\n meltdown... British agent found in \\n reactor suspected of sabotage; Harmsway \\n calls for British government to resign. \\n \\n Harmsway smiles at Bond: \\n \\n HARMSWAY \\n ...As the advertising says: Tomorrow \\n never lies. \\n \\n BOND \\n What about the gold?\",\n \" What did you do, Harmsway? Make some \\n deal with the Chinese government for \\n the gold?.. Was the radioactive \\n uranium I found in Venice part of it? \\n \\n He finally has the remote control in the right position. \\n \\n HARMSWAY \\n Questions, questions, Mr. Bond... \\n Which I'm afraid I've neither the \\n time, nor the inclination to answer. \\n (to the guards)\",\n \" it back, I intend to return it in \\n exactly the same condition: A \\n barren, lifeless rock. \\n (beat) \\n The gold is merely reparations - \\n payment from the spineless British \\n government who wouldn't listen. \\n \\n BOND \\n (to Sidney, glancing at the gun) \\n ... I think Uncle Elliot is having \\n his own melt-down. \\n \\n YUNG\"\n ],\n [\n \" Paris' eyes flicker at something over Bond's shoulder. She swoons: \\n \\n PARIS \\n Kiss me. \\n \\n She pulls Bond to her, kissing him - then HAULS OFF, BELTING him \\n across the mouth. \\n \\n PARIS \\n Bastard! Leave me alone! \\n \\n She shoves him off, darts away. Bond is bleeding from his mouth - \\n and not altogether surprised at her behavior. He turns to see - \\n\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" I'm so sorry, James. I promise, I'll \\n never leave you again. \\n \\n BOND \\n (patting her head) \\n Shhhhh... \\n \\n PARIS \\n Just hold me. \\n \\n Bond thinks for a moment, then gently pushes her away, a foot \\n backwards, to look in her eyes: \\n \\n BOND \\n How do you know Harmsway? \\n\",\n \" Looking for someone? \\n \\n Recovering her breath (it was a violent yank,) the woman - PARIS \\n removes her mask. She shines a sexy, 1000-watt smile at 007: \\n \\n PARIS \\n Hello, James. \\n \\n Bond reacts. He is not happy to see her. \\n \\n BOND \\n Paris?!? What are you doing here? \\n \\n PARIS\",\n \" Paris looks up at him like a hurt child. She wants some contact; she \\n wants to hear him say 'I love you.' \\n \\n PARIS \\n Just - say it. Say it just once. \\n \\n BOND \\n (pauses, discomfited) \\n One thing at a time. I'll see you \\n in twenty minutes. Go. \\n \\n She exits; he goes to the bulkhead door... And we pan up to see the\",\n \" I want you to meet my wife. \\n \\n A woman appears in frame, her face obscured by a large sun hat. As \\n she reveals her face to the camera - and Bond - \\n \\n HARMSWAY \\n Paris Harmsway, allow me to introduce \\n you to James Bond. \\n \\n There is a terrified look on her face. Harmsway continues, beaming \\n his most insinuating smile: \\n \\n HARMSWAY\",\n \" Is that any way to say hello? \\n \\n BOND \\n I thought your specialty was good-bye. \\n \\n Paris smiles coyly. She LIFTS A HAND to tousle his hair - \\n \\n PARIS \\n Oh, James. I've missed you - \\n \\n BOND \\n (grabbing her by the wrist) \\n Is this another one of your games? \\n \\n PARIS\",\n \" Stop it! You're hurting me! Can't \\n you just be nice? \\n \\n BOND \\n I've got half the British government \\n breathing down my neck. I don't have \\n time for your nonsense. \\n \\n She's surprised - and hurt - by his coldness. \\n \\n PARIS \\n Don't you even miss me? Didn't I \\n mean anything to you? \\n \\n BOND\",\n \" BOND \\n Paris? Paris? \\n \\n He sees the French doors open onto the canal. The curtains billowing \\n outward. Bond rushes to the window and looks down: \\n \\n EXT. GRAND CANAL - BOND'S POV \\n \\n Paris Harmsway is dead, floating in the water. \\n \\n RETURN ON BOND - \\n \\n Crushed. Devastated. And to make matters worse: \\n\",\n \" How will I meet the informant? \\n \\n She hands Bond a CARNIVAL MASK: \\n \\n M \\n You're to wear this mask at the Venice \\n Carnival, and wait to be contacted. \\n \\n BOND \\n I understand. \\n \\n MINISTER JOHNSTONE \\n (standing, to leave) \\n There is one last thing, 007: Elliot\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" She freezes in mid-sentence, seeing Bond. Bond is equally surprised. \\n \\n SIDNEY \\n What is HE doing here? \\n \\n HARMSWAY \\n I see you two have met. \\n \\n BOND \\n Briefly. \\n \\n HARMSWAY \\n (crossing to his desk) \\n Don't pout, Sidney. I invited him \\n here hoping he might shed some light\",\n \" Come. Let me show you. \\n \\n And he leads the procession off, through the bulkhead door. Bond is \\n left with Paris. She is white with fear. Bond moves to console her: \\n \\n BOND \\n Paris - \\n \\n PARIS \\n Leave me alone! He's going to kill me!! \\n \\n BOND \\n Why didn't you tell me? Why wasn't \\n it in our files? \\n\",\n \" She gives him a wry look; starts to write. He notes her WEDDING BAND. \\n \\n BOND \\n Married? \\n \\n DOMINIQUE \\n Happily. \\n \\n BOND \\n ... Kids? \\n \\n DOMINIQUE \\n Three. You? Married? \\n \\n BOND \\n No. \\n \\n DOMINIQUE \\n (smiles)\",\n \" You've got to help me, James. I'm \\n sorry. I'm sorry for everything. I \\n know I was wrong - but you've got to \\n protect me. I know you still love - \\n \\n BOND SLAPS HER. She's stunned. He waits. She's angered: \\n \\n PARIS \\n Do you feel better now? \\n \\n BOND \\n (not giving an inch)\",\n \" Do you? \\n \\n She turns away. Bond feels remorse for hitting her. Softens: \\n \\n BOND \\n What about the uranium? \\n \\n PARIS \\n It's on the boat. He's holding a \\n press conference tomorrow. \\n \\n Bond reaches out to touch her. She falls into his arms, burying her \\n face in his shoulder. \\n \\n PARIS\",\n \" I think you should go - \\n \\n BOND \\n Not quite yet, Taro - \\n \\n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \\n \\n SIDNEY \\n Uncle Elliot!! \\n \\n Watching this, Bond seethes with memory of Paris and his hatred of \\n Harmsway. Taro tightens his grip - \\n \\n TARO \\n I said you should -\",\n \" PARIS \\n (anguished) \\n He didn't want anyone to know. He \\n kept it out of the papers. He said a \\n third wife was bad for his image. \\n (beat) \\n You've got to protect me! \\n \\n Bond wants to help her - and follow Harmsway. He pulls out a key: \\n \\n BOND \\n Go to my hotel room. I'll be there \\n in twenty minutes. \\n\",\n \" BOTH BOND and WADE clock the woman - who we will later learn is \\n SIDNEY WINCH. Wade stares after her: \\n \\n WADE \\n I think I've just seen my next future \\n ex-wife. \\n \\n BOND \\n (seeing they're about to crash) \\n Not if you kill us first - unless \\n that's how you plan to leave Muffy. \\n\",\n \" He laughs. Bond decides to pull Harmsway's chain. \\n \\n BOND \\n It's a beautiful boat, Sir Elliot. \\n Practically glows in the dark. \\n \\n HARMSWAY \\n (smiles) \\n I can tell you're a man with an eye \\n for exquisite possessions, Mr. Bond. \\n (signaling off camera) \\n Darling! Come here. \\n (beat)\"\n ],\n [\n \" up with the British Navy in the \\n Strait. Rescue planes, helicopters; \\n two ships supposedly sailing from the \\n Persian gulf. They just chased away \\n one of our news boats. \\n \\n HARMSWAY \\n (feigning complete innocence) \\n Is that so? \\n \\n NEWS EDITOR 4 \\n Yeah. Sounds like a plane went down \\n or something... Either way, they're\",\n \" MINISTER JOHNSTONE \\n As I was saying: Approximately forty- \\n five minutes ago, we received an abandon \\n ship signal from the H.M.S. Indomitable. \\n (flicks on a map display) \\n Looking at these infrared satellite \\n images - provided by Mr. Tanner of \\n MI-6 -the ship is presumed lost here, \\n just south of Kuala Lumpur, where she\",\n \" It seems - Mr. Bond - that Miss Winch \\n has told me the most incredible story: A \\n sunken British warship filled with gold; \\n a British cutter firing on her; billions \\n of dollars in bullion lying on the \\n bottom of the Strait. \\n \\n Bond isn't enjoying this charade. \\n \\n HARMSWAY \\n Obviously, the British government \\n denies all of this - \\n\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" DiGIACOMO'S VOICE \\n Signore Bond? \\n \\n Bond turns. A flashbulb goes off, capturing Bond and DiGiacomo. \\n \\n DiGIACOMO \\n You're under arrest. \\n \\n CUT TO: \\n \\n THE SOUTH CHINA SEA - DUSK \\n \\n The HMS INDOMITABLE - a 3,300 ton British frigate, surges through the\",\n \" We have traffic on the deck - \\n \\n They look down and see an HNN (Harmsway News Network) boat. \\n \\n BOND \\n Get rid of them. \\n \\n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \\n \\n The chopper hovers above the HNN boat - \\n \\n PILOT (on pa speaker) \\n Please leave the area. please leave \\n the area. \\n\",\n \" THE CRUISE MISSILE - \\n \\n Hugging the surface, crossing from water to land. \\n \\n MI-6 SITUATION ROOM - \\n \\n VOICE FROM WARSHIP \\n Time to target: Three minutes. \\n (sfx: Beep!) \\n Target acquired. Weapon armed. \\n \\n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has\",\n \" Bond glances at the REARVIEW MIRROR. Sees the HUM-VEES. Presses \\n another switch - \\n \\n CLOSE ON BOND'S EXHAUST PIPE - \\n \\n Whoosh! A MISSILE blasts out, trailing smoke as it hones in on - \\n \\n THE FIRST HUM-VEE. \\n \\n BOOM! It's decimated. \\n \\n ANGLE ON HARMSWAY - ON HIS RADIO - \\n\",\n \" A three-thousand ton frigate doesn't \\n just vanish into thin air. \\n \\n She nods and pushes through the door. He follows. \\n \\n EXT. BANK OF LONDON - NIGHT - CONTINUOUS - \\n \\n M \\n I've already contacted our station in \\n Kuala Lumpur. They're lining up a \\n local contact. \\n (beat)\",\n \" newspapers. \\n \\n Harmsway slowly brings up the gun. \\n \\n HARMSWAY \\n Pity you'll miss your obituary. \\n \\n Bond smacks the gun out of his hand with contempt. Moves closer. \\n \\n BOND \\n Where is she, Harmsway? \\n \\n BOOM! The fuel tanks explode in the distance. The bridge rocks \\n violently; the room tilts to a greater angle. \\n\",\n \" He laughs. Bond decides to pull Harmsway's chain. \\n \\n BOND \\n It's a beautiful boat, Sir Elliot. \\n Practically glows in the dark. \\n \\n HARMSWAY \\n (smiles) \\n I can tell you're a man with an eye \\n for exquisite possessions, Mr. Bond. \\n (signaling off camera) \\n Darling! Come here. \\n (beat)\",\n \" A launcher rotates, and - BOOM - a Cruise missile blasts off. \\n \\n INT. WARSHIP WEAPONS CONTROL ROOM - \\n \\n FIRING OFFICER \\n Cruise missile away - \\n \\n MI-6 SITUATION ROOM - \\n \\n FIRING OFFICER'S VOICE (Cont'd) \\n Time to target: Four minutes. \\n \\n ADMIRAL ROEBUCK\",\n \" Taro motions with his Uzi for Bond and Wade to follow... \\n \\n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \\n 007 wants to get it, but Taro nudges him out with the gun muzzle. \\n \\n EXT. MALACCA STRAIT - DAY \\n \\n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \\n \\n On the wall behind M's DESK. It's night. Moneypenny sits across \\n from M, with a steno pad. \\n \\n M \\n Moneypenny, take the following release: \\n (beat) \\n The body of Sir Elliot Harmsway was \\n found floating in the South China Sea\",\n \" water, heading toward the setting sun. \\n \\n CLOSER - \\n \\n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \\n weapons. Whatever is going on here, it's not business as usual.' \\n \\n INT. BRIDGE - DUSK \\n \\n Close on A VERTICAL GLASS MAP. An electronic panel display with a \\n BLINKING YELLOW DOT indicates - \\n \\n NAVIGATOR\",\n \" The windows rattle as Bond's chopper thunders by. Perplexed, \\n Harmsway stands, opens the porthole curtains. He cranes his neck, \\n but sees nothing. He presses an intercom button: \\n \\n HARMSWAY \\n What the hell is going on? \\n \\n INT. BRIDGE - \\n \\n THE CAPTAIN \\n (on a phone) \\n I don't know sir - \\n\",\n \" The helicopter suddenly appears in front of him. Shooting from the \\n pilot's window, Bond shatters the glass windows - \\n \\n And the Captain slumps forward on the wheel, spinning it as he slides \\n to the deck. \\n \\n INT. HARMSWAY'S CABIN - \\n \\n The boat pitches wildly; Harmsway looses his balance, crashing into a \\n wall. \\n \\n INT. STORAGE CABIN - \\n\",\n \" passenger door. Climbing in. The SHORT ROUND MAN floors the \\n accelerator, driving them away. \\n \\n THE CRUISE MISSILE - STARTING ITS DESCENT DOWN A MOUNTAIN \\n \\n MI-6 SITUATION ROOM - M, WATCHING HELPLESSLY - \\n \\n VOICE FROM WARSHIP \\n Time to target: Thirty seconds. \\n \\n WIDE ON MiG-1 - \\n\",\n \" HARMSWAY \\n The maiden voyage begins tonight. I \\n have some business in London - but \\n the ship will sail down the Nile, \\n across the South China Sea, stopping \\n in Australia, winding up in San \\n Francisco. \\n \\n Bond stands at the rail, AIMS HIS WATCH at the cafe - \\n \\n HARMSWAY (cont'd) \\n But having said that - let's get to\"\n ],\n [\n \" As the passageway shifts, tilting to the stern, the Captain screams \\n and WHOOSH! - is sucked down into the water - the worm's vortex - \\n like meat being fed into a Cuisinart: A churning, spinning death. \\n \\n EXT. THE H.M.S. INDOMITABLE - FOG - NIGHT \\n \\n Bow rises completely out of the water as the stern goes under. \\n \\n EXT. DECK - \\n\",\n \" water, heading toward the setting sun. \\n \\n CLOSER - \\n \\n BATTLE-DRESSED ROYAL MARINES patrol the deck; GUNNERY CREWS man the \\n weapons. Whatever is going on here, it's not business as usual.' \\n \\n INT. BRIDGE - DUSK \\n \\n Close on A VERTICAL GLASS MAP. An electronic panel display with a \\n BLINKING YELLOW DOT indicates - \\n \\n NAVIGATOR\",\n \" BOND \\n We should be right over it. \\n \\n They hear a SHARP DINGING SOUND - \\n \\n OPERATOR 2 \\n Wait - I'm getting something. \\n \\n BOND \\n Where? What is it? \\n \\n The man points at one of the screens, where Bond sees a COMPUTER \\n GENERATED MAP OF THE SEA FLOOR, with the FAINT OUTLINE of a WARSHIP. \\n\",\n \" TWO ARABIAN GENTLEMEN (in full burnoose) sit down on either side of \\n him. They smile. And on NUMBER THREE'S BLOOD-CURDLING SCREAM, we \\n \\n CUT TO: \\n \\n THE H.M.S. INDOMITABLE - \\n \\n Moving through FOG in the STRAIT OF MALACCA, night. \\n \\n INT. BRIDGE - NIGHT \\n\",\n \" They'd never sail this close to the shore. \\n \\n BOND \\n Wait a minute - \\n (beat, pointing to the \\n screen) \\n I've got it. There! Off the port bow! \\n \\n INSERT SONAR SCREEN - \\n \\n The murky electronic outline of a ship. \\n \\n BACK TO SCENE - \\n \\n Bond watches the sonar screen. Wade slows engines, consults charts. \\n\",\n \" sir! Extremely close. Bearing 240 - \\n \\n The First Officer is surprised. All hell is about to break loose: - \\n \\n FIRST OFFICER \\n Punch up the radar - \\n \\n RADAR OPERATOR \\n I've got it, sir. A large craft - \\n XX,OOO tons. Range - \\n (disbelief) \\n 200 yards? It's anchored in a cove! \\n\",\n \" First Officer has no choice: \\n \\n FIRST OFFICER \\n Abandon ship! Break radio silence! \\n Send our position! \\n \\n INSERT - COMPUTER SCREEN - \\n \\n The Communications Officer types: \\\"Top Secret. Indian Ocean Naval \\n Command. H.M.S. Indomitable Sinking.\\\" \\n \\n COMMUNICATIONS OFFICER \\n (calling out) \\n What's our position? \\n\",\n \" Command to Nelson: Authorization to \\n fire. \\n \\n EXT. A BRITISH WARSHIP - STEAMING IN THE GULF OF OMAN - \\n \\n INT. WEAPONS CONTROL ROOM - BRITISH WARSHIP - \\n \\n CAPTAIN \\n Weapons authorized. Prepare to fire. \\n On my count: Five. Four. Three. Two - \\n \\n EXT. DECK OF THE WARSHIP - \\n\",\n \" Electronic silence was the safest way \\n to move that gold. Otherwise, any \\n country - or individual - with the \\n crudest missile could just lock onto \\n our signals, and take out the boat. \\n (beat) \\n That's what happened to the Sheffield \\n in the Falklands. \\n (beat) \\n Since then, it's standard operating \\n procedure for any sensitive shipment. \\n\",\n \" SEA KING command and control helicopter, hovering above. \\n \\n INT. SEA KING HELICOPTER - AIRBORNE - DAY \\n \\n Bond holds a map of the channel. He's standing over several CREWMAN \\n seated at radar, sonar, and navigation consoles. \\n \\n CREWMAN 1 \\n Sounding: Bottom is thirty fathoms. \\n \\n CREWMAN 2 \\n Nothing. Negative bounce.\",\n \" MINISTER JOHNSTONE \\n As I was saying: Approximately forty- \\n five minutes ago, we received an abandon \\n ship signal from the H.M.S. Indomitable. \\n (flicks on a map display) \\n Looking at these infrared satellite \\n images - provided by Mr. Tanner of \\n MI-6 -the ship is presumed lost here, \\n just south of Kuala Lumpur, where she\",\n \" FIRST OFFICER, hands him a SLIP OF PAPER: \\n \\n CAPTAIN \\n Orders from London: For the next \\n ninety-six hours, we're to run on \\n full radio silence. Double watches, \\n full alert. \\n (beat) \\n We're to send one encrypted positioning \\n burst to London every six hours - \\n otherwise, zero electronic emissions. \\n \\n The first officer nods.\",\n \" We have traffic on the deck - \\n \\n They look down and see an HNN (Harmsway News Network) boat. \\n \\n BOND \\n Get rid of them. \\n \\n NEW ANGLE - EXT. SEA RING CHOPPER & HNN BOAT - \\n \\n The chopper hovers above the HNN boat - \\n \\n PILOT (on pa speaker) \\n Please leave the area. please leave \\n the area. \\n\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" INDOMITABLE, emitting a HIGH PITCHED whine as its drill bit revs up \\n to speed. The drill's BLACK TEETH glisten in the water. \\n \\n THE WORM'S POV - (UNDERWATER, NIGHT) \\n \\n Closing in on the hull like a torpedo. It gets closer, picking up \\n speed, until - on IMPACT - \\n \\n INT. ENGINE ROOM - \\n\",\n \" The room is bathed in blue light as the crew monitors the Indomita- \\n ble's command and control systems. \\n \\n At the VERTICAL GLASS MAP, the ship's course has been charted from \\n Hong Kong, south, down around Singapore, then north, where the YELLOW \\n BLINKING dot indicates it's currently in the Strait of Malacca. \\n \\n Standing in front of the map, however, THE NAVIGATION OFFICER seems\",\n \" Harmsway lowers the binoculars' smiling. Stamper appears, hands \\n Harmsway a piece of paper. \\n \\n STAMPER \\n We've decoded their last transmission. \\n \\n Harmsway studies it for a moment - smiles. \\n \\n HARMSWAY \\n Perfect. They'll be searching miles from here. \\n (then) \\n Time for phase two. You can get the \\n men in the water. \\n\",\n \" THE CRUISE MISSILE - \\n \\n Hugging the surface, crossing from water to land. \\n \\n MI-6 SITUATION ROOM - \\n \\n VOICE FROM WARSHIP \\n Time to target: Three minutes. \\n (sfx: Beep!) \\n Target acquired. Weapon armed. \\n \\n Tension. Adrenaline. QUIET PANIC. On the SCREEN, the FORK LIFT has\",\n \" (to one of the cameramen) \\n Put her in the storage room. \\n \\n The cameraman takes her away. Harmsway turns to the captain: \\n \\n HARMSWAY (CONT'D) \\n We'll get rid of her when we're in \\n International waters. \\n (then) \\n Set sail, full speed, due south. \\n I'll be in my cabin. Let me know\",\n \" The helicopter suddenly appears in front of him. Shooting from the \\n pilot's window, Bond shatters the glass windows - \\n \\n And the Captain slumps forward on the wheel, spinning it as he slides \\n to the deck. \\n \\n INT. HARMSWAY'S CABIN - \\n \\n The boat pitches wildly; Harmsway looses his balance, crashing into a \\n wall. \\n \\n INT. STORAGE CABIN - \\n\"\n ],\n [\n \" How will I meet the informant? \\n \\n She hands Bond a CARNIVAL MASK: \\n \\n M \\n You're to wear this mask at the Venice \\n Carnival, and wait to be contacted. \\n \\n BOND \\n I understand. \\n \\n MINISTER JOHNSTONE \\n (standing, to leave) \\n There is one last thing, 007: Elliot\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" Stamper's limousine parks near a Gulfstream jet. He opens the back \\n door for Number Three. At last, the man believes he is safe. \\n \\n NUMBER THREE \\n Thank you! Thank you so much. You \\n must thank Sir Elliot for me. \\n \\n STAMPER \\n (producing a NEWSPAPER) \\n Here. Something to read on the plane. \\n\",\n \" ELIOT HARMSWAY appears on the wall behind her. Mid-50's, regal. \\n \\n M \\n Tell me, 007, what do you know about \\n Elliot Harmsway? \\n \\n BOND \\n (quipping) \\n Only what I read in the newspapers. \\n \\n MINISTER JOHNSTONE \\n (disdainfully) \\n His newspapers? \\n \\n BOND\",\n \" Oh, please, Sidney. There's a \\n hundred billion dollars at stake. \\n (beat) \\n Besides, I never really liked your \\n father that much. He cheated at cards. \\n \\n Bond has removed the CAR REMOTE CONTROL. He palms it. \\n \\n BOND \\n Are your guards really going to kill \\n a helpless girl? \\n \\n HARMSWAY\",\n \" CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \\n \\n On the wall behind M's DESK. It's night. Moneypenny sits across \\n from M, with a steno pad. \\n \\n M \\n Moneypenny, take the following release: \\n (beat) \\n The body of Sir Elliot Harmsway was \\n found floating in the South China Sea\",\n \" the gun out, Mr. Bond. \\n \\n Bond SLIDES THE GUN several feet in front of him... And THROWS A LOOK \\n TO HIS CAR, noting THE GUARDS ARE LINED UP DIRECTLY IN ITS PATH. \\n Bond begins to scheme. \\n \\n SIDNEY \\n Uncle Elliot: How could you do this \\n to me? \\n \\n Bond sneaks his hand in his pocket. \\n \\n HARMSWAY\",\n \" I want you to find that gold, and \\n secure it. \\n \\n They've arrived at her car. The door is already open. \\n \\n BOND \\n ... Didn't Elliot Harmsway just move \\n his headquarters to Kuala Lumpur? \\n \\n She turns, freezes Bond with a look: \\n \\n M \\n Contrary to what you may believe, \\n 007, the world is not filled with\",\n \" I appreciate your assistance, M. But \\n this is now a military operation. \\n \\n M \\n (urgently, to Tanner) \\n Bring up the tracking satellite. And \\n get 007 out of there. \\n \\n Tanner hits a button - and a third video screen appears, displaying a \\n satellite view of the area, detailing the Cruise's path and progress. \\n \\n TANNER \\n One to seven: Exit target area.\",\n \" He laughs. Bond decides to pull Harmsway's chain. \\n \\n BOND \\n It's a beautiful boat, Sir Elliot. \\n Practically glows in the dark. \\n \\n HARMSWAY \\n (smiles) \\n I can tell you're a man with an eye \\n for exquisite possessions, Mr. Bond. \\n (signaling off camera) \\n Darling! Come here. \\n (beat)\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" I used to sell weapons; now I buy votes. \\n (then) \\n Off the record. \\n \\n BOND \\n Of course. If you can't beat the \\n government, you might as well own it. \\n \\n Valentin spots someone off-camera. \\n \\n VALENTIN \\n Wait - I want you to meet a friend of \\n mine. \\n (calling out) \\n Elliot! Elliot! Come here.\",\n \" James Bond... I believe he's a field \\n adjuster for Lloyd's of London... \\n \\n INSERT VIDEO SCREEN - BOND'S MI-6 COVER - \\n \\n HARMSWAY \\n Then we have this James Bond. \\n \\n INSERT VIDEO SCREEN - BOND'S KGB FILE - \\n \\n HARMSWAY \\n (reading from the screen) \\n ... Licensed to Kill...\",\n \" He pulls on his £2000 Saville Row suit-jacket. \\n \\n BOND \\n ... And how many of those newspapers \\n carried Paris Harmsway's obituary? \\n \\n Harmsway turns, and presses the ELEVATOR BUTTON. The doors open, \\n instantly. HE SMILES: \\n \\n HARMSWAY \\n All of them, Mister Bond... \\n (motioning inside) \\n After you?\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" with SEVERAL PRESSMEN - a fresh issue of \\\"Tomorrow\\\" outstretched in \\n his hands. \\n \\n HARMSWAY \\n (spotting Bond, yelling:) \\n Mr. Bond! Nice to see you. \\n \\n BOND \\n Sir Elliot. \\n \\n HARMSWAY \\n Come. Let's get out of the noise. \\n (escorting Bond off)\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" HARMSWAY \\n What the hell is going on? \\n \\n STAMPER (O. S. ) \\n It's Bond! \\n \\n HARMSWAY \\n Kill him! Finish it! \\n \\n ANGLE ON STAMPER (EXT. MID-SHIP) - \\n \\n With the worm dangling from a boom in the background, he watches: \\n \\n EXT. HELICOPTER/SHIP \\n\",\n \" BOND \\n I forgot to mention: The job comes \\n with a car. \\n \\n 007 begins shooting, as - \\n \\n HARMSWAY \\n Kill it! Shoot the damn thing - \\n \\n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \\n out the headlights, while - \\n \\n BOND is having trouble coordinating driving and shooting at the same\",\n \" another face, and the man's stats appear in London. \\n \\n TANNER \\n Vilko Barkoviac. Bosnian war \\n criminal; thought to be operating \\n freelance out of Teheran. \\n (pressing a button) \\n Full house, seven. Bid to the North. \\n \\n Bond complies. Another face, another set of stats: \\n \\n TANNER \\n Sitoshi Isagura. Japanese religious\"\n ],\n [\n \" I want you to find that gold, and \\n secure it. \\n \\n They've arrived at her car. The door is already open. \\n \\n BOND \\n ... Didn't Elliot Harmsway just move \\n his headquarters to Kuala Lumpur? \\n \\n She turns, freezes Bond with a look: \\n \\n M \\n Contrary to what you may believe, \\n 007, the world is not filled with\",\n \" Yes. Shall we kill them? \\n \\n HARMSWAY \\n No. I have a better idea. In fact, \\n Mr. Bond may have actually improved \\n my original plan. \\n (beat) \\n Bring them both to Hong Kong. And \\n Make sure he has nothing else up his \\n sleeve. \\n \\n DISSOLVE TO: \\n \\n EXT. ABERDEEN HARBOR - HONG KONG - MORNING -\",\n \" Oh, please, Sidney. There's a \\n hundred billion dollars at stake. \\n (beat) \\n Besides, I never really liked your \\n father that much. He cheated at cards. \\n \\n Bond has removed the CAR REMOTE CONTROL. He palms it. \\n \\n BOND \\n Are your guards really going to kill \\n a helpless girl? \\n \\n HARMSWAY\",\n \" How will I meet the informant? \\n \\n She hands Bond a CARNIVAL MASK: \\n \\n M \\n You're to wear this mask at the Venice \\n Carnival, and wait to be contacted. \\n \\n BOND \\n I understand. \\n \\n MINISTER JOHNSTONE \\n (standing, to leave) \\n There is one last thing, 007: Elliot\",\n \" concerned glance at his office, then turns to Stamper: \\n \\n HARMSWAY \\n Let's find out exactly what he knows. \\n \\n EXT. KUALA LUMPUR - ROADWAY -(BOND CAR) - LATE AFTERNOON - \\n \\n Bond's car approaches the camera, passes it, and heads for HARMSWAY \\n TOWERS, looming over Kuala Lumpur in the distance. \\n\",\n \" OFFICE DOOR, we can see Harmsway's EXECUTIVE SECRETARY serving \\n someone coffee from a SILVER TRAY - but we can't see who it is. \\n \\n HARMSWAY \\n Elliot Harmsway! I heard you were in \\n K.L. and thought we might get \\n together for a chat... \\n \\n RETURN ON BOND - (INT. BOND'S CAR - MOVING) - \\n\",\n \" Nothing. \\n \\n She turns away from him, fighting back tears. Bond doesn't care: \\n \\n BOND \\n What about Elliot Harmsway? Or is \\n this just another one of your stunts? \\n \\n PARIS \\n (anguished) \\n No! He's crazy - he's insane. He \\n hates everybody. He's got these \\n plans - \\n (facing Bond, becoming hysterical:)\",\n \" (glancing at his watch) \\n Look at the time! Come. There's \\n someone I want you meet - about a \\n story I'm thinking of publishing. \\n \\n As they leave, Bond is frustrated by Harmsway's \\\"I don't care what \\n you think you know - I can crush you\\\" attitude... And now, Harmsway \\n plans (and the operative word here is plans,) to use Bond, to tie off \\n the one other loose thread in his perfect crime:\",\n \" people, 007. No matter who we may be \\n foolish enough to elect. \\n \\n Bond is silent, chastised. M looks away, then looks back: \\n \\n M \\n But if Elliot Harmsway is involved \\n with that uranium, I want him \\n prosecuted to the ends of the earth. \\n \\n BOND \\n Hopefully, it won't get that far. \\n\",\n \" Stamper moves towards Bond and Sidney. Bond edges closer to the gun. \\n \\n BOND \\n You'll never get away with it, \\n Harmsway. Too many people know. \\n \\n Bond tenses, ready to spring - \\n \\n HARMSWAY \\n Who, Mr. Bond? The kooks - the \\n crazies - the conspiracy theorists? \\n The Oliver Stones of the world?\",\n \" BOND \\n Listen to me! I'm a British secret \\n service agent. And we have about two \\n minutes before Harmsway kills both of us. \\n \\n He glances up at the escape panel at the rear of the car. \\n \\n SIDNEY \\n Has anyone ever suggested that you're \\n a paranoid psychotic? \\n \\n Bond ignores the insult, explaining as he moves under the panel: \\n \\n BOND\",\n \" CLOSE ON A PICTURE OF HARMSWAY ON A VIDEO SCREEN - \\n \\n On the wall behind M's DESK. It's night. Moneypenny sits across \\n from M, with a steno pad. \\n \\n M \\n Moneypenny, take the following release: \\n (beat) \\n The body of Sir Elliot Harmsway was \\n found floating in the South China Sea\",\n \" No matter what the British government \\n says, I won't kill this story. \\n (his secretary appears in the doorway) \\n Miss Oxford will show both of you to \\n the elevator... And one of my people \\n will definitely be in touch sooner \\n than later. \\n \\n BOND \\n I'm sure they will. \\n \\n HARMSWAY \\n Good-bye, Mister Bond. \\n\",\n \" I think you should go - \\n \\n BOND \\n Not quite yet, Taro - \\n \\n And from BOND'S POV - Sidney greets HARMSWAY with a big hug. \\n \\n SIDNEY \\n Uncle Elliot!! \\n \\n Watching this, Bond seethes with memory of Paris and his hatred of \\n Harmsway. Taro tightens his grip - \\n \\n TARO \\n I said you should -\",\n \" BOND \\n I forgot to mention: The job comes \\n with a car. \\n \\n 007 begins shooting, as - \\n \\n HARMSWAY \\n Kill it! Shoot the damn thing - \\n \\n THE GUARDS START BLASTING THE EMPTY MOVING CAR. They manage to shoot \\n out the headlights, while - \\n \\n BOND is having trouble coordinating driving and shooting at the same\",\n \" The lights come on. The car is a twisted wreck, smashed against the \\n wall. Bond and Sidney are slumped forward, unconscious. \\n \\n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \\n \\n HARMSWAY \\n - Built to withstand a nuclear blast. \\n (to Stamper, checking \\n Bond's pulse) \\n Are they alive? \\n \\n STAMPER\",\n \" I appreciate your assistance, M. But \\n this is now a military operation. \\n \\n M \\n (urgently, to Tanner) \\n Bring up the tracking satellite. And \\n get 007 out of there. \\n \\n Tanner hits a button - and a third video screen appears, displaying a \\n satellite view of the area, detailing the Cruise's path and progress. \\n \\n TANNER \\n One to seven: Exit target area.\",\n \" the gun out, Mr. Bond. \\n \\n Bond SLIDES THE GUN several feet in front of him... And THROWS A LOOK \\n TO HIS CAR, noting THE GUARDS ARE LINED UP DIRECTLY IN ITS PATH. \\n Bond begins to scheme. \\n \\n SIDNEY \\n Uncle Elliot: How could you do this \\n to me? \\n \\n Bond sneaks his hand in his pocket. \\n \\n HARMSWAY\",\n \" man's bio and vitals appear on another video screen. \\n \\n TANNER \\n Gustav Meinholtz. Neo-Nazi, former \\n East German STASI agent. Ties to the \\n Beider-Meinhoff gang. \\n (pressing a button) \\n Aces high, seven. Bid to the east. \\n \\n Bond shifts his aim, east. (Intercut as necessary) He zeroes in on\",\n \" with SEVERAL PRESSMEN - a fresh issue of \\\"Tomorrow\\\" outstretched in \\n his hands. \\n \\n HARMSWAY \\n (spotting Bond, yelling:) \\n Mr. Bond! Nice to see you. \\n \\n BOND \\n Sir Elliot. \\n \\n HARMSWAY \\n Come. Let's get out of the noise. \\n (escorting Bond off)\"\n ],\n [\n \" Arriving at a BULKHEAD DOOR, Bond checks both directions down the \\n passageway, then pokes his head inside - \\n \\n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \\n against a railing. \\n \\n Bond looks up: \\n \\n STAMPER stands with a smile on his face. One arm is raised above his \\n head, grasping the WORM on the swinging boom. The worm is attached\",\n \" BOND'S POV - \\n \\n The helicopter clears the island: Bright blue sea ahead. Bond sees \\n then passes over - the HNN boat, bobbing empty in the water... \\n \\n Then, further ahead, he spots the stern of Sea Dolphin II, shimmering \\n in the instance. \\n \\n REAR DECK - SEA DOLPHIN II - \\n \\n Looking north, off the back of the boat Stamper and a crewman see the\",\n \" TARO \\n Get him up. Take his belt. \\n (motioning to Wade) \\n Take the two of them to the Captain. \\n \\n The men grab Bond roughly, and shove him next to Wade. \\n \\n TARO \\n By the way. I almost forgot. \\n (smashing Bond) \\n I owed you one. \\n \\n Bond and Wade are frog-marched to the bridge, passing under the gaze\",\n \" to the boom by a thin metal cable. \\n \\n STAMPER \\n You're mine now. \\n \\n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \\n With his free hand, he grabs Bond by his shirt, and throws him \\n against a steel wall. Bond crashes to the deck. \\n \\n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a\",\n \" top. Stamper is behind him, holding a gun on Sidney. \\n \\n STAMPER \\n Put on your clothes. \\n (to the guard) \\n Cuff him. \\n \\n The guard cuffs Bond's hands (in the front,) and we cut back to: \\n \\n INT. POWER PLANT CONTROL ROOM - \\n \\n Yung and the Cameramen sweep into the control room: Lots of con-\",\n \" HARMSWAY \\n What the hell is going on? \\n \\n STAMPER (O. S. ) \\n It's Bond! \\n \\n HARMSWAY \\n Kill him! Finish it! \\n \\n ANGLE ON STAMPER (EXT. MID-SHIP) - \\n \\n With the worm dangling from a boom in the background, he watches: \\n \\n EXT. HELICOPTER/SHIP \\n\",\n \" The lights come on. The car is a twisted wreck, smashed against the \\n wall. Bond and Sidney are slumped forward, unconscious. \\n \\n Harmsway KNOCKS TWICE ON THE GARAGE DOOR, to demonstrate: \\n \\n HARMSWAY \\n - Built to withstand a nuclear blast. \\n (to Stamper, checking \\n Bond's pulse) \\n Are they alive? \\n \\n STAMPER\",\n \" Fortunately, Bond has a back-up plan. As Stamper hustles them off - \\n \\n BOND \\n One problem, Harmsway: The girl. And \\n the handcuffs. They'll give it away. \\n \\n Harmsway considers this for a second. Sidney takes Bond's arm. \\n \\n SIDNEY \\n No. I want to stay with him. \\n\",\n \" The boat shudders violently, sending Harmsway crashing against a \\n wall, cutting his head. \\n \\n EXT. THE DECK - \\n \\n As the boat rocks, Bond steadies himself, then starts for the bridge, \\n using the same route as the cameramen lifted by the chopper: \\n \\n First climbing up on some machinery, then up onto the bridge roof. \\n \\n INT. STORAGE ROOM - \\n\",\n \" (to the cameramen) \\n Up the stairs! \\n \\n They follow Yung up a set of stairs leading to the reactor control \\n room. Meanwhile, back at the HNN boat: \\n \\n INT. CABIN - HNN BOAT \\n \\n Bond is at the porthole, wearing only shorts, trying to figure a way \\n out. He hears the door click open, and - \\n \\n A Guard enters carrying a pile of Bond's clothing with his shoes on\",\n \" Harmsway looks up, hearing: \\n \\n BOND \\n I see you're in your natural element, \\n Harmsway: A room filled with lethal \\n power... \\n (beat) \\n ...With a toxic core at its center. \\n \\n Harmsway smiles at Bond and Sidney, who have entered (handcuffed, at \\n gun point,) with Stamper and a guard. Harmsway is charming as ever: \\n\",\n \" ...Somehow, that's not reassuring. \\n \\n INT. BRIDGE - SALVAGE BARGE - DAY \\n \\n We're back in Bond-land: A high-tech control room, with lots of \\n monitors and white-suited TECHNICIANS. Bond and Wade are pushed \\n through the-door, followed by Taro and the two goons. \\n \\n TARO \\n Here they are, Captain. \\n\",\n \" BOND \\n (shoots, then) \\n Up. \\n \\n Bond and Sidney bound up the stairs through a METAL DOOR, just as - \\n \\n INT. HALLWAY - \\n \\n Stamper and the Guard bound down the hallway, heading for the door. \\n \\n INT. SECURITY CENTER - \\n \\n Harmsway smiles, watching Bond on a monitor: \\n \\n HARMSWAY \\n ... And so much for that.\",\n \" The leader is STAMPER; the others are locals, THUG #1, #2, #3. (THUG \\n #1 is built like a bank vault.) Stamper looks steadily at Bond \\n \\n STAMPER \\n Who is he? \\n \\n PARIS \\n Nobody. Just some drunk. Leave him \\n alone - \\n \\n STAMPER \\n (to Thug #3) \\n Take her to the boat. \\n\",\n \" CAPTAIN MORTON \\n Guard! Arrest these men! Escort \\n them to the cutter! \\n \\n Bond and Wade are stunned. The Marines move in. Bond struggles - \\n \\n BOND \\n Wait a minute - \\n \\n CAPTAIN MORTON \\n Get them out of here. If he says one \\n word, shoot him. \\n\",\n \" escape panel. Peers up. Sees nothing. Turns to the Guard: \\n \\n STAMPER \\n Help me up. \\n \\n ELEVATOR SHAFT - \\n \\n Stamper's head pokes up through the hole just as Bond and Sidney have \\n disappeared into - \\n \\n INT. HALLWAY - (ELEVATOR BANK) - 71ST FLOOR. \\n \\n Squeezing out from between the elevator doors, (which immediately\",\n \" Amidst more laughter, Bond disappears into the bulkhead door. \\n \\n INT. SEA DOLPHIN II - BELOW DECKS - \\n \\n Bond moves cautiously down a STAIRCASE... \\n \\n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \\n sure they're locked. Bond withdraws for a moment, looks back: The \\n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \\n\",\n \" WADE \\n Yeah. Russian Minister of Transportation. \\n \\n BOND \\n She married a hockey player. \\n \\n WADE \\n I envy your 'undercover' assignments. \\n \\n BOND \\n (a look, then) \\n We work in the dark. We do what we can. \\n \\n INT. HARBOR MASTER OFFICE - PORT KLANG - DAY \\n\",\n \" Pulling the device back, Stamper thrusts a second time - (same \\n action,) then a third (same action) - still missing Bond. \\n \\n INSERT - CLOSE ON THE CABLE SPOOL/CABLE - \\n \\n With all the yanking and pulling, a loop of slack has developed in \\n the cable, on the ground. \\n \\n RETURN TO SCENE - \\n \\n Stamper is about to attack Bond a fourth time when Bond kicks him in\",\n \" Stamper, running up steps with the guard. They exit into: \\n \\n A SHORT SERVICE HALLWAY - 71ST. FLOOR - \\n \\n They rush though it, bursting through a door into: \\n \\n THE ELEVATOR BANK HALLWAY - \\n \\n Stamper and the Guard start hunting Bond. \\n \\n RETURN ON SIDNEY (HALLWAY/KITCHEN) - \\n \\n As she continues to exchange fire with the guards... \\n\"\n ],\n [\n \" TARO \\n Get him up. Take his belt. \\n (motioning to Wade) \\n Take the two of them to the Captain. \\n \\n The men grab Bond roughly, and shove him next to Wade. \\n \\n TARO \\n By the way. I almost forgot. \\n (smashing Bond) \\n I owed you one. \\n \\n Bond and Wade are frog-marched to the bridge, passing under the gaze\",\n \" Harmsway regains control of the boat; he TAKES A GUN from the dead \\n captain, and pushes the body out. \\n \\n EXT. PASSAGEWAY - \\n \\n With FLAMING DEBRIS still falling around him, Bond is stealthily \\n moving down a passageway toward the front of the ship. \\n \\n (Bond has two goals in mind at this point: First, to neutralize any \\n threats, and second, to save Sidney if she's still alive.) \\n\",\n \" One of the goons reaches forward, ripping off Bond's mask. 007 sees: \\n \\n TARO - (EXT. SALVAGE BARGE, DECK) - \\n \\n Brandishing an UZI at Bond, with a malevolent smile: \\n \\n TARO \\n Uzi beats knife. \\n \\n BOND \\n ...Interesting point. \\n \\n Bond sticks the knife into the deck, and releases the hostage. \\n\",\n \" The helicopter suddenly appears in front of him. Shooting from the \\n pilot's window, Bond shatters the glass windows - \\n \\n And the Captain slumps forward on the wheel, spinning it as he slides \\n to the deck. \\n \\n INT. HARMSWAY'S CABIN - \\n \\n The boat pitches wildly; Harmsway looses his balance, crashing into a \\n wall. \\n \\n INT. STORAGE CABIN - \\n\",\n \" The boat shudders violently, sending Harmsway crashing against a \\n wall, cutting his head. \\n \\n EXT. THE DECK - \\n \\n As the boat rocks, Bond steadies himself, then starts for the bridge, \\n using the same route as the cameramen lifted by the chopper: \\n \\n First climbing up on some machinery, then up onto the bridge roof. \\n \\n INT. STORAGE ROOM - \\n\",\n \" Taro motions with his Uzi for Bond and Wade to follow... \\n \\n But BOND hesitates, LOOKING BACK AT THE TECHNICIAN with the URANIUM. \\n 007 wants to get it, but Taro nudges him out with the gun muzzle. \\n \\n EXT. MALACCA STRAIT - DAY \\n \\n A BRITISH NAVAL CUTTER is pulling alongside the barge - SEA SIREN\",\n \" CAPTAIN MORTON \\n Guard! Arrest these men! Escort \\n them to the cutter! \\n \\n Bond and Wade are stunned. The Marines move in. Bond struggles - \\n \\n BOND \\n Wait a minute - \\n \\n CAPTAIN MORTON \\n Get them out of here. If he says one \\n word, shoot him. \\n\",\n \" EVERYONE ON THE BARGE DIVES FOR THE DECK... Except for Bond and \\n Wade, who might as well be having tea. Bond looks down at Taro, \\n cowering on the boards. \\n \\n BOND \\n Gatling gun beats Uzi. \\n \\n NEW ANGLE - (CUTTER/BARGE) - DAY \\n \\n An ARMED BOARDING PARTY is coming across an aluminum bridge that has\",\n \" Fortunately, Bond has a back-up plan. As Stamper hustles them off - \\n \\n BOND \\n One problem, Harmsway: The girl. And \\n the handcuffs. They'll give it away. \\n \\n Harmsway considers this for a second. Sidney takes Bond's arm. \\n \\n SIDNEY \\n No. I want to stay with him. \\n\",\n \" Bond SWOOPS IN LOW on the port side of the boat, FIRING HIS GUN from \\n the pilot's window, and using the CHOPPER'S BLADES to threaten the \\n men on deck. \\n \\n About half of them DIVE INTO THE WATER FOR SAFETY, only to be quickly \\n left behind. \\n \\n Flying up the port side toward the front of the boat, Bond passes - \\n \\n INT. HARMSWAY'S CABIN -\",\n \" And yanks him off the instrument panel, flinging him backwards \\n against the rear wall of the bridge. \\n \\n BOND \\n Where is she, Harmsway?!? Or did you \\n kill her like Paris? \\n \\n Suddenly, THE BOAT GROANS. The BRIDGE RISES OUT OF THE WATER! AND \\n BOND loses his balance, FALLING ONTO HARMSWAY - \\n \\n HARMSWAY\",\n \" Amidst more laughter, Bond disappears into the bulkhead door. \\n \\n INT. SEA DOLPHIN II - BELOW DECKS - \\n \\n Bond moves cautiously down a STAIRCASE... \\n \\n And peers along a CORRIDOR. He sees a GUARD, checking doors, making \\n sure they're locked. Bond withdraws for a moment, looks back: The \\n guard is at the far end of the hall. He lifts a WALKIE-TALKIE: \\n\",\n \" Wade scowls, setting the boat back on course. \\n \\n DOCKSIDE - PORT KLANG - DAY - \\n \\n Bond hops off the boat, securing the lines. Wade joins him. \\n \\n WADE \\n By the way, Jimbo - whatever happened \\n to that girl - in Cuba - ? \\n \\n Finished tying the boat, they walk toward the Harbor Master's office. \\n \\n BOND \\n Natalya? \\n\",\n \" Seized it from a guy smuggling \\n computer chips out of Bangkok. \\n (beat) \\n Should have seen his rose garden: \\n Blooms the size of hand grenades. \\n \\n Bond looks at Wade: The man remains, forever deranged. \\n \\n EXT. PORT KLANG - ESTABLISHING - DAY \\n \\n The Harbor Master's tower overlooks a small armada of yachts, fishing\",\n \" Smashing through the water at breakneck speed. Wade and Bond yell \\n over the engines. \\n \\n WADE \\n What do you want with the Harbor Master? \\n \\n BOND \\n Tide and current charts. Work \\n backward from the body - find where \\n the ship sank. \\n (Wade nods appreciatively) \\n Where did you get the boat? \\n \\n WADE\",\n \" Arriving at a BULKHEAD DOOR, Bond checks both directions down the \\n passageway, then pokes his head inside - \\n \\n And is SUDDENLY YANKED BACKWARDS, OUT INTO THE PASSAGEWAY, thrown \\n against a railing. \\n \\n Bond looks up: \\n \\n STAMPER stands with a smile on his face. One arm is raised above his \\n head, grasping the WORM on the swinging boom. The worm is attached\",\n \" to the boom by a thin metal cable. \\n \\n STAMPER \\n You're mine now. \\n \\n Bond rushes at Stamper, slamming into him. The man doesn't flinch. \\n With his free hand, he grabs Bond by his shirt, and throws him \\n against a steel wall. Bond crashes to the deck. \\n \\n As Bond recovers, Stamper (still smiling) presses a RED BUTTON on a\",\n \" ...Somehow, that's not reassuring. \\n \\n INT. BRIDGE - SALVAGE BARGE - DAY \\n \\n We're back in Bond-land: A high-tech control room, with lots of \\n monitors and white-suited TECHNICIANS. Bond and Wade are pushed \\n through the-door, followed by Taro and the two goons. \\n \\n TARO \\n Here they are, Captain. \\n\",\n \" You won't get away with this! \\n \\n CAPTAIN MORTON \\n (stepping onto the bridge) \\n Good-day, Miss Winch. I advise you \\n to get some steam up - before you run \\n aground. \\n \\n As she floats away, Sidney calls out to the Captain, Bond and Wade: \\n \\n SIDNEY \\n You bastards! Believe me - you\",\n \" One carries a strange-looking HARPOON-TYPE GUN; another trails a \\n CABLE. The divers have fanned out, looking for 007. \\n \\n BOND - \\n \\n Realizes his best chance is to take one of the men hostage. \\n \\n Flashing his KNIFE, Bond cuts the cord to his gold/uranium sack, \\n STUFFS THE SACK INTO HIS BAGGY SWIM TRUNKS. \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What kind of attack is going to be launched against the arms bazaar?","Whose ship is damaged by detonators?","Who does Bond send into the waters to drown?","What is used to kill Carver?","What is stolen by Bond right before Carver orders Paris and Bond to be killed?","Why is Roebuck ordered to deploy the British Fleet?","What is missing from a sunken ship?","Which government is Carver attempting to eradicate?","Where was Carver's stealth ship found?","Who is James Bond?","How does Bond react to finding nuclear torpedos on the L-39 Albatros?","How does Carver attempt to start a war between Britain and China?","Why does Bond seduce Paris, his ex-girlfriend?","What causes Carver to order that his wife, Paris, and Bond to be killed?","Who is captured alongside Bond while investigating the sunken ship?","How does Carver die?","Why does Bond dive into the water at the end?","What is the British Intelligence group that James Bond is a part of?","The Media encoder is stolen from the bazaar so that war can be provoked between the United Kingdom and what other country?","Elliot Carver wants to replace the Chinese Government with one that has what specific advantage?","How does Bond previously know Elliot Carvers wife Paris?","What is the name of the British frigate that Elliot Carver sinks with his stealth ship, and steals the nuclear missile from?","The stealth ship that sinks the HMS Devonshire is under command of whom?","Who is Elliot Carver's personal assassin?","Elliot Carver commands that Dr. Kaufman assassinate both James bond and who else?","Where are Wai Lin and James bond taken when they are captured by Mr. Stamper at the site of the HMS Devonshire wreck?","When Wai Lin is captured on Carver's stealth ship, who does Bond take as his own hostage?"],"string":"[\n \"What kind of attack is going to be launched against the arms bazaar?\",\n \"Whose ship is damaged by detonators?\",\n \"Who does Bond send into the waters to drown?\",\n \"What is used to kill Carver?\",\n \"What is stolen by Bond right before Carver orders Paris and Bond to be killed?\",\n \"Why is Roebuck ordered to deploy the British Fleet?\",\n \"What is missing from a sunken ship?\",\n \"Which government is Carver attempting to eradicate?\",\n \"Where was Carver's stealth ship found?\",\n \"Who is James Bond?\",\n \"How does Bond react to finding nuclear torpedos on the L-39 Albatros?\",\n \"How does Carver attempt to start a war between Britain and China?\",\n \"Why does Bond seduce Paris, his ex-girlfriend?\",\n \"What causes Carver to order that his wife, Paris, and Bond to be killed?\",\n \"Who is captured alongside Bond while investigating the sunken ship?\",\n \"How does Carver die?\",\n \"Why does Bond dive into the water at the end?\",\n \"What is the British Intelligence group that James Bond is a part of?\",\n \"The Media encoder is stolen from the bazaar so that war can be provoked between the United Kingdom and what other country?\",\n \"Elliot Carver wants to replace the Chinese Government with one that has what specific advantage?\",\n \"How does Bond previously know Elliot Carvers wife Paris?\",\n \"What is the name of the British frigate that Elliot Carver sinks with his stealth ship, and steals the nuclear missile from?\",\n \"The stealth ship that sinks the HMS Devonshire is under command of whom?\",\n \"Who is Elliot Carver's personal assassin?\",\n \"Elliot Carver commands that Dr. Kaufman assassinate both James bond and who else?\",\n \"Where are Wai Lin and James bond taken when they are captured by Mr. Stamper at the site of the HMS Devonshire wreck?\",\n \"When Wai Lin is captured on Carver's stealth ship, who does Bond take as his own hostage?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["A missile attack.","A missile attack."],["Carver's stealth ship.","Carver's."],["Wai Lin.","Stamper throws Wai Lin into the water to drown and Bond dives in to save her."],["A sea drill.","sea drill"],["GPS encoder.","The GPS encoder. "],["To recover the frigate.","To recover a frigate and maybe retaliate against the Chinese. "],["A cruise missile.","A cruise missile"],["The Chinese government.","Chinese."],["In Ha Long Bay.","Ha Long Bay."],["He is agent 007, a spy for MI6.","Agent 007"],["He reacts by hijacking the plane to keep the weapons from destroying the terrorist bazaar.","He hijacks the L-39 and flies away."],["By sinking a British ship and a Chinese aircraft to make it look like the other country did it","By using the stolen missile"],["She is the wife of Carver and she may have information about him","To get information help enter Carver newspaper"],["Having his GPS encoder stolen by Bond","Bond seduced Paris to gain information to steal back the GPS encoder."],["Wai Lin, a chinese agent","Wai Lin."],["From Bond using one of Carver's sea drills on Carver","Bond kills him with his own sea drill. "],["To save Wai Lin and avoid the explosion","Save Wai Lin"],["Mi6","MI6."],["China","China"],["The new government would have exclusive broadcasting rights.","Give him exclusive broadcasting rights."],["She is Bond's ex-girlfriend.","Ex girlfriend"],["The HMS Devonshire.","HMS Chester"],["Mr., Stamper"," Elliot Carver"],["Dr. Kaufman","Dr. Kaufman"],["Paris, whom is Elliot's wife as well.","Paris."],["To the CMGN Tower in Ho Chi Minh City.","Ho Chi Minh City"],["Henry Gupta","Gupta"]],"string":"[\n [\n \"A missile attack.\",\n \"A missile attack.\"\n ],\n [\n \"Carver's stealth ship.\",\n \"Carver's.\"\n ],\n [\n \"Wai Lin.\",\n \"Stamper throws Wai Lin into the water to drown and Bond dives in to save her.\"\n ],\n [\n \"A sea drill.\",\n \"sea drill\"\n ],\n [\n \"GPS encoder.\",\n \"The GPS encoder. \"\n ],\n [\n \"To recover the frigate.\",\n \"To recover a frigate and maybe retaliate against the Chinese. \"\n ],\n [\n \"A cruise missile.\",\n \"A cruise missile\"\n ],\n [\n \"The Chinese government.\",\n \"Chinese.\"\n ],\n [\n \"In Ha Long Bay.\",\n \"Ha Long Bay.\"\n ],\n [\n \"He is agent 007, a spy for MI6.\",\n \"Agent 007\"\n ],\n [\n \"He reacts by hijacking the plane to keep the weapons from destroying the terrorist bazaar.\",\n \"He hijacks the L-39 and flies away.\"\n ],\n [\n \"By sinking a British ship and a Chinese aircraft to make it look like the other country did it\",\n \"By using the stolen missile\"\n ],\n [\n \"She is the wife of Carver and she may have information about him\",\n \"To get information help enter Carver newspaper\"\n ],\n [\n \"Having his GPS encoder stolen by Bond\",\n \"Bond seduced Paris to gain information to steal back the GPS encoder.\"\n ],\n [\n \"Wai Lin, a chinese agent\",\n \"Wai Lin.\"\n ],\n [\n \"From Bond using one of Carver's sea drills on Carver\",\n \"Bond kills him with his own sea drill. \"\n ],\n [\n \"To save Wai Lin and avoid the explosion\",\n \"Save Wai Lin\"\n ],\n [\n \"Mi6\",\n \"MI6.\"\n ],\n [\n \"China\",\n \"China\"\n ],\n [\n \"The new government would have exclusive broadcasting rights.\",\n \"Give him exclusive broadcasting rights.\"\n ],\n [\n \"She is Bond's ex-girlfriend.\",\n \"Ex girlfriend\"\n ],\n [\n \"The HMS Devonshire.\",\n \"HMS Chester\"\n ],\n [\n \"Mr., Stamper\",\n \" Elliot Carver\"\n ],\n [\n \"Dr. Kaufman\",\n \"Dr. Kaufman\"\n ],\n [\n \"Paris, whom is Elliot's wife as well.\",\n \"Paris.\"\n ],\n [\n \"To the CMGN Tower in Ho Chi Minh City.\",\n \"Ho Chi Minh City\"\n ],\n [\n \"Henry Gupta\",\n \"Gupta\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"de01eef0c46c744cbc407f886e97195c15d133dc"},"split":{"kind":"string","value":"train"}}},{"rowIdx":39,"cells":{"text":{"kind":"list like","value":[["from their case and put them on the table. With a slight bow Rudolf took \n one, and the two assumed their positions. Suddenly Rupert lowered his \n point. The frown vanished from his face, and he spoke in his usual \n bantering tone. \n \n \"By the way,\" said he, \"perhaps we're letting our feelings run away \n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \n ready to be the most faithful of your subjects.\" \n","stretching out her arms to him. But he lay still and quiet, not hearing \n and not heeding what she murmured, \"My king! my king!\" It was even as it \n had been in the dream. \n \n That night James, the servant, took leave of his dead master and of \n us. He carried to England by word of mouth--for we dared write nothing \n down--the truth concerning the King of Ruritania and Mr. Rassendyll.","\"Precisely,\" said he. \"So I thought you'd come, as soon as I heard that \n the king was here.\" \n \n It may be that I ought to have preserved my composure. But I am not Sapt \n nor Rudolf Rassendyll. \n \n \"The king here?\" I gasped, clutching him by the arm. \n \n \"Of course. You didn't know? Yes, he's in town.\" \n","\"I won't quit Ruritania a second time leaving Rupert of Hentzau \n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \n understand--and that instructions from the king will follow by midday. \n When I have killed Rupert, I shall visit the lodge on my way to the \n frontier.\" \n \n He turned to go, but the queen, following, detained him for a minute. \n \n \"You'll come and see me before you go?\" she pleaded.","denied, not by the evidence of one only or of two, was the king's \n presence in the city known. That day, by the witness of a crowd of \n people, by his own claim and his own voice, ay, and by the assent of \n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \n while neither he nor Queen Flavia knew that the king was dead. I must \n now relate the strange and perverse succession of events which forced","declare his errand to the king or betray Mr. Rassendyll's presence. He \n cleared his throat and opened his mouth as if to speak, but still he \n remained silent. \n \n \"Well, my lord, is it the old story or something new,\" asked the king \n impatiently. \n \n Again Rischenheim sat silent. \n \n \"Are you dumb, my lord?\" cried the king most impatiently. \n \n \"It--it is only what you call the old story, sire.\" \n","\"But the king is in Strelsau, sir.\" \n \n \"The deuce he is! He said nothing of going to Strelsau. He rose early \n and rode off with Herbert, merely saying they would be back to-night.\" \n \n \"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \n known to have been in town with the queen. They were both at Count \n Fritz's.\" \n","\"What part to-day? Isn't it the old one, the king with a pasteboard \n crown?\" asked Rupert, sitting down on the table. \"Faith, we shall do \n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \n though I am) have given the other one a heavenly crown. What a brave \n show! But perhaps I tell you news?\" \n \n \"No, I know what you've done.\" \n","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","concerning the letter, he would doubtless tell the king that Rudolf \n Rassendyll was in the castle. He leant now over the king's shoulder, and \n said with a sneer: \n \n \"Messages from Rupert of Hentzau are too exalted matters for my poor \n ears, it seems.\" \n \n The king flushed red. \n \n \"Is that your business, my lord?\" he asked Rischenheim sternly. \n \n \"Your Majesty does not know what my cousin--\" \n","was dead. Who would ask if it were in truth the king who lay in state in \n the great hall of the palace, or whether the humble grave at Zenda held \n the bones of the last male Elphberg? In the silence of the grave all \n murmurs and questionings were hushed. \n \n Throughout the day people had been passing and repassing through the \n great hall. There, on a stately bier surmounted by a crown and the \n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","in Ruritania. Rischenheim is to try first; but if he fails, Rupert will \n risk everything and break through to the king's presence. Give him five \n minutes with the king, and the mischief's done! Very well, then; Sapt \n must keep Rupert at bay while I tackle Rischenheim. As soon as you can \n move, go to Strelsau, and let Sapt know where you are.\" \n \n \"But if you're seen, if you're found out?\" \n","\"You see, the king is not even in Strelsau,\" said Rudolf. \n \n \"Not in Strelsau, sir?\" \n \n \"Why, no, he's at Zenda.\" \n \n \"Ah! At Zenda, sir?\" \n \n \"Certainly. It is therefore impossible--physically impossible--that he \n should be here.\" \n \n The fellow was convinced that he understood now. \n \n \"It's certainly impossible, sir,\" said he, smiling more broadly. \n","enthusiasm and followed his lead. All the people took up the cry with \n boundless fervor, and thus we all, high and low in Strelsau, that \n afternoon hailed Mr. Rassendyll for our king. There had been no such \n zeal since Henry the Lion came back from his wars, a hundred and fifty \n years ago. \n \n \"And yet,\" observed old Helsing at my elbow, \"agitators say that there \n is no enthusiasm for the house of Elphberg!\" He took a pinch of snuff in","servant, and, the king being summoned unexpectedly to the capital, had \n been awaiting his Majesty's return when he met his fate. There was a \n short history of Rudolf, a glancing reference to his family, a dignified \n expression of condolence with his relatives, to whom the king was \n sending messages of deepest regret by the hands of Mr. Rassendyll's \n servant. At another table young Bernenstein was drawing up, under the","\"A Mr. Rassendyll, a friend of the king's, who with his servant James \n was awaiting his Majesty's return from Strelsau. His servant here is \n ready to start for England, to tell Mr. Rassendyll's relatives the \n news.\" \n \n The queen had begun to listen before now; her eyes were fixed on Sapt, \n and she had stretched out one arm to him, as if imploring him to read \n her his riddle. But a few words had in truth declared his device plainly","there is still a Rassendyll, if she has need of one.\" \n \n The offer was such as should come from a man of Rudolf's name, yet I \n trust that the queen needs no further service than such as it is our \n humble duty and dear delight to render her. It is our part to strive \n to lighten the burden that she bears, and by our love to assuage her \n undying grief. For she reigns now in Ruritania alone, the last of all","\"Why not call me king?\" asked Rudolf. \n \n \"They call you that in Strelsau?\" \n \n \"Those that know I'm here.\" \n \n \"And they are--?\" \n \n \"Some few score.\" \n \n \"And thus,\" said Rupert, waving an arm towards the window, \"the town is \n quiet and the flags fly?\" \n \n \"You've been waiting to see them lowered?\" \n \n \"A man likes to have some notice taken of what he has done,\" Rupert","nay, who would listen to such a tale from such a man? Rischenheim was \n ours; the old woman would keep her doubts between her teeth for her own \n sake. To his own land and his own people Rudolf must be dead while \n the King of Ruritania would stand before all Europe recognized, \n unquestioned, unassailed. True, he must marry the queen again; Sapt was \n ready with the means, and would hear nothing of the difficulty and risk \n in finding a hand to perform the necessary ceremony. If we quailed in"],["there is still a Rassendyll, if she has need of one.\" \n \n The offer was such as should come from a man of Rudolf's name, yet I \n trust that the queen needs no further service than such as it is our \n humble duty and dear delight to render her. It is our part to strive \n to lighten the burden that she bears, and by our love to assuage her \n undying grief. For she reigns now in Ruritania alone, the last of all","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","\"I won't quit Ruritania a second time leaving Rupert of Hentzau \n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \n understand--and that instructions from the king will follow by midday. \n When I have killed Rupert, I shall visit the lodge on my way to the \n frontier.\" \n \n He turned to go, but the queen, following, detained him for a minute. \n \n \"You'll come and see me before you go?\" she pleaded.","Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \n the door and the queen appeared on the threshold. She was very pale, \n and she had been crying, but her eyes were happy and her air firm. The \n moment he saw her, young Bernenstein fell on his knee and raised her \n hand to his lips. \n \n \"To the death, madame,\" said he, in a trembling voice. \n \n \"I knew it, sir,\" she answered graciously. Then she looked round on the","\"Nobody knows yet,\" I said. \"We were afraid you might be taken for him \n by somebody. But, my God, Rudolf, what's to be done now?\" \n \n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \n his blue eyes wore a curious entranced expression. He seemed to me to be \n forgetful of everything, even of us who were with him, in some one idea \n that possessed him. The queen herself came nearer to him and lightly","the queen, pale as the marble itself, stretching out her hands towards \n Rudolf. The people had seen her: she it was whom this last rapturous \n cheer greeted. My wife stood close behind her, and farther back others \n of her ladies. Bernenstein and I sprang out. With a last salute to the \n people Rudolf followed us. He walked up to the highest step but one, and \n there fell on one knee and kissed the queen's hand. I was by him, and \n when he looked up in her face I heard him say:","nay, who would listen to such a tale from such a man? Rischenheim was \n ours; the old woman would keep her doubts between her teeth for her own \n sake. To his own land and his own people Rudolf must be dead while \n the King of Ruritania would stand before all Europe recognized, \n unquestioned, unassailed. True, he must marry the queen again; Sapt was \n ready with the means, and would hear nothing of the difficulty and risk \n in finding a hand to perform the necessary ceremony. If we quailed in","his side. In the doorway stood Queen Flavia, all in white; and now \n her face turned white as her dress. For her eyes had fallen on Rudolf \n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \n thrust Bernenstein's brawny shoulders (the young man had not looked \n round) out of the way, and, falling on his knee before the queen, seized \n her hand and kissed it. Bernenstein could see now without looking round,","The queen, looking still in Rudolf's face, and forgetful now, as it \n seemed, of the dream that had so terrified her, took no notice of what I \n said, but urged again: \"You'll come, Rudolf?\" \n \n \"Yes, once, my queen,\" and with a last kiss of her hand he was gone. \n \n The queen stood for yet another moment where she was, still and almost \n rigid. Then suddenly she walked or stumbled to where my wife sat, and,","denied, not by the evidence of one only or of two, was the king's \n presence in the city known. That day, by the witness of a crowd of \n people, by his own claim and his own voice, ay, and by the assent of \n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \n while neither he nor Queen Flavia knew that the king was dead. I must \n now relate the strange and perverse succession of events which forced","hidden at all costs, and which the queen's passionate exclamation had \n threatened to expose. There was a Rudolf Rassendyll, and he had been \n king; but, more than all this, the queen loved him and he the queen. \n That could be told to none, not even to Helsing; for Helsing, though he \n would not gossip to the town, would yet hold himself bound to carry \n the matter to the king. So Rudolf chose to take any future difficulties","\"But the king is in Strelsau, sir.\" \n \n \"The deuce he is! He said nothing of going to Strelsau. He rose early \n and rode off with Herbert, merely saying they would be back to-night.\" \n \n \"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \n known to have been in town with the queen. They were both at Count \n Fritz's.\" \n","women turn, and women whom women fear. \n \n \"But Helga writes no letters,\" said the queen. \n \n \"Why, no,\" said I, and I smiled a grim smile. Well, Rudolf Rassendyll \n had never wooed my wife. \n \n She rose, saying: \"Come, let us go to the palace.\" \n \n As she rose, Rischenheim made a quick impulsive step towards her. \n \n \"Well, my lord,\" said she, turning towards him, \"will you also go with","and her honor! While he was alive I'd have killed you sooner than let \n you take it. He's dead. Now--for our love and her honor, lad!\" \n \n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \n was set and rigid. He made no sign when Sapt finished, but stood as \n he was, motionless, for a long while. Then he slowly bent his head and \n looked down into the queen's eyes. For a while she sat looking back into","surgeon. The queen came up, Rischenheim still supporting her. \"Rudolf! \n Rudolf!\" she whispered, very softly. \n \n He opened his eyes, and his lips bent in a smile. She flung herself on \n her knees and kissed his hand passionately. \"The surgeon will be here \n directly,\" said I. \n \n Rudolf's eyes had been on the queen. As I spoke he looked up at me, \n smiled again, and shook his head. I turned away. \n","the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \n few who knew him, her only hope that she may some day be with him again. \n \n In great pomp we laid him to his rest in the vault of the kings of \n Ruritania in the Cathedral of Strelsau. There he lies among the \n princes of the House of Elphberg. I think that if there be indeed any \n consciousness among the dead, or any knowledge of what passes in the","\"A Mr. Rassendyll, a friend of the king's, who with his servant James \n was awaiting his Majesty's return from Strelsau. His servant here is \n ready to start for England, to tell Mr. Rassendyll's relatives the \n news.\" \n \n The queen had begun to listen before now; her eyes were fixed on Sapt, \n and she had stretched out one arm to him, as if imploring him to read \n her his riddle. But a few words had in truth declared his device plainly","the queen's peril past, and Rudolf once more far away from Strelsau. \n Then enough of the truth--no more--must be disclosed. Helsing would be \n told the story of Rudolf Rassendyll and persuaded to hold his tongue \n about the harum-scarum Englishman (we are ready to believe much of \n an Englishman) having been audacious enough again to play the king in \n Strelsau. The old chancellor was a very good fellow, and I do not think","I will not set out what the queen wrote. The purport seemed to us, who \n did not share her feelings, pathetic indeed and moving, but in the end \n (to speak plainly) folly. She had tried to endure her sojourn at Zenda, \n she said; but it drove her mad. She could not rest; she did not know how \n we fared, nor how those in Strelsau; for hours she had lain awake; then \n at last falling asleep, she had dreamt. \n","the duty of guarding the door. Evening was now falling fast, and it grew \n dark. The garden was quiet; the distant noise of the crowd threw its \n stillness into greater relief. Rudolf told us there the story of his \n struggle with Rupert of Hentzau in the attic of the old house, dwelling \n on it as lightly as he could. The queen stood by his chair--she would \n not let him rise; when he finished by telling how he had burnt her"],["in the people's eyes the visible triumph over Black Michael and his \n fellow-conspirators was now three years old. For three years the \n Princess Flavia had been queen. I am come by now to the age when a man \n should look out on life with an eye undimmed by the mists of passion. \n My love-making days are over; yet there is nothing for which I am more \n thankful to Almighty God than the gift of my wife's love. In storm it","than to be allowed to serve him all my days. Yet I serve the queen, and \n in that I do most truly serve her lover. \n \n Times change for all of us. The roaring flood of youth goes by, and the \n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \n the memory of Rudolf Rassendyll is fresh to me as on the day he died,","set a sentry at the end of the passage with orders that her Majesty \n should on no pretence be disturbed, promised her very audibly to return \n as soon as he possibly could, and respectfully closed the door after \n she had entered. The constable was well aware of the value in a secret \n business of doing openly all that can safely be done with openness. \n \n All of what passed at that interview I do not know, but a part Queen \n Flavia herself told to me, or rather to Helga, my wife; for although it","officer guarded him; in the cathedral the archbishop said a mass for his \n soul. He had lain there three days; the evening of the third had come, \n and early on the morrow he was to be buried. There is a little gallery \n in the hall, that looks down on the spot where the bier stood; here was \n I on this evening, and with me Queen Flavia. We were alone together, and \n together we saw beneath us the calm face of the dead man. He was clad","in the white uniform in which he had been crowned; the ribbon of the \n Red Rose was across his breast. His hand held a true red rose, fresh and \n fragrant; Flavia herself had set it there, that even in death he might \n not miss the chosen token of her love. I had not spoken to her, nor \n she to me, since we came there. We watched the pomp round him, and the \n circles of people that came to bring a wreath for him or to look upon","Well, I take it that when a man comes to die, love is more to him than \n a kingdom: it may be, if we could see truly, that it is more to him even \n while he lives. \n \n \"Of nothing but his great love for me, Fritz,\" she said again. \"And my \n love brought him to his death.\" \n \n \"He wouldn't have had it otherwise,\" said I. \n \n \"No,\" she whispered; and she leant over the parapet of the gallery,","and her honor! While he was alive I'd have killed you sooner than let \n you take it. He's dead. Now--for our love and her honor, lad!\" \n \n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \n was set and rigid. He made no sign when Sapt finished, but stood as \n he was, motionless, for a long while. Then he slowly bent his head and \n looked down into the queen's eyes. For a while she sat looking back into","his side. In the doorway stood Queen Flavia, all in white; and now \n her face turned white as her dress. For her eyes had fallen on Rudolf \n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \n thrust Bernenstein's brawny shoulders (the young man had not looked \n round) out of the way, and, falling on his knee before the queen, seized \n her hand and kissed it. Bernenstein could see now without looking round,","poor, what is to us mean and of no sweetness may appear decked in the \n robes of pleasure and delight. Well, if it were not so, who could sleep \n at nights? The burden laid on Queen Flavia I knew, and know, so well as \n a man can know it. I think it needs a woman to know it fully; for even \n now my wife's eyes fill with tears when we speak of it. Yet she bore it, \n and if she failed in anything, I wonder that it was in so little. For","I understood his feeling, and knew that he held life a light thing \n compared with the recovery of Queen Flavia's letter. I ceased to urge \n him. When I assented to his wishes, every shadow vanished from his \n face, and he began to discuss the details of the plan with business-like \n brevity. \n \n \"I shall leave James with you,\" said Rudolf. \"He'll be very useful, and \n you can rely on him absolutely. Any message that you dare trust to no","\"True,\" said Rudolf. \"Bauer knows. Well, we'll see about Bauer.\" \n \n As he spoke he turned towards the door. Suddenly the girl bent, snatched \n at his hand and kissed it. \n \n \"I would die for you,\" she murmured. \n \n \"Poor child!\" said he gently. I believe he was loath to make profit, \n even in the queen's service, of her poor foolish love. He laid his hand \n on the door, but paused a moment to say: \n","\"What a friend you are, aren't you, Fritz?\" said she. \"You worship Mr. \n Rassendyll. I know you think I should worship him too, if he asked me. \n Well, I shouldn't. I am foolish enough to have my own idol.\" All my \n modesty did not let me doubt who her idol might be. Suddenly she drew \n near to me and whispered in my ear. I think that our own happiness \n brought to her a sudden keen sympathy with her mistress. \n","we stand there I will turn again into his native tongue--for, alas, \n the young rogue loves his toy soldiers better than his Latin!--the \n inscription that the queen wrote with her own hand, directing that it \n should be inscribed in that stately tongue over the tomb in which her \n life lies buried. \n \n \"To Rudolf, who reigned lately in this city, and reigns for ever in her \n heart.--QUEEN FLAVIA.\" \n","me, see if he--if he looks as if he still loved me.\" But then she broke \n off, crying, \"But don't tell him I said that. He'd be grieved if I \n doubted his love. I don't doubt it; I don't, indeed; but still tell me \n how he looks when you speak of me, won't you, Fritz? See, here's the \n letter.\" \n \n Taking it from her bosom, she kissed it before she gave it to me. Then","A sudden impulse came on me, and I turned to her, asking: \n \n \"What had he decided, madam? Would he have been king?\" She started a \n little. \n \n \"He didn't tell me,\" she answered, \"and I didn't think of it while he \n spoke to me.\" \n \n \"Of what then did he speak, madam?\" \n \n \"Only of his love--of nothing but his love, Fritz,\" she answered. \n","He is not too young to desire to serve the queen, and not too young to \n learn to love and reverence him who sleeps there in the vault and was in \n his life the noblest gentleman I have known. \n \n I will take the boy with me and tell him what I may of brave King \n Rudolf, how he fought and how he loved, and how he held the queen's \n honor and his own above all things in this world. The boy is not too \n young to learn such lessons from the life of Mr. Rassendyll. And while","her head round young Bernenstein's broad shoulders. Thus she saw \n what happened. The queen, forgetting the servants, and not observing \n Helsing--seeming indeed to stay for nothing, and to think of nothing, \n but to have her thoughts and heart filled with the sight of the man she \n loved and the knowledge of his safety--met him as he ran towards her, \n and, before Helga, or Bernenstein, or Rudolf himself, could stay her or","Rassendyll himself was confident of his ability to conceal his presence, \n or, if need were, so to hide his face that no strange tale of the king \n being seen wandering, alone and beardless, should reach the ears of the \n castle or the town. \n \n While Sapt was making his arrangements, Queen Flavia came to the room \n where Rudolf Rassendyll was. It was then nearing twelve, and young \n Bernenstein had been gone half an hour. Sapt attended her to the door,","and stretched out her hands towards me, her eyes filled with tears. \n \n \"Yet,\" said she, \"your wife knows, and still loves me, Fritz.\" \n \n \"She should be no wife of mine, if she didn't,\" I cried. \"For I and all \n of mine ask no better than to die for your Majesty.\" \n \n \"She knows, and yet she loves me,\" repeated the queen. I loved to see \n that she seemed to find comfort in Helga's love. It is women to whom","then stood at the salute, while Rudolf walked with her to the end of the \n passage. There for a moment she and he stood together; the others turned \n their eyes away and thus did not see her suddenly stoop and cover his \n hand with her kisses. He tried to draw it away, not thinking it fit that \n she should kiss his hand, but she seemed as though she could not let \n it go. Yet at last, still with her eyes on his, she passed backwards \n through the door, and he shut it after her. \n"],["concerning the letter, he would doubtless tell the king that Rudolf \n Rassendyll was in the castle. He leant now over the king's shoulder, and \n said with a sneer: \n \n \"Messages from Rupert of Hentzau are too exalted matters for my poor \n ears, it seems.\" \n \n The king flushed red. \n \n \"Is that your business, my lord?\" he asked Rischenheim sternly. \n \n \"Your Majesty does not know what my cousin--\" \n","was dead. Who would ask if it were in truth the king who lay in state in \n the great hall of the palace, or whether the humble grave at Zenda held \n the bones of the last male Elphberg? In the silence of the grave all \n murmurs and questionings were hushed. \n \n Throughout the day people had been passing and repassing through the \n great hall. There, on a stately bier surmounted by a crown and the \n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest","hidden at all costs, and which the queen's passionate exclamation had \n threatened to expose. There was a Rudolf Rassendyll, and he had been \n king; but, more than all this, the queen loved him and he the queen. \n That could be told to none, not even to Helsing; for Helsing, though he \n would not gossip to the town, would yet hold himself bound to carry \n the matter to the king. So Rudolf chose to take any future difficulties","the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \n few who knew him, her only hope that she may some day be with him again. \n \n In great pomp we laid him to his rest in the vault of the kings of \n Ruritania in the Cathedral of Strelsau. There he lies among the \n princes of the House of Elphberg. I think that if there be indeed any \n consciousness among the dead, or any knowledge of what passes in the","\"I'm very glad to see you, Lieutenant von Bernenstein,\" said Rudolf \n Rassendyll. \n \n For a moment the thing was done, ruin averted, and safety secured. \n Everything had been at stake; that there was such a man as Rudolf \n Rassendyll might have been disclosed; that he had once filled the king's \n throne was a high secret which they were prepared to trust to Helsing \n under stress of necessity; but there remained something which must be","servant, and, the king being summoned unexpectedly to the capital, had \n been awaiting his Majesty's return when he met his fate. There was a \n short history of Rudolf, a glancing reference to his family, a dignified \n expression of condolence with his relatives, to whom the king was \n sending messages of deepest regret by the hands of Mr. Rassendyll's \n servant. At another table young Bernenstein was drawing up, under the","is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \n hours with the queen, when the king is at his hunting lodge? A king \n has died already, and two men besides, to save a word against her. And \n you--you'll be the man to set every tongue in Strelsau talking, and \n every finger pointing in suspicion at her?\" \n \n Rudolf made no answer. When Sapt had first uttered the queen's name, he","enthusiasm and followed his lead. All the people took up the cry with \n boundless fervor, and thus we all, high and low in Strelsau, that \n afternoon hailed Mr. Rassendyll for our king. There had been no such \n zeal since Henry the Lion came back from his wars, a hundred and fifty \n years ago. \n \n \"And yet,\" observed old Helsing at my elbow, \"agitators say that there \n is no enthusiasm for the house of Elphberg!\" He took a pinch of snuff in","\"I was seeking a friend of mine,\" said Rudolf. \"I want to see him alone. \n It's not easy for a king to see people alone.\" \n \n \"You mean--?\" \n \n \"Well, you know whom I mean.\" \n \n \"Yes. No, he's gone; but he's gone to find you.\" \n \n \"To find me! Plague take it! How do you know that, my pretty lady?\" \n \n \"Bauer told me.\" \n","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","seemed very faint and weary, but at peace. It was enough for her that \n Rudolf fought and planned for her. \n \n \"And see this,\" Rudolf went on. \"'The king will not leave the lodge \n to-day.' Thank God, then, we have to-day!\" \n \n \"Yes, but where's Rupert?\" \n \n \"We shall know in an hour, if he's in Strelsau,\" and Mr. Rassendyll","Rassendyll himself was confident of his ability to conceal his presence, \n or, if need were, so to hide his face that no strange tale of the king \n being seen wandering, alone and beardless, should reach the ears of the \n castle or the town. \n \n While Sapt was making his arrangements, Queen Flavia came to the room \n where Rudolf Rassendyll was. It was then nearing twelve, and young \n Bernenstein had been gone half an hour. Sapt attended her to the door,","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","Truly we had tempted fate too far by bringing Rudolf Rassendyll again to \n Strelsau. \n \n \n \n CHAPTER XII. BEFORE THEM ALL! \n \n GREAT as was the risk and immense as were the difficulties created by \n the course which Mr. Rassendyll adopted, I cannot doubt that he acted \n for the best in the light of the information which he possessed. His \n plan was to disclose himself in the character of the king to Helsing,","\"Precisely,\" said he. \"So I thought you'd come, as soon as I heard that \n the king was here.\" \n \n It may be that I ought to have preserved my composure. But I am not Sapt \n nor Rudolf Rassendyll. \n \n \"The king here?\" I gasped, clutching him by the arm. \n \n \"Of course. You didn't know? Yes, he's in town.\" \n","Rassendyll's: a sudden suspicion seized him, for the face, though the \n king's face in every feature, bore a stern resolution and witnessed a \n vigor that were not the king's. In that instant the truth, or a hint of \n it, flashed across his mind. He gave a half-articulate cry; in one hand \n he crumpled up the paper, the other flew to his revolver. But he was \n too late. Rudolf's left hand encircled his hand and the paper in an iron","king, that we didn't know, that we weren't accomplices in the tricking \n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \n me from a conscience that won't let me be true to the woman I love, or \n to the friends who love me!\" \n \n I had never seen the old fellow so moved; he carried me with him, as he \n carried Bernenstein. I know now that we were too ready to be convinced;","before); his face was in deep shadow, but Rischenheim perceived that the \n beard was indeed gone. The king held out his hand to Rischenheim, and \n motioned him to sit in a chair just opposite to him and within a foot of \n the window-curtains. \n \n \"I'm delighted to see you, my lord,\" said the king. \n \n Rischenheim looked up. Rudolf's voice had once been so like the king's \n that no man could tell the difference, but in the last year or two the","He is not too young to desire to serve the queen, and not too young to \n learn to love and reverence him who sleeps there in the vault and was in \n his life the noblest gentleman I have known. \n \n I will take the boy with me and tell him what I may of brave King \n Rudolf, how he fought and how he loved, and how he held the queen's \n honor and his own above all things in this world. The boy is not too \n young to learn such lessons from the life of Mr. Rassendyll. And while","Helga's description had just passed between them. Rudolf ran to meet me. \n \n \"Is all well?\" he asked eagerly. \n \n I forgot the queen's presence and paid no sign of respect to her. I \n caught Rudolf by the arm and cried to him: \"Do they take you for the \n king?\" \n \n \"Yes,\" he said. \"Heavens, man, don't look so white! We shall manage it. \n I can be gone by to-night.\" \n"],["\"We're most likely, madam, to find him at Fritz von Tarlenheim's,\" \n answered the lieutenant. \"He would wait there till the time came to \n attack Rupert, or, if the thing is over, he will have returned there.\" \n \n \"Then let us drive there at once,\" she urged. \n \n Bernenstein, however, persuaded her to go to the palace first and let it \n be known there that she was going to pay a visit to my wife. She arrived","Rudolf glanced at Sapt. The constable shook his head. Bernenstein's face \n fell. \n \n \"It's not that, boy,\" said old Sapt, half in kindness, half in \n impatience. \"We want you here. Suppose Rupert comes here with \n Rischenheim!\" \n \n The idea was new, but the event was by no means unlikely. \n \n \"But you'll be here, Constable,\" urged Bernenstein, \"and Fritz von \n Tarlenheim will arrive in an hour.\" \n","it's dark. Then, if you want a shelter--\" \n \n \"To Fritz von Tarlenheim's, yes! From there I shall go straight to the \n address.\" \n \n \"Ay. And--Rudolf!\" \n \n \"Yes?\" \n \n \"Make an end of him this time.\" \n \n \"Please God. But if he goes to the lodge? He will, unless Rischenheim \n stops him.\" \n","\"I'll risk anything.\" \n \n \"Most gallant gentleman! At the worst they'll only keep you a prisoner. \n Well, if you're not back in a couple of hours, I shall draw my \n conclusions. I shall know that there's a king in Strelsau.\" \n \n \"But where shall I look for the king?\" \n \n \"Why, first in the palace, and secondly at Fritz von Tarlenheim's. I \n expect you'll find him at Fritz's, though.\" \n","\"Then--when he comes?\" asked Bernenstein. \n \n \"He finds such a king as Rischenheim found, and Sapt, here, at his \n elbow.\" \n \n \"But he'll know you,\" objected Bernenstein. \n \n \"Ay, I think he'll know me,\" said Rudolf with a smile. \"Meanwhile we \n send for Fritz to come here and look after the king.\" \n \n \"And Rischenheim?\" \n","\"That's old Fritz!\" he said; and he caught hold of Bernenstein's hand, \n which the lieutenant yielded with some reluctance. \"Now for the \n plan,\" said he. \"Bernenstein and I set out at once for the lodge--yes, \n publicly, as publicly as we can. I shall ride right through the people \n there, showing myself to as many as will look at me, and letting it \n be known to everybody where I'm going. We shall get there quite early","\"That's your share, Lieutenant. Sapt, is any one at Tarlenheim?\" \n \n \"No. Count Stanislas has put it at Fritz's disposal.\" \n \n \"Good; then Fritz's two friends, the Count of Luzau-Rischenheim and \n Lieutenant von Bernenstein, will ride over there to-day. The constable \n of Zenda will give the lieutenant twenty-four hours' leave of absence, \n and the two gentlemen will pass the day and sleep at the chateau. They","She was looking at him with wondering eyes. \n \n \"Don't you see,\" he said, \"if I can impose on Helsing, I may stop those \n women's tongues? If nothing's done, how long do you suppose it'll be \n before all Strelsau knows that Fritz von Tarlenheim's wife let the king \n in at the window at five o'clock in the morning?\" \n \n \"I don't understand,\" murmured poor Helga in bewilderment. \n","is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \n hours with the queen, when the king is at his hunting lodge? A king \n has died already, and two men besides, to save a word against her. And \n you--you'll be the man to set every tongue in Strelsau talking, and \n every finger pointing in suspicion at her?\" \n \n Rudolf made no answer. When Sapt had first uttered the queen's name, he","\"No, my dear lady, but for Heaven's sake do what I ask of you. It's the \n only chance now.\" \n \n \"I'll do it,\" she said, and sat down to write. \n \n Thus it was that, hard on the marvelous tidings which, as I conjecture, \n the Baroness von Helsing poured into her husband's drowsy ears, came an \n imperative summons that the chancellor should wait on the king at the \n house of Fritz von Tarlenheim. \n","do. If I don't return, Fritz will be here soon, and you and he must make \n your own plans.\" \n \n \"He sha'n't give me the slip a second time,\" said Bernenstein. \n \n \"We hold ourselves free,\" said Rudolf to Rischenheim, \"to do what we \n please with you, my lord. But I have no wish to cause your death, unless \n it be necessary. You will be wise to wait till your cousin's fate is","been wisdom to his mind, and he had been sorely impatient with \"that \n fool Fritz's\" yearly pilgrimage. The letter of farewell had been an \n added folly, pregnant with chances of disaster. Now disaster, or the \n danger of it, had come. The curt, mysterious telegram from Wintenberg, \n which told him so little, at least told him that. It ordered him--and he \n did not know even whose the order was--to delay Rischenheim's audience,","bedside of Marshal Strakencz. The old man, already nearing the death \n that soon after robbed us of his aid and counsel, bowed his head in \n assent: in the aged and ailing the love of peace breeds hope of it. But \n Colonel Sapt tugged at his gray moustache, and twisted his black cigar \n in his mouth, saying, \"You're very sanguine, friend Fritz. But is Rupert \n of Hentzau dead? I had not heard it.\" \n","\"His word of honor, my lord.\" I knew that a rebuke to my presumption lay \n in her calling me \"my lord,\" for, save on formal occasions, she always \n used to call me Fritz. \n \n \"His word of honor!\" I grumbled. \"In truth, madam--\" \n \n \"He's right,\" said Rischenheim; \"he's right.\" \n \n \"No, he's wrong,\" said the queen, smiling. \"The count will keep his \n word, given to me.\" \n","\"I never thought I should see her again,\" he said. \"I think I shall now, \n Fritz. To have a turn with that boy and to see her again--it's worth \n something.\" \n \n \"How will you see her?\" \n \n Rudolf laughed, and I laughed too. He caught my hand again. I think that \n he was anxious to infect me with his gayety and confidence. But I could \n not answer to the appeal of his eyes. There was a motive in him that","was; yes, quite still. His face was so pale, and he didn't hear them \n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \n Where have you let him go?\" \n \n She turned from me and her eyes flashed over the rest. \"Where is he? Why \n aren't you with him?\" she demanded, with a sudden change of tone; \"why \n aren't you round him? You should be between him and danger, ready to","three of them. \"Gentlemen,\" said she, \"my servants and dear friends, \n with you, and with Fritz who lies wounded in Wintenberg, rest my honor \n and my life; for I will not live if the letter reaches the king.\" \n \n \"The king shall not have it, madame,\" said Colonel Sapt. He took \n her hand in his and patted it with a clumsy gentleness; smiling, she \n extended it again to young Bernenstein, in mark of her favor. They two","This much she spoke in proud tones and with a disdainful manner, but \n then came a sudden return to her former bearing. She held out her hands \n towards me, wailing: \n \n \"Fritz, where is he? Is he safe? Find him for me, Fritz; find him.\" \n \n \"I'll find him for you if he's above ground, madam,\" I cried, for her \n appeal touched me to the heart. \n \n \"He's no farther off than the gardens,\" grumbled old Sapt, still","Rischenheim looked at her and seemed about to address her, but then he \n turned to me, and said in a low tone: \n \n \"By Heaven, I will, Tarlenheim. I'll serve her in everything--\" \n \n \"My lord,\" said she most graciously, and yet very sadly, \"you lighten \n the burden on me no less by your help than because I no longer feel your \n honor stained through me. Come, we will go to the palace.\" And she went"," GUTENBERG EBOOK RUPERT OF HENTZAU *** \n \n \n \n \n Produced by An Anonymous Volunteer, and David Widger \n \n \n \n \n \n RUPERT OF HENTZAU \n \n FROM THE MEMOIRS OF FRITZ VON TARLENHEIM \n \n Sequel to The Prisoner of Zenda \n \n By Anthony Hope \n \n \n \n \n CONTENTS \n"],["from Strelsau, and the king's place will be free for him again.\" \n \n Rischenheim gave a slight start, and a look of triumph spread over his \n face. They did not know that the king was dead. \n \n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \n face. \n \n \"I don't know,\" he continued, \"why you are in this business, my lord. \n Your cousin's motives I know well. But I wonder that they seemed to you","There was a little scream from Helga; Rudolf neither spoke nor moved; \n the queen continued to gaze at me in motionless wonder and horror. \n \n \"Rupert killed him,\" said I. \"The boar-hound attacked Rupert; then \n Herbert and the king attacked him; and he killed them all. Yes, the king \n is dead. He's dead.\" \n \n Now none spoke. The queen's eyes never left my face. \"Yes, he's dead.\"","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","\"I was seeking a friend of mine,\" said Rudolf. \"I want to see him alone. \n It's not easy for a king to see people alone.\" \n \n \"You mean--?\" \n \n \"Well, you know whom I mean.\" \n \n \"Yes. No, he's gone; but he's gone to find you.\" \n \n \"To find me! Plague take it! How do you know that, my pretty lady?\" \n \n \"Bauer told me.\" \n","before); his face was in deep shadow, but Rischenheim perceived that the \n beard was indeed gone. The king held out his hand to Rischenheim, and \n motioned him to sit in a chair just opposite to him and within a foot of \n the window-curtains. \n \n \"I'm delighted to see you, my lord,\" said the king. \n \n Rischenheim looked up. Rudolf's voice had once been so like the king's \n that no man could tell the difference, but in the last year or two the","will set out for Strelsau, bringing with you the body of the king.\" And \n Rudolf, after a pause, whispered, \"You must shave his face. And if the \n doctors want to talk about how long he's been dead, why, they have, as I \n say, palms.\" \n \n Sapt sat silent for a while, apparently considering the scheme. It was \n risky enough in all conscience, but success had made Rudolf bold, and \n he had learnt how slow suspicion is if a deception be bold enough. It is","Helga's description had just passed between them. Rudolf ran to meet me. \n \n \"Is all well?\" he asked eagerly. \n \n I forgot the queen's presence and paid no sign of respect to her. I \n caught Rudolf by the arm and cried to him: \"Do they take you for the \n king?\" \n \n \"Yes,\" he said. \"Heavens, man, don't look so white! We shall manage it. \n I can be gone by to-night.\" \n","\"Yes; you, Bernenstein, and I will be at the lodge.\" \n \n \"That's not impossible, though I have had nearly enough riding.\" \n \n Rudolf fixed his eyes firmly on Sapt's. \n \n \"You see,\" he said, \"the king reaches his hunting-lodge early in the \n morning.\" \n \n \"I follow you, sire.\" \n \n \"And what happens there, Sapt? Does he shoot himself accidentally?\" \n \n \"Well, that happens sometimes.\" \n","The king lay in peace on his bed, his grave was dug; Sapt and James held \n the secret with solemn faith and ready lives. To Strelsau I must go \n to tell the queen that she was widowed, and to aim the stroke at young \n Rupert's heart. \n \n At nine in the morning I started from the lodge. I was bound to ride to \n Hofbau and there wait for a train which would carry me to the capital. \n From Hofbau I could send a message, but the message must announce only","up to the entrance. Helsing was on the steps, and ran down to the \n carriage, greeting the king with passionate fervor. The shouts of the \n crowd grew louder still. \n \n But suddenly a stillness fell on them; it lasted but an instant, and \n was the prelude to a deafening roar. I was looking at Rudolf and saw his \n head turn suddenly and his eyes grow bright. I looked where his eyes \n had gone. There, on the top step of the broad marble flight, stood","\"Why not call me king?\" asked Rudolf. \n \n \"They call you that in Strelsau?\" \n \n \"Those that know I'm here.\" \n \n \"And they are--?\" \n \n \"Some few score.\" \n \n \"And thus,\" said Rupert, waving an arm towards the window, \"the town is \n quiet and the flags fly?\" \n \n \"You've been waiting to see them lowered?\" \n \n \"A man likes to have some notice taken of what he has done,\" Rupert","Rudolf nodded to her. \"Tell her who I am,\" said he. \n \n \"Why, mother, it's the king,\" whispered Rosa, laughing and blushing. \n \"The king, mother.\" \n \n \"Ay, if the king's alive, I'm the king,\" said Rudolf. I suppose he \n wanted to find out how much the old woman knew. \n \n She made no answer, but stared up at his face. In her bewilderment she \n forgot to ask how he had learnt the signal that gained him admission.","\"But I ought not,\" said he, his resolute eyes suddenly softening in a \n marvelous fashion. \n \n \"You will?\" \n \n \"Yes, my queen.\" \n \n Then I sprang up, for a sudden dread laid hold on me. \n \n \"Heavens, man,\" I cried, \"what if he kills you--there in the \n Konigstrasse?\" \n \n Rudolf turned to me; there was a look of surprise on his face. \"He won't \n kill me,\" he answered. \n","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","\"This is all a lie, Sapt,\" said he, and his lips curled in contemptuous \n amusement. \n \n \"It's no lie that the lodge is burnt, and the bodies in it, and that \n half a hundred of the peasants know it, and that no man could tell the \n body for the king's. As for the rest, it is a lie. But I think the truth \n in it is enough to serve.\" \n \n The two men stood facing one another with defiant eyes. Rudolf had","\"Yes,\" she said. \"We couldn't help it. He showed himself at the door.\" \n \n It was worse than I dreamt: not two or three people, but all that crowd \n were victims of the mistake; all of them had heard that the king was in \n Strelsau--ay, and had seen him. \n \n \"Where is he? Where is he?\" I asked, and followed her hastily to the \n room. \n \n The queen and Rudolf were standing side by side. What I have told from","seemed very faint and weary, but at peace. It was enough for her that \n Rudolf fought and planned for her. \n \n \"And see this,\" Rudolf went on. \"'The king will not leave the lodge \n to-day.' Thank God, then, we have to-day!\" \n \n \"Yes, but where's Rupert?\" \n \n \"We shall know in an hour, if he's in Strelsau,\" and Mr. Rassendyll","king, that we didn't know, that we weren't accomplices in the tricking \n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \n me from a conscience that won't let me be true to the woman I love, or \n to the friends who love me!\" \n \n I had never seen the old fellow so moved; he carried me with him, as he \n carried Bernenstein. I know now that we were too ready to be convinced;","caught the meaning of the great and audacious trick which Sapt and his \n companion had played. It was impossible now to bring the king's body to \n Strelsau; it seemed no less impossible to declare that the man burnt in \n the lodge was the king. Thus Sapt had forced Rudolf's hand; he had been \n inspired by the same vision as we, and endowed with more unshrinking \n boldness. But when I saw how Rudolf looked at him, I did not know but","and that they were on the point of waiting on his Majesty. Then the king \n walked in, pale and full-bearded. \n \n \"Ah, Count,\" said he, \"I'm glad to see you. If they had told me you \n were here, you shouldn't have waited a minute. You're very dark in here, \n Sapt. Why don't you draw back the curtains?\" and the king moved towards \n the curtain behind which Rudolf was. \n"],["and the vision of the death of Rupert of Hentzau dances often before \n my eyes. It may be that some day the whole story shall be told, and men \n shall judge of it for themselves. To me it seems now as though all had \n ended well. I must not be misunderstood: my heart is still sore for the \n loss of him. But we saved the queen's fair fame, and to Rudolf himself \n the fatal stroke came as a relief from a choice too difficult: on the","his revolver in his hand--none too soon, for Rupert of Hentzau's barrel \n faced him, and they stood thus, opposite to one another, with no more \n than three or four feet between the mouths of their weapons. \n \n There is, indeed, much that may be said against Rupert of Hentzau, the \n truth about him well-nigh forbidding that charity of judgment which we \n are taught to observe towards all men. But neither I nor any man who","stifled sobbing. Rudolf caressed her shining hair and gazed into the \n night with sad, set eyes. She raised her head and looked into his face. \n \n \"You'll break my heart,\" she said. \n \n \n \n CHAPTER XIX. FOR OUR LOVE AND HER HONOR \n \n RUPERT of Hentzau was dead! That was the thought which, among all our \n perplexities, came back to me, carrying with it a wonderful relief.","THE moment with its shock and tumult of feeling brings one judgment, \n later reflection another. Among the sins of Rupert of Hentzau I do not \n assign the first and greatest place to his killing of the king. It was, \n indeed, the act of a reckless man who stood at nothing and held nothing \n sacred; but when I consider Herbert's story, and trace how the deed came \n to be done and the impulsion of circumstances that led to it, it seems \n to have been in some sort thrust upon him by the same perverse fate that","touched his arm with her hand. He started as though surprised, then fell \n again into his reverie. \n \n \"What's to be done, Rudolf?\" I asked again. \n \n \"I'm going to kill Rupert of Hentzau,\" he said. \"The rest we'll talk of \n afterwards.\" \n \n He walked rapidly across the room and rang the bell. \"Clear those people \n away,\" he ordered. \"Tell them that I want to be quiet. Then send a"," GUTENBERG EBOOK RUPERT OF HENTZAU *** \n \n \n \n \n Produced by An Anonymous Volunteer, and David Widger \n \n \n \n \n \n RUPERT OF HENTZAU \n \n FROM THE MEMOIRS OF FRITZ VON TARLENHEIM \n \n Sequel to The Prisoner of Zenda \n \n By Anthony Hope \n \n \n \n \n CONTENTS \n","forced, in truth so deliberate, led him. There was the letter, there \n lay the revolvers. The time to think of risks was gone by; the time to \n boggle over what honor allowed or forbade had never come to Rupert of \n Hentzau. If he could not win by force and skill, he would win by guile \n and by treachery, to the test that he had himself invited. The revolvers \n lay on the mantelpiece: he meant to possess himself of one, if he could","\"You expected me, sire?\" said Rupert with a bow; but he smiled. I know \n that the sight of the king's alarm pleased him. To inspire terror was \n his delight, and it does not come to every man to strike fear into the \n heart of a king and an Elphberg. It had come more than once to Rupert of \n Hentzau. \n \n \"No,\" muttered the king. Then, recovering his composure a little, he \n said angrily, \"How dare you come here?\" \n","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","of events had turned into a trap for ourselves and not for Rupert of \n Hentzau. \n \n Suddenly Sapt, turning his head for the first time, pointed in front \n of him. The lodge was before us; we saw it looming dimly a quarter of \n a mile off. Sapt reined in his horse, and we followed his example. All \n dismounted, we tied our horses to trees and went forward at a quick, \n silent walk. Our idea was that Sapt should enter on pretext of having","\"There's a chance for you, now Rupert of Hentzau's gone,\" said Sapt \n grimly. \n \n As he spoke there was a knock at the door. When it opened James entered. \n \n \"The Count of Luzau-Rischenheim begs to be allowed to speak with the \n king,\" said James. \n \n \"We expect his Majesty every moment. Beg the count to enter,\" Sapt \n answered; and, when Rischenheim came in, he went on, motioning the count","right hand with which he had just killed Rupert of Hentzau, and took the \n letter from the mantelpiece. He glanced at the envelope, then he opened \n the letter. The handwriting banished any last doubt he had; he tore \n the letter across, and again in four pieces, and yet again in smaller \n fragments. Then he sprinkled the morsels of paper into the blaze of the \n fire. I believe that every eye in the room followed them and watched","\"I won't quit Ruritania a second time leaving Rupert of Hentzau \n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \n understand--and that instructions from the king will follow by midday. \n When I have killed Rupert, I shall visit the lodge on my way to the \n frontier.\" \n \n He turned to go, but the queen, following, detained him for a minute. \n \n \"You'll come and see me before you go?\" she pleaded.","the lodge? Who found the king alive, Sapt or I? Who left him dead, Sapt \n or I? Who had most interest in killing him--I, who only sought to make \n him aware of what touched his honor, or Sapt, who was and is hand and \n glove with the man that now robs him of his name and usurps his place \n while his body is still warm? Ah, they haven't done with Rupert of \n Hentzau yet!\" \n","by it, listening to what passed within, catching glimpses of forms and \n movements through the chinks of the crazy hinge and the crevices where \n the wood of the panel sprung and left a narrow eye hole for her absorbed \n gazing. \n \n Rupert of Hentzau had no thought of ghosts; the men he killed lay still \n where they fell, and slept where they were buried. And he had no \n wonder at the sight of Rudolf Rassendyll. It told him no more than that","the Queen, father,\" said he. \n \n \n \n \n \n End of the Project Gutenberg EBook of Rupert of Hentzau, by Anthony Hope \n \n","on the ground again, on my back now, and my throat was clutched \n viciously in strong fingers. At the same moment my arms were again \n seized and pinned. The face of the man on my chest bent down towards \n mine, and through the darkness I discerned the features of Rupert of \n Hentzau. He was panting with the sudden exertion and the intense force \n with which he held me, but he was smiling also; and when he saw by \n my eyes that I knew him, he laughed softly in triumph. Then came","Rassendyll, and that I played the king only in order to serve the queen \n and punish Rupert of Hentzau. That will serve, and it will cut this net \n of Sapt's from about my limbs.\" \n \n He spoke firmly and coldly; so that when I looked at him I was amazed \n to see how his lips twitched and that his forehead was moist with sweat. \n Then I understood what a sudden, swift, and fearful struggle he had","I must go and do my work, and then disappear.\" \n \n The queen stood facing him. Her eyes seemed to devour his face; but she \n said only: \"Yes, it must be so.\" \n \n \"You must return to the palace as soon as I am gone. I shall send out \n and ask the people to disperse, and then I must be off.\" \n \n \"To seek Rupert of Hentzau?\" \n \n \"Yes.\" \n \n She struggled for a moment with the contending feelings that filled her","pale and his lips were set, but it was his eyes that caught my gaze, for \n they were glad and merciless. I had never seen him look thus before. I \n turned from him to young Hentzau's face. Rupert's teeth were biting his \n under lip, the sweat dropped, and the veins swelled large and blue on \n his forehead; his eyes were set on Rudolf Rassendyll. Fascinated, I drew \n nearer. Then I saw what passed. Inch by inch Rupert's arm curved, the"],["\"I should wrong you by straining your kindness so far,\" said he; and in \n wanton insolence, seeking again to show Mr. Rassendyll the mean esteem \n in which he held him, and the weariness his presence was, he raised his \n arms and stretched them above his head, as a man does in the fatigue of \n tedium. \"Heigho!\" he yawned. \n \n But he had overshot the mark this time. With a sudden swift bound Rudolf","jealousy of Mr. Rassendyll. Rudolf had played the hero while he lay \n helpless. Rudolf's were the exploits for which his own people cheered \n him in his own capital. Rudolf's were the laurels that crowned his \n impatient brow. He had enough nobility to resent his borrowed credit, \n without the fortitude to endure it manfully. And the hateful comparison \n struck him nearer home. Sapt would tell him bluntly that Rudolf did this","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","servant, and, the king being summoned unexpectedly to the capital, had \n been awaiting his Majesty's return when he met his fate. There was a \n short history of Rudolf, a glancing reference to his family, a dignified \n expression of condolence with his relatives, to whom the king was \n sending messages of deepest regret by the hands of Mr. Rassendyll's \n servant. At another table young Bernenstein was drawing up, under the","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","hidden at all costs, and which the queen's passionate exclamation had \n threatened to expose. There was a Rudolf Rassendyll, and he had been \n king; but, more than all this, the queen loved him and he the queen. \n That could be told to none, not even to Helsing; for Helsing, though he \n would not gossip to the town, would yet hold himself bound to carry \n the matter to the king. So Rudolf chose to take any future difficulties","\"Isn't it pleasant, mother? I wish I could always be up at five \n o'clock.\" \n \n \"My dear, you wouldn't like it for long,\" answered the elder. \"It's very \n nice for a change, but--\" \n \n She stopped abruptly. Her eye had fallen on Rudolf Rassendyll. He knew \n her: she was no less a person than the wife of Helsing the chancellor; \n his was the house at which the carriage had stopped. The trick that had","Rudolf Rassendyll. He sat down on the bed by me, and went on in quick, \n decisive words: \"You can't move for a day or two. Send my message to \n Sapt. Tell him to keep you informed of what happens. As soon as you can \n travel, go to Strelsau, and let Sapt know directly you arrive. We shall \n want your help.\" \n \n \"And what are you going to do?\" I cried, staring at him. \n","\"Rupert? Rupert? True; I forgot. Of course we must,\" said he confusedly. \n \n Sapt looked scornful; he knew that his companion's mind had been \n occupied with the queen. But his remarks--if he had meditated any--were \n interrupted by the clock striking seven. \n \n \"He'll be here in an hour,\" said he. \n \n \"We're ready for him,\" answered Rudolf Rassendyll. With the thought of","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","Again the other ruffians shrank back, appalled by the sudden ruthless \n decision of the act. Mr. Rassendyll laughed. A half smothered yet \n uncontrolled oath broke from one of them. \"By God!\" he whispered \n hoarsely, gazing at Rudolf's face and letting his arm fall to his side. \n \"My God!\" he said then, and his mouth hung open. Again Rudolf laughed at \n his terrified stare. \n","\"Nobody knows yet,\" I said. \"We were afraid you might be taken for him \n by somebody. But, my God, Rudolf, what's to be done now?\" \n \n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \n his blue eyes wore a curious entranced expression. He seemed to me to be \n forgetful of everything, even of us who were with him, in some one idea \n that possessed him. The queen herself came nearer to him and lightly","he went. Rudolf stood still now in the middle of the road, wondering \n who the man was: whether Rupert, purposely disguising his gait, or \n a confederate, or, after all, some person innocent of our secret \n and indifferent to our schemes. On came Bauer, softly, whistling and \n slushing his feet carelessly through the liquid mud. Now he was nearly \n opposite where Mr. Rassendyll stood. Rudolf was well-nigh convinced that","the hotel in half an hour, but that Mr. Rassendyll would like to see me \n for a few minutes if I felt equal to business. I begged James to summon \n his master at once. Whether I were equal or unequal, the business had to \n be done. \n \n Rudolf came, calm and serene. Danger and the need for exertion acted on \n him like a draught of good wine on a seasoned drinker. He was not only \n himself, but more than himself: his excellences enhanced, the indolence","his hand and pointed to their riding-boots. \"Whither away so late at \n night?\" he asked. \n \n \"First together to the lodge, to find you, then I alone to the \n frontier,\" said Mr. Rassendyll. \n \n \"One thing at a time. The frontier will wait. What does your Majesty \n want with me at the lodge?\" \n \n \"I want so to contrive that I shall be no longer your Majesty,\" said \n Rudolf. \n","He is not too young to desire to serve the queen, and not too young to \n learn to love and reverence him who sleeps there in the vault and was in \n his life the noblest gentleman I have known. \n \n I will take the boy with me and tell him what I may of brave King \n Rudolf, how he fought and how he loved, and how he held the queen's \n honor and his own above all things in this world. The boy is not too \n young to learn such lessons from the life of Mr. Rassendyll. And while","He had come to me well recommended, and I had not hesitated to engage \n him. I chose him for my companion now, chiefly because he was a \n foreigner and therefore less likely to gossip with the other servants \n when we returned. I do not pretend to much cleverness, but I confess \n that it vexes me to remember how that stout, guileless-looking youth \n made a fool of me. For Rupert knew that I had met Mr. Rassendyll the","longing to see Mr. Rassendyll again, and dwelt on the visit that he \n promised as the horizon of hope. To Rudolf we had dared to disclose \n nothing of the part our imaginations set him to play: if he were to \n accept it, the acceptance would be of his own act, because the fate that \n old Sapt talked of drove him, and on no persuasion of ours. As he \n had said, he left the rest, and had centered all his efforts on the","that made the concealment of another copy, or of any other document, \n impossible. Then they let him sit down again. His eyes seemed fascinated \n by Rudolf Rassendyll. \n \n \"Yet you've seen me before, I think,\" smiled Rudolf. \"I seem to remember \n you as a boy in Strelsau when I was there. Now tell us, sir, where \n did you leave this cousin of yours?\" For the plan was to find out from","\"He helps us, never fear,\" said Rudolf Rassendyll. \"Where is Count \n Rupert?\" \n \n The girl had caught alarm from her mother's agitation. \"He's upstairs \n in the attic at the top of the house, sir,\" she whispered in frightened \n tones, with a glance that fled from her mother's terrified face to \n Rudolf's set eyes and steady smile. \n \n What she said was enough for him. He slipped by the old woman and began \n to mount the stairs. \n"],["There was a little scream from Helga; Rudolf neither spoke nor moved; \n the queen continued to gaze at me in motionless wonder and horror. \n \n \"Rupert killed him,\" said I. \"The boar-hound attacked Rupert; then \n Herbert and the king attacked him; and he killed them all. Yes, the king \n is dead. He's dead.\" \n \n Now none spoke. The queen's eyes never left my face. \"Yes, he's dead.\"","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","from Strelsau, and the king's place will be free for him again.\" \n \n Rischenheim gave a slight start, and a look of triumph spread over his \n face. They did not know that the king was dead. \n \n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \n face. \n \n \"I don't know,\" he continued, \"why you are in this business, my lord. \n Your cousin's motives I know well. But I wonder that they seemed to you","Rudolf nodded to her. \"Tell her who I am,\" said he. \n \n \"Why, mother, it's the king,\" whispered Rosa, laughing and blushing. \n \"The king, mother.\" \n \n \"Ay, if the king's alive, I'm the king,\" said Rudolf. I suppose he \n wanted to find out how much the old woman knew. \n \n She made no answer, but stared up at his face. In her bewilderment she \n forgot to ask how he had learnt the signal that gained him admission.","\"Yes; you, Bernenstein, and I will be at the lodge.\" \n \n \"That's not impossible, though I have had nearly enough riding.\" \n \n Rudolf fixed his eyes firmly on Sapt's. \n \n \"You see,\" he said, \"the king reaches his hunting-lodge early in the \n morning.\" \n \n \"I follow you, sire.\" \n \n \"And what happens there, Sapt? Does he shoot himself accidentally?\" \n \n \"Well, that happens sometimes.\" \n","Helga's description had just passed between them. Rudolf ran to meet me. \n \n \"Is all well?\" he asked eagerly. \n \n I forgot the queen's presence and paid no sign of respect to her. I \n caught Rudolf by the arm and cried to him: \"Do they take you for the \n king?\" \n \n \"Yes,\" he said. \"Heavens, man, don't look so white! We shall manage it. \n I can be gone by to-night.\" \n","\"I was seeking a friend of mine,\" said Rudolf. \"I want to see him alone. \n It's not easy for a king to see people alone.\" \n \n \"You mean--?\" \n \n \"Well, you know whom I mean.\" \n \n \"Yes. No, he's gone; but he's gone to find you.\" \n \n \"To find me! Plague take it! How do you know that, my pretty lady?\" \n \n \"Bauer told me.\" \n","up to the entrance. Helsing was on the steps, and ran down to the \n carriage, greeting the king with passionate fervor. The shouts of the \n crowd grew louder still. \n \n But suddenly a stillness fell on them; it lasted but an instant, and \n was the prelude to a deafening roar. I was looking at Rudolf and saw his \n head turn suddenly and his eyes grow bright. I looked where his eyes \n had gone. There, on the top step of the broad marble flight, stood","before); his face was in deep shadow, but Rischenheim perceived that the \n beard was indeed gone. The king held out his hand to Rischenheim, and \n motioned him to sit in a chair just opposite to him and within a foot of \n the window-curtains. \n \n \"I'm delighted to see you, my lord,\" said the king. \n \n Rischenheim looked up. Rudolf's voice had once been so like the king's \n that no man could tell the difference, but in the last year or two the","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","will set out for Strelsau, bringing with you the body of the king.\" And \n Rudolf, after a pause, whispered, \"You must shave his face. And if the \n doctors want to talk about how long he's been dead, why, they have, as I \n say, palms.\" \n \n Sapt sat silent for a while, apparently considering the scheme. It was \n risky enough in all conscience, but success had made Rudolf bold, and \n he had learnt how slow suspicion is if a deception be bold enough. It is","seemed very faint and weary, but at peace. It was enough for her that \n Rudolf fought and planned for her. \n \n \"And see this,\" Rudolf went on. \"'The king will not leave the lodge \n to-day.' Thank God, then, we have to-day!\" \n \n \"Yes, but where's Rupert?\" \n \n \"We shall know in an hour, if he's in Strelsau,\" and Mr. Rassendyll","\"Why not call me king?\" asked Rudolf. \n \n \"They call you that in Strelsau?\" \n \n \"Those that know I'm here.\" \n \n \"And they are--?\" \n \n \"Some few score.\" \n \n \"And thus,\" said Rupert, waving an arm towards the window, \"the town is \n quiet and the flags fly?\" \n \n \"You've been waiting to see them lowered?\" \n \n \"A man likes to have some notice taken of what he has done,\" Rupert","\"But I ought not,\" said he, his resolute eyes suddenly softening in a \n marvelous fashion. \n \n \"You will?\" \n \n \"Yes, my queen.\" \n \n Then I sprang up, for a sudden dread laid hold on me. \n \n \"Heavens, man,\" I cried, \"what if he kills you--there in the \n Konigstrasse?\" \n \n Rudolf turned to me; there was a look of surprise on his face. \"He won't \n kill me,\" he answered. \n","served with the sergeant of police would not do now. She knew the king \n too well to believe that she could be mistaken about him; she was too \n much of a busybody to be content to pretend that she was mistaken. \n \n \"Good gracious!\" she whispered loudly, and, catching her daughter's arm, \n she murmured, \"Heavens, my dear, it's the king!\" \n \n Rudolf was caught. Not only the ladies, but their servants were looking \n at him. \n","caught the meaning of the great and audacious trick which Sapt and his \n companion had played. It was impossible now to bring the king's body to \n Strelsau; it seemed no less impossible to declare that the man burnt in \n the lodge was the king. Thus Sapt had forced Rudolf's hand; he had been \n inspired by the same vision as we, and endowed with more unshrinking \n boldness. But when I saw how Rudolf looked at him, I did not know but","he was utterly in the dark; where the king was, where Rupert, where we \n were, he did not know. And he was here in Strelsau, known as the king to \n half a dozen people or more, protected only by their promises, liable at \n any moment to be exposed by the coming of the king himself, or even by a \n message from him. \n \n Yet, in face of all perplexities, perhaps even the more because of the \n darkness in which he was enveloped, Rudolf held firm to his purpose.","towards the door, but Rudolf stopped her. \n \n \"No,\" he said; \"you must stay with her; you must go to the palace with \n her.\" \n \n Even as he spoke they heard the wheels of a carriage driven quickly to \n the door. By now I had met Anton von Strofzin and heard from him that \n the king was at my house. As I dashed up the news was confirmed by the \n comments and jokes of the crowd. \n","The king lay in peace on his bed, his grave was dug; Sapt and James held \n the secret with solemn faith and ready lives. To Strelsau I must go \n to tell the queen that she was widowed, and to aim the stroke at young \n Rupert's heart. \n \n At nine in the morning I started from the lodge. I was bound to ride to \n Hofbau and there wait for a train which would carry me to the capital. \n From Hofbau I could send a message, but the message must announce only","\"Gone? How will that help, since they believe you to be the king?\" \n \n \"You can keep it from the king,\" he urged. \"I couldn't help it. I can \n settle with Rupert and disappear.\" \n \n The three were standing round me, surprised at my great and terrible \n agitation. Looking back now, I wonder that I could speak to them at all. \n \n Rudolf tried again to reassure me. He little knew the cause of what he \n saw. \n"],["\"And the Count Rupert, is he going out also?\" she asked. \n \n \"You see he's not with me. He'll wait.\" Rischenheim broke off and asked \n angrily: \"What business is it of yours, girl? Get out of the way!\" \n \n She moved aside now, making him no answer. He rushed past; she looked \n after him with a smile of triumph. Then she fell again to her sweeping. \n The king had bidden her be ready at eleven. It was half-past ten. Soon","\"Let nobody in, and don't say a word to anybody,\" whispered Sapt, as \n he entered, leaving Bernenstein outside. The young man was half-dazed \n still, but he had sense to read the expression in the constable's eyes \n and to learn from it that he must give his life sooner than let the door \n be opened. So with drawn sword he stood on guard. \n \n It was eleven o'clock when the queen came, and midnight had struck from \n the great clock of the castle before the door opened again and Sapt came","\"Yes; and the horse pecked and stumbled, and I fell forward on his neck. \n I put out my arm to recover myself, and--I jerked my revolver on to the \n ground.\" \n \n \"And he saw?\" \n \n \"He saw, curse him. For a second he waited; then he smiled, and turned, \n and dug his spurs in and was off, straight across country towards \n Strelsau. Well, I was off my horse in a moment, and I fired three times \n after him.\" \n","with a quiet satisfaction gleaming in his eyes. He had made a story for \n a pastime, and it was being translated into history. He at least would \n bear his part in it unflinchingly. \n \n Before now the queen had left us, persuaded to lie down and try to rest \n till the matter should be settled. Stilled by Rudolf's gentle rebuke, \n she had urged him no more in words, but there was an entreaty in her \n eyes stronger than any spoken prayer, and a piteousness in the lingering","were to have five crowns each and go home in peace; if the former, they \n were to do their work and make ten crowns. Years after, one of them told \n me the whole story without shame or reserve. What their work was, the \n heavy bludgeons they carried and the long knife that one of them had \n lent to Bauer showed pretty clearly. \n \n But neither to Bauer nor to them did it occur that their quarry might be \n crouching near, hunting as well as hunted. Not that the pair of ruffians","He raised his hand and gently stroked the gleaming hair. But he did not \n look at her. He gazed out at the garden, which grew dark and dreary \n in the gathering gloom. His lips were tight set and his face pale and \n drawn. \n \n I watched him for a moment, then I drew my wife away, and we sat down at \n a table some way off. From outside still came the cheers and tumult of \n the joyful, excited crowd. Within there was no sound but the queen's","own servant, and thus we had been able to talk freely. The man's calm \n confidence in his master and his master's fortune also went far to \n comfort me. \n \n \"The king should be back soon,\" said Sapt at last, with a glance at his \n big, old-fashioned silver watch. \"Thank God, he'll be too tired to sit \n up long. We shall be free by nine o'clock, Fritz. I wish young Rupert","would come to the lodge!\" And the colonel's face expressed a lively \n pleasure at the idea. \n \n Six o'clock struck, and the king did not appear. A few moments later, a \n message came from the queen, requesting our presence on the terrace in \n front of the chateau. The place commanded a view of the road by which \n the king would ride back, and we found the queen walking restlessly up \n and down, considerably disquieted by the lateness of his return. In such","watch with my lamp here in the shop till it grew light.\" \n \n \"He's twelve hours gone now, and never a message! Ay, and Count Rupert \n should be here soon, and he'll be in a fine taking if Bauer's not back.\" \n \n The girl made no answer; she had finished her task and stood in the \n doorway, looking out on the street. It was past eight, and many people \n were about, still for the most part humble folk; the more comfortably","\"No, no,\" cried another. Then, \"What's that?\" There was a rush of feet, \n the cries of men who met in anger or excitement, the crack of a shot and \n of another quickly following, oaths, and scuffling. Then came the sound \n of feet flying. I could not make it out; I grew weary with the puzzle of \n it. Would they not be quiet? Quiet was what I wanted. At last they grew \n quiet; I closed my eyes again. The pain was less now; they were quiet; I","The two men's eyes met again in a long glance. \n \n \"Where do you come from?\" asked Sapt, suddenly. \n \n \"London, sir, originally.\" \n \n \"They make good stories there?\" \n \n \"Yes, sir, and act them sometimes.\" \n \n The instant he had spoken, James sprang to his feet and pointed out of \n the window. \n \n A man on horseback was cantering towards the lodge. Exchanging one","placed would not be moving for an hour or two yet. In the road the \n traffic consisted chiefly of country carts and wagons, bringing in \n produce for the day's victualling of the great city. The girl watched \n the stream, but her thoughts were occupied with the stately gentleman \n who had come to her by night and asked a service of her. She had heard \n the revolver shot outside; as it sounded she had blown out her lamp, and \n there behind the door in the dark had heard the swiftly retreating feet","quarter of a mile. Perhaps I ran twenty yards, perhaps fifty; I do not \n know. I heard the steps behind me, quick as my own. Then I fell headlong \n on the road--tripped up! I understood. They had stretched a rope across \n my path; as I fell a man bounded up from either side, and I found the \n rope slack under my body. There I lay on my face; a man knelt on me, \n others held either hand; my face was pressed into the mud of the road,","\"Ah, he's in a hurry,\" they said. \"He's kept the king waiting. He'll get \n a wigging.\" \n \n As may be supposed, I paid little heed to them. I sprang out and ran up \n the steps to the door. I saw my wife's face at the window: she herself \n ran to the door and opened it for me. \n \n \"Good God,\" I whispered, \"do all these people know he's here, and take \n him for the king?\" \n","hunting-lodge. \n \n But I turned once to watch her standing on the terrace, with young \n Bernenstein's tall figure beside her. \n \n \"Can we be in time?\" said I. It was what I had meant to say before. \n \n \"I think not, but, by God, we'll try,\" said Colonel Sapt. And I knew why \n he had not let me speak. \n \n Suddenly there was a sound behind us of a horse at the gallop. Our heads","story were needed. Thus the hours from two to six passed that morning in \n the castle of Zenda. \n \n At six the constable awoke and knocked at the door; Rudolf Rassendyll \n opened it. \n \n \"Slept well?\" asked Sapt. \n \n \"Not a wink,\" answered Rudolf cheerfully. \n \n \"I thought you had more nerve.\" \n \n \"It wasn't want of nerve that kept me awake,\" said Mr. Rassendyll. \n","her eyes with her hand, and looking along the road to where the dark \n masses of the forest trees bounded our view. It was already dusk, but \n not so dark but that we could have seen the king's party as soon as it \n came into the open. \n \n If the king's delay seemed strange at six, it was stranger at seven, and \n by eight most strange. We had long since ceased to talk lightly; by now \n we had lapsed into silence. Sapt's scoldings had died away. The queen,","It was to be told to the Earl of Burlesdon, Rudolf's brother, under \n a pledge of secrecy; and to this day the earl is the only man besides \n ourselves who knows the story. His errand done, James returned in order \n to enter the queen's service, in which he still is; and he told us that \n when Lord Burlesdon had heard the story he sat silent for a great while, \n and then said: \n \n \"He did well. Some day I will visit his grave. Tell her Majesty that","together, Rudolf smoking his cigar. Eleven came and went. It was not \n yet time. My wife opened the door and looked out. The hall was dark, the \n door locked and its key in the hands of the butler. She closed the door \n again and softly locked it. As the clock struck twelve Rudolf rose and \n turned the lamp very low. Then he unfastened the shutters noiselessly, \n raised the window and looked out. \n","destination by a circuitous way, hoping to gain it without attracting \n notice. The queen's carriage was still before my door, for it had been \n arranged that she was to proceed to the palace and there await tidings. \n My wife and I were to accompany her; and I went to her now, where she \n sat alone, and asked if it were her pleasure to start at once. I found \n her thoughtful but calm. She listened to me; then, rising, she said,"],["\"Yes,\" he repeated, \"I am king in Strelsau. Keep your hands out of \n mischief and your tongue quiet.\" \n \n She made no answer. He passed on. I was following, but as I went by \n her the old woman clutched my arm. \"In God's name, who is he?\" she \n whispered. \n \n \"Are you mad?\" I asked, lifting my brows. \"Don't you know the king when \n he speaks to you? And you'd best remember what he said. He has servants","was the king--her king--her dear king, who was in great peril of his \n life. For an instant she knelt, still watching. Then with a low cry of \n terror she turned and ran headlong down the steep stairs. Her mind could \n not tell what to do, but her heart cried out that she must do something \n for her king. Reaching the ground floor, she ran with wide-open eyes \n into the kitchen. The stew was on the hob, the old woman still held the","the attic by twenty wondering tongues spreads like a forest-fire. It \n would be through Strelsau in a few minutes, through the kingdom in \n an hour, through Europe in but little longer. Rupert was dead and \n the letter was safe, but what were we to tell that great concourse \n concerning their king? A queer feeling of helpless perplexity came over \n me and found vent in a foolish laugh. Bernenstein was by my side; he \n also looked out, and turned again with an eager face. \n","him, and his body never stirring from hour to hour through the long day. \n \n A distant faint hum of voices reached us. The queen laid her hand on my \n arm. \n \n \"It is the dream, Fritz,\" she said. \"Hark! They speak of the king; they \n speak in low voices and with grief, but they call him king. It's what I \n saw in the dream. But he does not hear nor heed. No, he can't hear nor \n heed even when I call him my king.\" \n","\"I had had the same dream before. Now it came again. I saw him so plain. \n He seemed to me to be king, and to be called king. But he did not answer \n nor move. He seemed dead; and I could not rest.\" So she wrote, ever \n excusing herself, ever repeating how something drew her to Strelsau, \n telling her that she must go if she would see \"him whom you know,\" alive \n again. \"And I must see him--ah, I must see him! If the king has had the","enthusiasm and followed his lead. All the people took up the cry with \n boundless fervor, and thus we all, high and low in Strelsau, that \n afternoon hailed Mr. Rassendyll for our king. There had been no such \n zeal since Henry the Lion came back from his wars, a hundred and fifty \n years ago. \n \n \"And yet,\" observed old Helsing at my elbow, \"agitators say that there \n is no enthusiasm for the house of Elphberg!\" He took a pinch of snuff in","his face there for his life.\" \n \n \"Ah, but it may be no nonsense. Perhaps that's what took the king to \n Strelsau.\" \n \n \"It's enough to take him if it's true,\" admitted Sapt. \n \n \"Well, good day, sir.\" \n \n \"Good day, Simon.\" \n \n The two huntsmen rode off. James watched them for a little while. \n \n \"The king,\" he said then, \"is known to be in Strelsau; and now Count","charcoal-burners saw it. Then more peasants came round, drawn by the \n sight of the flames. None could tell who it was; only I and James knew. \n And we mounted our horses and have ridden here to tell the king.\" \n \n Sapt finished his lesson or his story. A sob burst from the queen, and \n she hid her face in her hands. Bernenstein and I, amazed at this strange \n tale, scarcely understanding whether it were jest or earnest, stood","\"And the Count Rupert, is he going out also?\" she asked. \n \n \"You see he's not with me. He'll wait.\" Rischenheim broke off and asked \n angrily: \"What business is it of yours, girl? Get out of the way!\" \n \n She moved aside now, making him no answer. He rushed past; she looked \n after him with a smile of triumph. Then she fell again to her sweeping. \n The king had bidden her be ready at eleven. It was half-past ten. Soon","The old woman seemed to spring to sudden life. She jumped up and caught \n her daughter by the shoulder. \n \n \"No, no,\" she whispered in quick accents. \"You--you don't know. Let them \n alone, you fool! It's not our business. Let them alone.\" \n \n \"Let me go, mother, let me go! Mother, I must help the king!\" \n \n \"I'll not let you go,\" said Mother Holf. \n \n But Rosa was young and strong; her heart was fired with terror for the","have stabbed me. And--well, the king wanted to shoot me.\" \n \n \"Yes, yes! For God's sake, what happened?\" \n \n \"Well, they none of them did what they wanted. That's what happened, \n dear cousin.\" \n \n Rischenheim was staring at him now with wide-opened eyes. Rupert smiled \n down on him composedly. \n \n \"Because, you see,\" he added, \"Heaven helped me. So that, my dear","was; yes, quite still. His face was so pale, and he didn't hear them \n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \n Where have you let him go?\" \n \n She turned from me and her eyes flashed over the rest. \"Where is he? Why \n aren't you with him?\" she demanded, with a sudden change of tone; \"why \n aren't you round him? You should be between him and danger, ready to","God's sake, let's act! Shall I go and seek him?\" \n \n \"A needle in a bundle of hay,\" said Sapt with a shrug. \n \n But at this instant my ear caught the sound of horses cantering on the \n road from the forest; at the same moment Bernenstein cried, \"Here they \n come!\" The queen paused, and we gathered round her. The horse-hoofs came \n nearer. Now we made out the figures of three men: they were the king's","\"My queen!\" said he, laughing again. \n \n \"No, I knew really, Rudolf, I knew really,\" and now her hands flew out \n towards him, imploring his pardon. Then she began to speak quickly: \n \"Rudolf, last night I had a dream about you, a strange dream. I seemed \n to be in Strelsau, and all the people were talking about the king. It \n was you they meant; you were the king. At last you were the king, and I","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself","\"Yes, madam, the king was very tired, and as we chanced to kill near the \n hunting-lodge, the king bade us carry our quarry there, and come back \n to dress it to-morrow; so we obeyed, and here we are--that is, except \n Herbert, my brother, who stayed with the king by his majesty's orders. \n Because, madam, Herbert is a handy fellow, and my good mother taught him \n to cook a steak and--\" \n","Well said, and like old Sapt! Yet the man is little without the \n opportunity, and Rupert by himself could hardly have troubled our \n repose. Hampered by his own guilt, he dared not set his foot in the \n kingdom from which by rare good luck he had escaped, but wandered to and \n fro over Europe, making a living by his wits, and, as some said, adding \n to his resources by gallantries for which he did not refuse substantial \n recompense. But he kept himself constantly before our eyes, and never","\"Ah, he's in a hurry,\" they said. \"He's kept the king waiting. He'll get \n a wigging.\" \n \n As may be supposed, I paid little heed to them. I sprang out and ran up \n the steps to the door. I saw my wife's face at the window: she herself \n ran to the door and opened it for me. \n \n \"Good God,\" I whispered, \"do all these people know he's here, and take \n him for the king?\" \n","\"Yes, the king was very tired, Simon?\" said the queen, at once \n encouraging him and bringing him back to the point with a woman's skill. \n \n \"Yes, madam, the king was very tired; and as we chanced to kill near the \n hunting-lodge--\" \n \n I do not know whether Simon noticed any change in the manner of his \n audience. But the queen looked up with parted lips, and I believe that \n we three all drew a step nearer him. Sapt did not interrupt this time. \n","\"But the king is in Strelsau, sir.\" \n \n \"The deuce he is! He said nothing of going to Strelsau. He rose early \n and rode off with Herbert, merely saying they would be back to-night.\" \n \n \"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \n known to have been in town with the queen. They were both at Count \n Fritz's.\" \n"],["\"Yes,\" he repeated, \"I am king in Strelsau. Keep your hands out of \n mischief and your tongue quiet.\" \n \n She made no answer. He passed on. I was following, but as I went by \n her the old woman clutched my arm. \"In God's name, who is he?\" she \n whispered. \n \n \"Are you mad?\" I asked, lifting my brows. \"Don't you know the king when \n he speaks to you? And you'd best remember what he said. He has servants","enthusiasm and followed his lead. All the people took up the cry with \n boundless fervor, and thus we all, high and low in Strelsau, that \n afternoon hailed Mr. Rassendyll for our king. There had been no such \n zeal since Henry the Lion came back from his wars, a hundred and fifty \n years ago. \n \n \"And yet,\" observed old Helsing at my elbow, \"agitators say that there \n is no enthusiasm for the house of Elphberg!\" He took a pinch of snuff in","\"But the king is in Strelsau, sir.\" \n \n \"The deuce he is! He said nothing of going to Strelsau. He rose early \n and rode off with Herbert, merely saying they would be back to-night.\" \n \n \"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \n known to have been in town with the queen. They were both at Count \n Fritz's.\" \n","him, and his body never stirring from hour to hour through the long day. \n \n A distant faint hum of voices reached us. The queen laid her hand on my \n arm. \n \n \"It is the dream, Fritz,\" she said. \"Hark! They speak of the king; they \n speak in low voices and with grief, but they call him king. It's what I \n saw in the dream. But he does not hear nor heed. No, he can't hear nor \n heed even when I call him my king.\" \n","\"Read it,\" said the king. He had dined and was about to go to bed, it \n being nearly ten o'clock. \n \n \"It will keep, sire,\" answered Sapt, who did not know but that it might \n be from Wintenberg. \n \n \"Read it,\" insisted the king testily. \"It may be from Rischenheim. \n Perhaps he can get here sooner. I should like to know about those dogs. \n Read it, I beg.\" \n","you before. He has something important to say; and you perhaps have the \n same?\" \n \n \"I? Oh, no. A small matter; but--er--of a private nature.\" \n \n \"Quite so, quite so. Oh, I don't ask any questions, my dear Count.\" \n \n \"Shall I find the king alone?\" asked Rischenheim nervously. \n \n \"I don't think you'll find anybody with him; no, nobody, I think,\"","\"Why not call me king?\" asked Rudolf. \n \n \"They call you that in Strelsau?\" \n \n \"Those that know I'm here.\" \n \n \"And they are--?\" \n \n \"Some few score.\" \n \n \"And thus,\" said Rupert, waving an arm towards the window, \"the town is \n quiet and the flags fly?\" \n \n \"You've been waiting to see them lowered?\" \n \n \"A man likes to have some notice taken of what he has done,\" Rupert","declare his errand to the king or betray Mr. Rassendyll's presence. He \n cleared his throat and opened his mouth as if to speak, but still he \n remained silent. \n \n \"Well, my lord, is it the old story or something new,\" asked the king \n impatiently. \n \n Again Rischenheim sat silent. \n \n \"Are you dumb, my lord?\" cried the king most impatiently. \n \n \"It--it is only what you call the old story, sire.\" \n","denied, not by the evidence of one only or of two, was the king's \n presence in the city known. That day, by the witness of a crowd of \n people, by his own claim and his own voice, ay, and by the assent of \n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \n while neither he nor Queen Flavia knew that the king was dead. I must \n now relate the strange and perverse succession of events which forced","of Luzau-Rischenheim has the honor to wait on your Majesty.\" With this \n he shut the door promptly, and stood against it. Nor did he move, save \n once, and then only to take out his revolver and carefully inspect it. \n \n The count advanced, bowing low, and striving to conceal a visible \n agitation. He saw the king in his arm-chair; the king wore a suit of \n brown tweeds (none the better for being crushed into a bundle the night","spoon, but she had ceased to stir and fallen into a chair. \n \n \"He's killing the king! He's killing the king!\" cried Rosa, seizing her \n mother by the arm. \"Mother, what shall we do? He's killing the king!\" \n \n The old woman looked up with dull eyes and a stupid, cunning smile. \n \n \"Let them alone,\" she said. \"There's no king here.\" \n","\"You see, the king is not even in Strelsau,\" said Rudolf. \n \n \"Not in Strelsau, sir?\" \n \n \"Why, no, he's at Zenda.\" \n \n \"Ah! At Zenda, sir?\" \n \n \"Certainly. It is therefore impossible--physically impossible--that he \n should be here.\" \n \n The fellow was convinced that he understood now. \n \n \"It's certainly impossible, sir,\" said he, smiling more broadly. \n","\"Precisely,\" said he. \"So I thought you'd come, as soon as I heard that \n the king was here.\" \n \n It may be that I ought to have preserved my composure. But I am not Sapt \n nor Rudolf Rassendyll. \n \n \"The king here?\" I gasped, clutching him by the arm. \n \n \"Of course. You didn't know? Yes, he's in town.\" \n","\"I had had the same dream before. Now it came again. I saw him so plain. \n He seemed to me to be king, and to be called king. But he did not answer \n nor move. He seemed dead; and I could not rest.\" So she wrote, ever \n excusing herself, ever repeating how something drew her to Strelsau, \n telling her that she must go if she would see \"him whom you know,\" alive \n again. \"And I must see him--ah, I must see him! If the king has had the","stretching out her arms to him. But he lay still and quiet, not hearing \n and not heeding what she murmured, \"My king! my king!\" It was even as it \n had been in the dream. \n \n That night James, the servant, took leave of his dead master and of \n us. He carried to England by word of mouth--for we dared write nothing \n down--the truth concerning the King of Ruritania and Mr. Rassendyll.","played the dutiful wife whose virtue was obedience, whose greatest sin \n would be an indiscreet prying into what it was not her part to know. \n \n \"I know no more,\" she said, \"than that Fritz wrote to me to expect the \n king and him at about five o'clock, and to be ready to let them in by \n the window, as the king did not wish the servants to be aware of his \n presence.\" \n \n The king came and greeted Helsing most graciously. The tragedy and","cousin, the dog will bite no more, and the forester will stab no more. \n Surely the country is well rid of them?\" \n \n A silence followed. Then Rischenheim, leaning forward, said in a low \n whisper, as though afraid to hear his own question: \n \n \"And the king?\" \n \n \"The king? Well, the king will shoot no more.\" \n \n For a moment Rischenheim, still leaning forward, gazed at his cousin. \n Then he sank slowly back into his chair. \n","was; yes, quite still. His face was so pale, and he didn't hear them \n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \n Where have you let him go?\" \n \n She turned from me and her eyes flashed over the rest. \"Where is he? Why \n aren't you with him?\" she demanded, with a sudden change of tone; \"why \n aren't you round him? You should be between him and danger, ready to","of the fugitives and, a little later, the arrival of the patrol. Well, \n the patrol would not dare to touch the king; as for Bauer, let him be \n alive or dead: what cared she, who was the king's servant, able to help \n the king against his enemies? If Bauer were the king's enemy, right glad \n would she be to hear that the rogue was dead. How finely the king had \n caught him by the neck and thrown him out! She laughed to think how","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself"],["she had not seen the king close at hand since his illness and his beard \n impaired what had been a perfect likeness. In fine, she could not tell \n whether it were indeed the king who spoke to her or his counterfeit. \n \n \"Who are you?\" she asked, curt and blunt in her confusion. The girl \n broke in with an amused laugh. \n \n \"Why, it's the--\" She paused. Perhaps the king's identity was a secret. \n","from Strelsau, and the king's place will be free for him again.\" \n \n Rischenheim gave a slight start, and a look of triumph spread over his \n face. They did not know that the king was dead. \n \n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \n face. \n \n \"I don't know,\" he continued, \"why you are in this business, my lord. \n Your cousin's motives I know well. But I wonder that they seemed to you","\"Yes, it looks well enough,\" said Sapt, with an approving nod. \"What \n about the beard?\" \n \n \"Bernenstein is to tell him you've shaved this morning.\" \n \n \"Will he believe that?\" \n \n \"Why not? For his own sake he'd better believe everything.\" \n \n \"And if we have to kill him?\" \n \n \"We must run for it. The king would be furious.\" \n \n \"He's fond of him?\" \n","\"Why, yes, sir, so far as we know. Since, then, Mr. Rassendyll is alive \n and the king is dead, I was thinking that it was a great pity, sir, that \n my master can't take his place and be king.\" James looked across at the \n constable with an air of a man who offers a respectful suggestion. \n \n \"A remarkable thought, James,\" observed the constable with a grin. \n \n \"You don't agree with me, sir?\" asked James deprecatingly. \n","Helga's description had just passed between them. Rudolf ran to meet me. \n \n \"Is all well?\" he asked eagerly. \n \n I forgot the queen's presence and paid no sign of respect to her. I \n caught Rudolf by the arm and cried to him: \"Do they take you for the \n king?\" \n \n \"Yes,\" he said. \"Heavens, man, don't look so white! We shall manage it. \n I can be gone by to-night.\" \n","before); his face was in deep shadow, but Rischenheim perceived that the \n beard was indeed gone. The king held out his hand to Rischenheim, and \n motioned him to sit in a chair just opposite to him and within a foot of \n the window-curtains. \n \n \"I'm delighted to see you, my lord,\" said the king. \n \n Rischenheim looked up. Rudolf's voice had once been so like the king's \n that no man could tell the difference, but in the last year or two the","\"Then--when he comes?\" asked Bernenstein. \n \n \"He finds such a king as Rischenheim found, and Sapt, here, at his \n elbow.\" \n \n \"But he'll know you,\" objected Bernenstein. \n \n \"Ay, I think he'll know me,\" said Rudolf with a smile. \"Meanwhile we \n send for Fritz to come here and look after the king.\" \n \n \"And Rischenheim?\" \n","that made the concealment of another copy, or of any other document, \n impossible. Then they let him sit down again. His eyes seemed fascinated \n by Rudolf Rassendyll. \n \n \"Yet you've seen me before, I think,\" smiled Rudolf. \"I seem to remember \n you as a boy in Strelsau when I was there. Now tell us, sir, where \n did you leave this cousin of yours?\" For the plan was to find out from","concerning the letter, he would doubtless tell the king that Rudolf \n Rassendyll was in the castle. He leant now over the king's shoulder, and \n said with a sneer: \n \n \"Messages from Rupert of Hentzau are too exalted matters for my poor \n ears, it seems.\" \n \n The king flushed red. \n \n \"Is that your business, my lord?\" he asked Rischenheim sternly. \n \n \"Your Majesty does not know what my cousin--\" \n","Rassendyll himself was confident of his ability to conceal his presence, \n or, if need were, so to hide his face that no strange tale of the king \n being seen wandering, alone and beardless, should reach the ears of the \n castle or the town. \n \n While Sapt was making his arrangements, Queen Flavia came to the room \n where Rudolf Rassendyll was. It was then nearing twelve, and young \n Bernenstein had been gone half an hour. Sapt attended her to the door,","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","Rassendyll's: a sudden suspicion seized him, for the face, though the \n king's face in every feature, bore a stern resolution and witnessed a \n vigor that were not the king's. In that instant the truth, or a hint of \n it, flashed across his mind. He gave a half-articulate cry; in one hand \n he crumpled up the paper, the other flew to his revolver. But he was \n too late. Rudolf's left hand encircled his hand and the paper in an iron","denied, not by the evidence of one only or of two, was the king's \n presence in the city known. That day, by the witness of a crowd of \n people, by his own claim and his own voice, ay, and by the assent of \n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \n while neither he nor Queen Flavia knew that the king was dead. I must \n now relate the strange and perverse succession of events which forced","\"This is all a lie, Sapt,\" said he, and his lips curled in contemptuous \n amusement. \n \n \"It's no lie that the lodge is burnt, and the bodies in it, and that \n half a hundred of the peasants know it, and that no man could tell the \n body for the king's. As for the rest, it is a lie. But I think the truth \n in it is enough to serve.\" \n \n The two men stood facing one another with defiant eyes. Rudolf had","Again James paused for a little while before he remarked: \"I am, of \n course, sir, only discussing the matter by way of passing the time. It \n would probably be wrong to carry any such plan into effect.\" \n \n \"It might be, but let us discuss it--to pass the time,\" said Sapt; and \n he leant forward, looking into the servant's quiet, shrewd face. \n \n \"Well, then, sir, since it amuses you, let us say that the king came","\"My master is in Strelsau, sir,\" began James. \n \n \"Well, most likely.\" \n \n \"I'm sure of it, sir. If he's been there, he will be taken for the \n king.\" \n \n \"That has happened before, and no doubt may happen again, unless--\" \n \n \"Why, of course, sir, unless the king's body should be discovered.\" \n \n \"That's what I was about to say, James.\" \n","\"Nobody knows yet,\" I said. \"We were afraid you might be taken for him \n by somebody. But, my God, Rudolf, what's to be done now?\" \n \n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \n his blue eyes wore a curious entranced expression. He seemed to me to be \n forgetful of everything, even of us who were with him, in some one idea \n that possessed him. The queen herself came nearer to him and lightly","\"A Mr. Rassendyll, a friend of the king's, who with his servant James \n was awaiting his Majesty's return from Strelsau. His servant here is \n ready to start for England, to tell Mr. Rassendyll's relatives the \n news.\" \n \n The queen had begun to listen before now; her eyes were fixed on Sapt, \n and she had stretched out one arm to him, as if imploring him to read \n her his riddle. But a few words had in truth declared his device plainly","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","\"Gone? How will that help, since they believe you to be the king?\" \n \n \"You can keep it from the king,\" he urged. \"I couldn't help it. I can \n settle with Rupert and disappear.\" \n \n The three were standing round me, surprised at my great and terrible \n agitation. Looking back now, I wonder that I could speak to them at all. \n \n Rudolf tried again to reassure me. He little knew the cause of what he \n saw. \n"],["set a sentry at the end of the passage with orders that her Majesty \n should on no pretence be disturbed, promised her very audibly to return \n as soon as he possibly could, and respectfully closed the door after \n she had entered. The constable was well aware of the value in a secret \n business of doing openly all that can safely be done with openness. \n \n All of what passed at that interview I do not know, but a part Queen \n Flavia herself told to me, or rather to Helga, my wife; for although it","her memories. There was no child to bridge the gulf between them, and \n although she was his queen and his wife, she grew almost a stranger to \n him. So he seemed to will that it should be. \n \n Thus, worse than widowed, she lived for three years; and once only in \n each year she sent three words to the man she loved, and received from \n him three words in answer. Then her strength failed her. A pitiful scene \n had occurred in which the king peevishly upbraided her in regard to some","in the people's eyes the visible triumph over Black Michael and his \n fellow-conspirators was now three years old. For three years the \n Princess Flavia had been queen. I am come by now to the age when a man \n should look out on life with an eye undimmed by the mists of passion. \n My love-making days are over; yet there is nothing for which I am more \n thankful to Almighty God than the gift of my wife's love. In storm it","poor, what is to us mean and of no sweetness may appear decked in the \n robes of pleasure and delight. Well, if it were not so, who could sleep \n at nights? The burden laid on Queen Flavia I knew, and know, so well as \n a man can know it. I think it needs a woman to know it fully; for even \n now my wife's eyes fill with tears when we speak of it. Yet she bore it, \n and if she failed in anything, I wonder that it was in so little. For","officer guarded him; in the cathedral the archbishop said a mass for his \n soul. He had lain there three days; the evening of the third had come, \n and early on the morrow he was to be buried. There is a little gallery \n in the hall, that looks down on the spot where the bier stood; here was \n I on this evening, and with me Queen Flavia. We were alone together, and \n together we saw beneath us the calm face of the dead man. He was clad","played the dutiful wife whose virtue was obedience, whose greatest sin \n would be an indiscreet prying into what it was not her part to know. \n \n \"I know no more,\" she said, \"than that Fritz wrote to me to expect the \n king and him at about five o'clock, and to be ready to let them in by \n the window, as the king did not wish the servants to be aware of his \n presence.\" \n \n The king came and greeted Helsing most graciously. The tragedy and","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself","rather than that present and certain disaster. Sooner than entail it on \n her he loved, he claimed for himself the place of her husband and the \n name of king. And she, clutching at the only chance that her act left, \n was content to have it so. It may be that for an instant her weary, \n tortured brain found sweet rest in the dim dream that so it was, for \n she let her head lie there on his breast and her eyes closed, her face \n looking very peaceful, and a soft little sigh escaping in pleasure from","\"I had had the same dream before. Now it came again. I saw him so plain. \n He seemed to me to be king, and to be called king. But he did not answer \n nor move. He seemed dead; and I could not rest.\" So she wrote, ever \n excusing herself, ever repeating how something drew her to Strelsau, \n telling her that she must go if she would see \"him whom you know,\" alive \n again. \"And I must see him--ah, I must see him! If the king has had the","in a few days' time. Not even to her did I speak of the new and more \n dangerous burden that I carried, although I was aware that she enjoyed a \n full measure of the queen's confidence. \n \n \"My love to King Rudolf, the real King Rudolf,\" said she. \"Though you \n carry what will make him think little of my love.\" \n \n \"I have no desire he should think too much of it, sweet,\" said I. She \n caught me by the hands, and looked up in my face. \n","He opened his eyes a little in languid, elegant surprise. \"Oh, I \n supposed you'd be on duty, or something, and have to come. Aren't you in \n attendance?\" \n \n \"On the queen? No, not just now.\" \n \n \"But on the king?\" \n \n \"Why, yes,\" said I, and I leaned forward. \"At least I'm engaged now on \n the king's business.\" \n","A sudden impulse came on me, and I turned to her, asking: \n \n \"What had he decided, madam? Would he have been king?\" She started a \n little. \n \n \"He didn't tell me,\" she answered, \"and I didn't think of it while he \n spoke to me.\" \n \n \"Of what then did he speak, madam?\" \n \n \"Only of his love--of nothing but his love, Fritz,\" she answered. \n","The half then, at least, of Rosa's attachment was justly due to the man \n who now stood opposite to her, looking at her with surprise by the murky \n light of the strong-smelling oil-lamp. The lamp shook and almost fell \n from her hand when she saw him; for the scarf had slid away, and his \n features were exposed to full view. Fright, delight, and excitement vied \n with one another in her eyes. \n \n \"The king!\" she whispered in amazement. \"No, but--\" And she searched his","Sapt flung himself into a chair and took off his gloves. \n \n \"Come, tell me what has happened to-day in Strelsau,\" he said. \n \n We gave a short and hurried account. He listened with few signs of \n approval or disapproval, but I thought I saw a gleam in his eyes when I \n described how all the city had hailed Rudolf as its king and the queen \n received him as her husband before the eyes of all. Again the hope and","trivial matter--the occasion escapes my memory--speaking to her before \n others words that even alone she could not have listened to with \n dignity. I was there, and Sapt; the colonel's small eyes had gleamed in \n anger. \"I should like to shut his mouth for him,\" I heard him mutter, \n for the king's waywardness had well-nigh worn out even his devotion. The \n thing, of which I will say no more, happened a day or two before I","king's sovereignty. It seemed to me that by the violence and bloodshed \n we had passed through, fate, for once penitent, was but righting the \n mistake made when Rudolf was not born a king. \n \n For a long while I stood thus, musing and dreaming; I was roused by the \n sound of the door opening and closing; turning, I saw the queen. She was \n alone, and came towards me with timid steps. She looked out for a moment","and being himself aflame with the liveliest curiosity, lost no time in \n obeying the king's commands, and arrived at my house before six o'clock. \n \n When the visitor was announced Rudolf was upstairs, having a bath and \n some breakfast. Helga had learnt her lesson well enough to entertain the \n visitor until Rudolf appeared. She was full of apologies for my absence, \n protesting that she could in no way explain it; neither could she so \n much as conjecture what was the king's business with her husband. She","Rassendyll himself was confident of his ability to conceal his presence, \n or, if need were, so to hide his face that no strange tale of the king \n being seen wandering, alone and beardless, should reach the ears of the \n castle or the town. \n \n While Sapt was making his arrangements, Queen Flavia came to the room \n where Rudolf Rassendyll was. It was then nearing twelve, and young \n Bernenstein had been gone half an hour. Sapt attended her to the door,","\"Stayed where with the king?\" roared Sapt. \n \n \"Why, at the hunting-lodge, Constable. The king stays there to-night, \n and will ride back tomorrow morning with Herbert. That, madam, is the \n king's message.\" \n \n We had come to it at last, and it was something to come to. Simon gazed \n from face to face. I saw him, and I understood at once that our feelings \n must be speaking too plainly. So I took on myself to dismiss him, \n saying:","than to be allowed to serve him all my days. Yet I serve the queen, and \n in that I do most truly serve her lover. \n \n Times change for all of us. The roaring flood of youth goes by, and the \n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \n the memory of Rudolf Rassendyll is fresh to me as on the day he died,"],["There was a little scream from Helga; Rudolf neither spoke nor moved; \n the queen continued to gaze at me in motionless wonder and horror. \n \n \"Rupert killed him,\" said I. \"The boar-hound attacked Rupert; then \n Herbert and the king attacked him; and he killed them all. Yes, the king \n is dead. He's dead.\" \n \n Now none spoke. The queen's eyes never left my face. \"Yes, he's dead.\"","king's death to his own--a crime perhaps in most men, but hardly \n deserving a place in Rupert's catalogue. All this I can admit now, but \n on that night, with the dead body lying there before us, with the story \n piteously told by Herbert's faltering voice fresh in our ears, it was \n hard to allow any such extenuation. Our hearts cried out for vengeance, \n although we ourselves served the king no more. Nay, it may well be that","Explanations must wait now: it was life or death; without hesitation \n Rupert fired at Herbert, bringing him to the ground with a mortal wound. \n The king's gun was at his shoulder again. \n \n \"You damned fool!\" roared Rupert, \"if you must have it, take it,\" and \n gun and revolver rang out at the same moment. But Rupert--never did his \n nerve fail him--hit, the king missed; Herbert saw the count stand for \n an instant with his smoking barrel in his hand, looking at the king,","forward, but timidly, as though we approached the throne of Death \n himself. I was the first to kneel by the king and raise his head. Blood \n had flowed from his lips, but it had ceased to flow now. He was dead. \n \n I felt Sapt's hand on my shoulder. Looking up, I saw his other hand \n stretched out towards the ground. I turned my eyes where he pointed. \n There, in the king's hand, stained with the king'sblood, was the box","thoughts with our eyes. \"This is our work,\" we said to one another. \"It \n was our trap, these are our victims.\" I cannot even now think of that \n hour, for by our act the king lay dead. \n \n But was he dead? I seized Sapt by the arm. His glance questioned me. \n \n \"The king,\" I whispered hoarsely. \n \n \"Yes, the king,\" he returned. \n \n Facing round, we walked to the door of the dining-room. Here I turned","cousin, the dog will bite no more, and the forester will stab no more. \n Surely the country is well rid of them?\" \n \n A silence followed. Then Rischenheim, leaning forward, said in a low \n whisper, as though afraid to hear his own question: \n \n \"And the king?\" \n \n \"The king? Well, the king will shoot no more.\" \n \n For a moment Rischenheim, still leaning forward, gazed at his cousin. \n Then he sank slowly back into his chair. \n","\"Yes, the king was very tired, Simon?\" said the queen, at once \n encouraging him and bringing him back to the point with a woman's skill. \n \n \"Yes, madam, the king was very tired; and as we chanced to kill near the \n hunting-lodge--\" \n \n I do not know whether Simon noticed any change in the manner of his \n audience. But the queen looked up with parted lips, and I believe that \n we three all drew a step nearer him. Sapt did not interrupt this time. \n","spoon, but she had ceased to stir and fallen into a chair. \n \n \"He's killing the king! He's killing the king!\" cried Rosa, seizing her \n mother by the arm. \"Mother, what shall we do? He's killing the king!\" \n \n The old woman looked up with dull eyes and a stupid, cunning smile. \n \n \"Let them alone,\" she said. \"There's no king here.\" \n","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself","of the fugitives and, a little later, the arrival of the patrol. Well, \n the patrol would not dare to touch the king; as for Bauer, let him be \n alive or dead: what cared she, who was the king's servant, able to help \n the king against his enemies? If Bauer were the king's enemy, right glad \n would she be to hear that the rogue was dead. How finely the king had \n caught him by the neck and thrown him out! She laughed to think how","looked aghast, Rischenheim nervous yet triumphant, Anton amused and \n gratified. \n \n \"The king!\" he cried, and burst into a laugh. \"You've drawn him, \n Rischenheim!\" \n \n The crowd heard his boyish exclamation and raised a cheer. Helsing \n turned, as though to rebuke them. Had not the king himself desired \n secrecy? Yes, but he who spoke as the king chose any risk sooner than \n let Rischenheim go back and warn Rupert of his presence. \n","\"Yes, madam, the king was very tired, and as we chanced to kill near the \n hunting-lodge, the king bade us carry our quarry there, and come back \n to dress it to-morrow; so we obeyed, and here we are--that is, except \n Herbert, my brother, who stayed with the king by his majesty's orders. \n Because, madam, Herbert is a handy fellow, and my good mother taught him \n to cook a steak and--\" \n","from Strelsau, and the king's place will be free for him again.\" \n \n Rischenheim gave a slight start, and a look of triumph spread over his \n face. They did not know that the king was dead. \n \n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \n face. \n \n \"I don't know,\" he continued, \"why you are in this business, my lord. \n Your cousin's motives I know well. But I wonder that they seemed to you","\"We must find that out, I think.\" \n \n Rischenheim turned abruptly on him. \n \n \"I had no hand in this thing,\" he said, \"and I'll have no more to do \n with it. I was not there. What did I know of the king being there? I'm \n not guilty of it: on my soul, I know nothing of it.\" \n \n \"That's all very true,\" nodded Rupert. \n","James kept silence for a few minutes. Then he observed, \"It will be very \n awkward to explain how the king was killed.\" \n \n \"The story will need good telling,\" admitted Sapt. \n \n \"And it will be difficult to make it appear that the king was killed in \n Strelsau; yet if my master should chance to be killed in Strelsau--\" \n \n \"Heaven forbid, James! On all grounds, Heaven forbid!\" \n","\"And yet,\" she went on, \"it is because of me that the king lies dead \n now; and a faithful humble fellow also, caught in the net of my unhappy \n fortunes, has given his life for me, though he didn't know it. Even \n while we speak, it may be that a gentleman, not too old yet to learn \n nobility, may be killed in my quarrel; while another, whom I alone of \n all that know him may not praise, carries his life lightly in his hand","had outlived the king, and he had gone to his death unknowing. All \n at once--I cannot tell why--I put my hand over my eyes; I found my \n eyelashes were wet. \n \n \"Is it open?\" asked Sapt again, for in the dim light he could not see. \n \n \"No,\" I answered. \n \n \"Thank God!\" said he. And, for Sapt's, the voice was soft. \n \n \n \n CHAPTER IX. THE KING IN THE HUNTING LODGE","The king lay in peace on his bed, his grave was dug; Sapt and James held \n the secret with solemn faith and ready lives. To Strelsau I must go \n to tell the queen that she was widowed, and to aim the stroke at young \n Rupert's heart. \n \n At nine in the morning I started from the lodge. I was bound to ride to \n Hofbau and there wait for a train which would carry me to the capital. \n From Hofbau I could send a message, but the message must announce only","Ignorant of the mind and heart of young Rupert, she could not conceive \n that he tried to kill the king. Yet the words she had caught sounded \n like the words of men quarreling, and she could not persuade herself \n that the gentlemen fenced only for pastime. They were not speaking now; \n but she heard their hard breathing and the movement of their unresting \n feet on the bare boards of the floor. Then a cry rang out, clear and \n merry with the fierce hope of triumph: \"Nearly! nearly!\" \n"],["thoughts with our eyes. \"This is our work,\" we said to one another. \"It \n was our trap, these are our victims.\" I cannot even now think of that \n hour, for by our act the king lay dead. \n \n But was he dead? I seized Sapt by the arm. His glance questioned me. \n \n \"The king,\" I whispered hoarsely. \n \n \"Yes, the king,\" he returned. \n \n Facing round, we walked to the door of the dining-room. Here I turned","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","James kept silence for a few minutes. Then he observed, \"It will be very \n awkward to explain how the king was killed.\" \n \n \"The story will need good telling,\" admitted Sapt. \n \n \"And it will be difficult to make it appear that the king was killed in \n Strelsau; yet if my master should chance to be killed in Strelsau--\" \n \n \"Heaven forbid, James! On all grounds, Heaven forbid!\" \n","forward, but timidly, as though we approached the throne of Death \n himself. I was the first to kneel by the king and raise his head. Blood \n had flowed from his lips, but it had ceased to flow now. He was dead. \n \n I felt Sapt's hand on my shoulder. Looking up, I saw his other hand \n stretched out towards the ground. I turned my eyes where he pointed. \n There, in the king's hand, stained with the king'sblood, was the box","had outlived the king, and he had gone to his death unknowing. All \n at once--I cannot tell why--I put my hand over my eyes; I found my \n eyelashes were wet. \n \n \"Is it open?\" asked Sapt again, for in the dim light he could not see. \n \n \"No,\" I answered. \n \n \"Thank God!\" said he. And, for Sapt's, the voice was soft. \n \n \n \n CHAPTER IX. THE KING IN THE HUNTING LODGE","Explanations must wait now: it was life or death; without hesitation \n Rupert fired at Herbert, bringing him to the ground with a mortal wound. \n The king's gun was at his shoulder again. \n \n \"You damned fool!\" roared Rupert, \"if you must have it, take it,\" and \n gun and revolver rang out at the same moment. But Rupert--never did his \n nerve fail him--hit, the king missed; Herbert saw the count stand for \n an instant with his smoking barrel in his hand, looking at the king,","king's death to his own--a crime perhaps in most men, but hardly \n deserving a place in Rupert's catalogue. All this I can admit now, but \n on that night, with the dead body lying there before us, with the story \n piteously told by Herbert's faltering voice fresh in our ears, it was \n hard to allow any such extenuation. Our hearts cried out for vengeance, \n although we ourselves served the king no more. Nay, it may well be that","I saw him, Fritz--I saw him as plainly as I see you. They all called him \n king, as they did to-day; but they did not cheer. They were quiet, and \n looked at him with sad faces. I could not hear what they said; they \n spoke in hushed voices. I heard nothing more than 'the king, the king,' \n and he seemed to hear not even that. He lay still; he was lying on \n something, something covered with hanging stuff, I couldn't see what it","this unfavorable reception, the audacious criminal had made a sudden \n attack on the king, with what issue all knew. He had met his own \n death, while the king, perceiving from a glance at the document that it \n compromised well-known persons, had, with the nobility which marked him, \n destroyed it unread before the eyes of those who were rushing in to \n his rescue. I supplied suggestions and improvements; and, engrossed in \n contriving how to blind curious eyes, we forgot the real and permanent","cousin, the dog will bite no more, and the forester will stab no more. \n Surely the country is well rid of them?\" \n \n A silence followed. Then Rischenheim, leaning forward, said in a low \n whisper, as though afraid to hear his own question: \n \n \"And the king?\" \n \n \"The king? Well, the king will shoot no more.\" \n \n For a moment Rischenheim, still leaning forward, gazed at his cousin. \n Then he sank slowly back into his chair. \n","There was a little scream from Helga; Rudolf neither spoke nor moved; \n the queen continued to gaze at me in motionless wonder and horror. \n \n \"Rupert killed him,\" said I. \"The boar-hound attacked Rupert; then \n Herbert and the king attacked him; and he killed them all. Yes, the king \n is dead. He's dead.\" \n \n Now none spoke. The queen's eyes never left my face. \"Yes, he's dead.\"","\"Yes, the king was very tired, Simon?\" said the queen, at once \n encouraging him and bringing him back to the point with a woman's skill. \n \n \"Yes, madam, the king was very tired; and as we chanced to kill near the \n hunting-lodge--\" \n \n I do not know whether Simon noticed any change in the manner of his \n audience. But the queen looked up with parted lips, and I believe that \n we three all drew a step nearer him. Sapt did not interrupt this time. \n","\"You'll be in time?\" asked the queen, with clasped hands and frightened \n eyes. \n \n \"Assuredly, madam,\" returned Sapt with a bow. \n \n \"You won't let him reach the king?\" \n \n \"Why, no, madam,\" said Sapt with a smile. \n \n \"From my heart, gentlemen,\" she said in a trembling voice, \"from my \n heart--\" \n \n \"Here are the horses,\" cried Sapt. He snatched her hand, brushed it","safe?\" he asked. \n \n \"Ay, it's safe enough!\" \n \n \"Nobody has seen what you had to hide?\" \n \n \"No; and nobody knows that the king is dead,\" answered Sapt. \n \n \"Then what brings you here?\" \n \n \"Why, the same thing that was about to bring you to the lodge: the need \n of a meeting between yourself and me, sire.\" \n \n \"But the lodge--is it left unguarded?\" \n","kill Rupert and to convince the king that the letter was a forgery--a \n desperate hope, so desperate that we turned our eyes away from the \n possibility which would make it our only resource. \n \n We were now very near the hunting-lodge, being about forty yards from \n the front of it. All at once Sapt threw himself on his stomach on the \n ground. \n \n \"Give me a match,\" he whispered. \n \n James struck a light, and, the night being still, the flame burnt","The king lay in peace on his bed, his grave was dug; Sapt and James held \n the secret with solemn faith and ready lives. To Strelsau I must go \n to tell the queen that she was widowed, and to aim the stroke at young \n Rupert's heart. \n \n At nine in the morning I started from the lodge. I was bound to ride to \n Hofbau and there wait for a train which would carry me to the capital. \n From Hofbau I could send a message, but the message must announce only","up to the entrance. Helsing was on the steps, and ran down to the \n carriage, greeting the king with passionate fervor. The shouts of the \n crowd grew louder still. \n \n But suddenly a stillness fell on them; it lasted but an instant, and \n was the prelude to a deafening roar. I was looking at Rudolf and saw his \n head turn suddenly and his eyes grow bright. I looked where his eyes \n had gone. There, on the top step of the broad marble flight, stood","\"Yes; you, Bernenstein, and I will be at the lodge.\" \n \n \"That's not impossible, though I have had nearly enough riding.\" \n \n Rudolf fixed his eyes firmly on Sapt's. \n \n \"You see,\" he said, \"the king reaches his hunting-lodge early in the \n morning.\" \n \n \"I follow you, sire.\" \n \n \"And what happens there, Sapt? Does he shoot himself accidentally?\" \n \n \"Well, that happens sometimes.\" \n","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself","Again James paused for a little while before he remarked: \"I am, of \n course, sir, only discussing the matter by way of passing the time. It \n would probably be wrong to carry any such plan into effect.\" \n \n \"It might be, but let us discuss it--to pass the time,\" said Sapt; and \n he leant forward, looking into the servant's quiet, shrewd face. \n \n \"Well, then, sir, since it amuses you, let us say that the king came"],["I understood his feeling, and knew that he held life a light thing \n compared with the recovery of Queen Flavia's letter. I ceased to urge \n him. When I assented to his wishes, every shadow vanished from his \n face, and he began to discuss the details of the plan with business-like \n brevity. \n \n \"I shall leave James with you,\" said Rudolf. \"He'll be very useful, and \n you can rely on him absolutely. Any message that you dare trust to no","letter, she stooped suddenly and kissed him off the brow. Then she \n looked straight across at Helga, almost defiantly; but Helga ran to her \n and caught her in her arms. \n \n Rudolf Rassendyll sat with his head resting on his hand. He looked up \n once at the two women; then he caught my eye, and beckoned me to come to \n him. I approached him, but for several moments he did not speak. Again","\"Yes, a letter, too; she wrote a letter, and I carried that as well as \n the box. I've lost them both, Rudolf. God help me, I've lost them both! \n Rupert has the letter too!\" I think I must have been weak and unmanned \n from the blow I had received, for my composure broke down here. Rudolf \n stepped up to me and wrung me by the hand. I mastered myself again and \n looked in his face as he stood in thought, his hand caressing the strong","Rudolf tore it further open, and his hand dashed in. \n \n \"God's curse on you!\" snarled Rupert of Hentzau. \n \n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \n at it showed him the queen's seal. As he glanced Rupert made another \n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \n more than time to spring away, holding his prize. The next moment he had","her letter. At this he took from his pocket the copy that Rischenheim \n had carried. He had found time to read it, and now before her eyes he \n kissed it. \n \n \"Had I as many lives as there are words, my queen,\" he said softly, \"for \n each word I would gladly give a life.\" \n \n \"Ah, Rudolf, but you've only one life, and that more mine than yours. \n Did you think we should ever meet again?\" \n","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","\"True,\" said Rudolf. \"Bauer knows. Well, we'll see about Bauer.\" \n \n As he spoke he turned towards the door. Suddenly the girl bent, snatched \n at his hand and kissed it. \n \n \"I would die for you,\" she murmured. \n \n \"Poor child!\" said he gently. I believe he was loath to make profit, \n even in the queen's service, of her poor foolish love. He laid his hand \n on the door, but paused a moment to say: \n","heart. Then she came to him and seized hold of his hand. \n \n \"Don't go,\" she said in low trembling tones. \"Don't go, Rudolf. He'll \n kill you. Never mind the letter. Don't go: I had rather a thousand times \n that the king had it than that you should.... Oh, my dear, don't go!\" \n \n \"I must go,\" he said softly. \n \n Again she began to implore him, but he would not yield. Helga moved","\"Yes, but give me some brandy,\" said I. \n \n Rudolf gave me a little brandy mixed in a great deal of water, and then \n I made shift to tell him. Though faint, I was not confused, and I gave \n my story in brief, hurried, yet sufficient words. He made no sign till I \n mentioned the letter. Then his face changed. \n \n \"A letter, too?\" he exclaimed, in a strange mixture of increased \n apprehension and unlooked-for joy. \n","deliberately he settled himself to read, regarding neither Rischenheim's \n nervous hurry nor my desperate, angry glance that glared up at him. He \n read leisurely, as though he had been in an armchair in his own house; \n the lips smiled and curled as he read the last words that the queen had \n written to her lover. He had indeed come on more than he thought. \n \n Rischenheim laid a hand on his shoulder. \n \n \"Quick, Rupert, quick,\" he urged again, in a voice full of agitation. \n","Rudolf drew back and let him pass, then he entered quickly, to find \n himself alone with Helga in the hall. With a finger on her lips, she led \n him swiftly into a small sitting-room on the ground floor, which I used \n as a sort of office or place of business. It looked out on the street, \n and the rain could be heard driving against the broad panes of the \n window. Rudolf turned to her with a smile, and, bowing, kissed her hand. \n","passed from the queen to her lover, carrying in it grief, remorse, and \n most unwilling joy. He did not speak to her, but put out his hand and \n took hers. She drew it away almost sharply, and covered her face with \n both hands. \n \n Rudolf turned to me. \"When was it?\" \n \n \"Last night.\" \n \n \"And the.... He's at the lodge?\" \n \n \"Yes, with Sapt and James.\" \n \n I was recovering my senses and my coolness. \n","concerning the letter, he would doubtless tell the king that Rudolf \n Rassendyll was in the castle. He leant now over the king's shoulder, and \n said with a sneer: \n \n \"Messages from Rupert of Hentzau are too exalted matters for my poor \n ears, it seems.\" \n \n The king flushed red. \n \n \"Is that your business, my lord?\" he asked Rischenheim sternly. \n \n \"Your Majesty does not know what my cousin--\" \n","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","great enough to justify the ruin of an unhappy lady who is your queen. \n Be assured that I will die sooner than let that letter reach the king's \n hand.\" \n \n Rischenheim made him no answer. \n \n \"Are you armed?\" asked Rudolf. \n \n Rischenheim sullenly flung his revolver on the table. Bernenstein came \n forward and took it. \n \n \"Keep him here, Bernenstein. When I return I'll tell you what more to","\"Yes. Sapt, he's got a copy of the queen's letter.\" \n \n Sapt twirled his moustache. \n \n \"I've always said as much,\" he remarked in tones of satisfaction. He \n need not have said it; he would have been more than human not to think \n it. \n \n \"Where can you take me to?\" asked Rudolf impatiently. \n \n \"Any room with a door and a lock to it,\" answered old Sapt. \"I command","audience sooner than was arranged, I shall be in time.\" \n \n \"How will you get hold of Sapt?\" \n \n \"We must leave something to the minute.\" \n \n \"God bless you, Rudolf.\" \n \n \"The king sha'n't have the letter, Fritz.\" \n \n There was a moment's silence as we shook hands. Then that soft yet \n bright look came in his eyes again. He looked down at me, and caught me \n regarding him with a smile that I know was not unkind. \n","me, see if he--if he looks as if he still loved me.\" But then she broke \n off, crying, \"But don't tell him I said that. He'd be grieved if I \n doubted his love. I don't doubt it; I don't, indeed; but still tell me \n how he looks when you speak of me, won't you, Fritz? See, here's the \n letter.\" \n \n Taking it from her bosom, she kissed it before she gave it to me. Then","\"All right,\" said Rudolf Rassendyll. \"I can read my letter there.\" \n \n \"Burn it, you fool.\" \n \n \"When I've read it I'll eat it, if you like, but not before.\" \n \n Bernenstein looked in again. \"Quick, quick! The man will be back,\" he \n whispered. \n \n \"Bernenstein, did you hear what I said to the count?\" \n \n \"Yes, I heard.\" \n","have suspected that I carried some such token as the box, but he could \n not know of the letter. Would he listen to Rischenheim? No. The Count of \n Hentzau did things thoroughly. \n \n \"We may as well overhaul him a bit more,\" said he, and resumed his \n search. My hope vanished, for now he was bound to come upon the letter. \n \n Another instant brought him to it. He snatched the pocketbook, and,"],["Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","was dead. Who would ask if it were in truth the king who lay in state in \n the great hall of the palace, or whether the humble grave at Zenda held \n the bones of the last male Elphberg? In the silence of the grave all \n murmurs and questionings were hushed. \n \n Throughout the day people had been passing and repassing through the \n great hall. There, on a stately bier surmounted by a crown and the \n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest","denied, not by the evidence of one only or of two, was the king's \n presence in the city known. That day, by the witness of a crowd of \n people, by his own claim and his own voice, ay, and by the assent of \n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \n while neither he nor Queen Flavia knew that the king was dead. I must \n now relate the strange and perverse succession of events which forced","All this rushed to my mind at Sapt's words, and I saw what the constable \n and James had never forgotten. But what to do I could not see. For the \n King of Ruritania lay dead. \n \n An hour or more had passed since our discovery, and it was now close on \n midnight. Had all gone well we ought by this time to have been far on \n our road back to the castle; by this time Rupert must be miles away from \n where he had killed the king; already Mr. Rassendyll would be seeking","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","suspected when the charred body which was called Rudolf Rassendyll's was \n laid to quiet rest in the graveyard of the town of Zenda, hard by the \n tomb of Herbert the forester. For we had from the first rejected any \n idea of bringing the king's body to Strelsau and setting it in the place \n of Mr. Rassendyll's. The difficulties of such an undertaking were almost \n insuperable; in our hearts we did not desire to conquer them. As a king","the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \n few who knew him, her only hope that she may some day be with him again. \n \n In great pomp we laid him to his rest in the vault of the kings of \n Ruritania in the Cathedral of Strelsau. There he lies among the \n princes of the House of Elphberg. I think that if there be indeed any \n consciousness among the dead, or any knowledge of what passes in the","enough in all its simplicity. Rudolf Rassendyll was dead, his body \n burnt to a cinder, and the king was alive, whole, and on his throne in \n Strelsau. Thus had Sapt caught from James, the servant, the infection of \n his madness, and had fulfilled in action the strange imagination which \n the little man had unfolded to him in order to pass their idle hours at \n the lodge. \n \n Suddenly Mr. Rassendyll spoke in clear, short tones. \n","comfort. Rudolf Rassendyll was in Strelsau. He had been seen by somebody \n and taken for the king. But comfort? What comfort was there, now that \n the king was dead and could never come to the rescue of his counterfeit? \n \n In fact, the truth was worse than I conceived. Had I known it all, I \n might well have yielded to despair. For not by the chance, uncertain \n sight of a passer-by, not by mere rumor which might have been sturdily","before); his face was in deep shadow, but Rischenheim perceived that the \n beard was indeed gone. The king held out his hand to Rischenheim, and \n motioned him to sit in a chair just opposite to him and within a foot of \n the window-curtains. \n \n \"I'm delighted to see you, my lord,\" said the king. \n \n Rischenheim looked up. Rudolf's voice had once been so like the king's \n that no man could tell the difference, but in the last year or two the","\"I won't quit Ruritania a second time leaving Rupert of Hentzau \n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \n understand--and that instructions from the king will follow by midday. \n When I have killed Rupert, I shall visit the lodge on my way to the \n frontier.\" \n \n He turned to go, but the queen, following, detained him for a minute. \n \n \"You'll come and see me before you go?\" she pleaded.","servant, and, the king being summoned unexpectedly to the capital, had \n been awaiting his Majesty's return when he met his fate. There was a \n short history of Rudolf, a glancing reference to his family, a dignified \n expression of condolence with his relatives, to whom the king was \n sending messages of deepest regret by the hands of Mr. Rassendyll's \n servant. At another table young Bernenstein was drawing up, under the","excitement. \"Don't you know me?\" asked Rudolf, standing opposite the old \n woman and smiling down on her. \n \n There, in the dim light of the low-roofed passage, Mother Holf was \n fairly puzzled. She knew the story of Mr. Rassendyll; she knew that he \n was again in Ruritania, it was no surprise to her that he should be in \n Strelsau; but she did not know that Rupert had killed the king, and","from Strelsau, and the king's place will be free for him again.\" \n \n Rischenheim gave a slight start, and a look of triumph spread over his \n face. They did not know that the king was dead. \n \n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \n face. \n \n \"I don't know,\" he continued, \"why you are in this business, my lord. \n Your cousin's motives I know well. But I wonder that they seemed to you","from their case and put them on the table. With a slight bow Rudolf took \n one, and the two assumed their positions. Suddenly Rupert lowered his \n point. The frown vanished from his face, and he spoke in his usual \n bantering tone. \n \n \"By the way,\" said he, \"perhaps we're letting our feelings run away \n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \n ready to be the most faithful of your subjects.\" \n","nay, who would listen to such a tale from such a man? Rischenheim was \n ours; the old woman would keep her doubts between her teeth for her own \n sake. To his own land and his own people Rudolf must be dead while \n the King of Ruritania would stand before all Europe recognized, \n unquestioned, unassailed. True, he must marry the queen again; Sapt was \n ready with the means, and would hear nothing of the difficulty and risk \n in finding a hand to perform the necessary ceremony. If we quailed in","the other hand, the Count of Luzau-Rischenheim found a king in Strelsau, \n if the royal standards continued to wave at the summit of their flag \n staffs, and Strelsau knew nothing of the dead man in the lodge, then \n Rupert had laid his hand on another secret; for he knew who the king in \n Strelsau must be. Starting from this point, his audacious mind darted \n forward to new and bolder schemes. He could offer again to Rudolf","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","not resheathe) in the other, he stepped over the body of the boar-hound, \n and I followed him. \n \n We were now in front of the door of the room where Rudolf Rassendyll had \n supped with us on the day of his first coming to Ruritania, and whence \n he had set out to be crowned in Strelsau. On the right of it was the \n room where the king slept, and farther along in the same direction the","\"What part to-day? Isn't it the old one, the king with a pasteboard \n crown?\" asked Rupert, sitting down on the table. \"Faith, we shall do \n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \n though I am) have given the other one a heavenly crown. What a brave \n show! But perhaps I tell you news?\" \n \n \"No, I know what you've done.\" \n"],["in Ruritania. Rischenheim is to try first; but if he fails, Rupert will \n risk everything and break through to the king's presence. Give him five \n minutes with the king, and the mischief's done! Very well, then; Sapt \n must keep Rupert at bay while I tackle Rischenheim. As soon as you can \n move, go to Strelsau, and let Sapt know where you are.\" \n \n \"But if you're seen, if you're found out?\" \n","\"But the king is in Strelsau, sir.\" \n \n \"The deuce he is! He said nothing of going to Strelsau. He rose early \n and rode off with Herbert, merely saying they would be back to-night.\" \n \n \"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \n known to have been in town with the queen. They were both at Count \n Fritz's.\" \n","\"I won't quit Ruritania a second time leaving Rupert of Hentzau \n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \n understand--and that instructions from the king will follow by midday. \n When I have killed Rupert, I shall visit the lodge on my way to the \n frontier.\" \n \n He turned to go, but the queen, following, detained him for a minute. \n \n \"You'll come and see me before you go?\" she pleaded.","from their case and put them on the table. With a slight bow Rudolf took \n one, and the two assumed their positions. Suddenly Rupert lowered his \n point. The frown vanished from his face, and he spoke in his usual \n bantering tone. \n \n \"By the way,\" said he, \"perhaps we're letting our feelings run away \n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \n ready to be the most faithful of your subjects.\" \n","\"You see, the king is not even in Strelsau,\" said Rudolf. \n \n \"Not in Strelsau, sir?\" \n \n \"Why, no, he's at Zenda.\" \n \n \"Ah! At Zenda, sir?\" \n \n \"Certainly. It is therefore impossible--physically impossible--that he \n should be here.\" \n \n The fellow was convinced that he understood now. \n \n \"It's certainly impossible, sir,\" said he, smiling more broadly. \n","\"What part to-day? Isn't it the old one, the king with a pasteboard \n crown?\" asked Rupert, sitting down on the table. \"Faith, we shall do \n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \n though I am) have given the other one a heavenly crown. What a brave \n show! But perhaps I tell you news?\" \n \n \"No, I know what you've done.\" \n","stretching out her arms to him. But he lay still and quiet, not hearing \n and not heeding what she murmured, \"My king! my king!\" It was even as it \n had been in the dream. \n \n That night James, the servant, took leave of his dead master and of \n us. He carried to England by word of mouth--for we dared write nothing \n down--the truth concerning the King of Ruritania and Mr. Rassendyll.","the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \n few who knew him, her only hope that she may some day be with him again. \n \n In great pomp we laid him to his rest in the vault of the kings of \n Ruritania in the Cathedral of Strelsau. There he lies among the \n princes of the House of Elphberg. I think that if there be indeed any \n consciousness among the dead, or any knowledge of what passes in the","Ruritania. To save her from that, no chance was too desperate, no scheme \n too perilous; yes, if, as Sapt said, we ourselves were held to answer \n for the king's death, still we must go on. I, through whose negligence \n the whole train of disaster had been laid, was the last man to hesitate. \n In all honesty, I held my life due and forfeit, should it be demanded of \n me--my life and, before the world, my honor. \n","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","not resheathe) in the other, he stepped over the body of the boar-hound, \n and I followed him. \n \n We were now in front of the door of the room where Rudolf Rassendyll had \n supped with us on the day of his first coming to Ruritania, and whence \n he had set out to be crowned in Strelsau. On the right of it was the \n room where the king slept, and farther along in the same direction the","enthusiasm and followed his lead. All the people took up the cry with \n boundless fervor, and thus we all, high and low in Strelsau, that \n afternoon hailed Mr. Rassendyll for our king. There had been no such \n zeal since Henry the Lion came back from his wars, a hundred and fifty \n years ago. \n \n \"And yet,\" observed old Helsing at my elbow, \"agitators say that there \n is no enthusiasm for the house of Elphberg!\" He took a pinch of snuff in","man in Ruritania should quit his work, his pleasure, or his bed, and \n make it his concern to take the Count of Hentzau, alive or dead. I \n remember that I walked over to where Sapt was sitting, and caught him by \n the arm, saying: \n \n \"We must raise the alarm. If you'll go to Zenda, I'll start for \n Strelsau.\" \n \n \"The alarm?\" said he, looking up at me and tugging his moustache. \n","there is still a Rassendyll, if she has need of one.\" \n \n The offer was such as should come from a man of Rudolf's name, yet I \n trust that the queen needs no further service than such as it is our \n humble duty and dear delight to render her. It is our part to strive \n to lighten the burden that she bears, and by our love to assuage her \n undying grief. For she reigns now in Ruritania alone, the last of all","\"With the king?\" said Helsing. \"Ah, yes, but the king--\" \n \n \"I'm on my way to the palace to find out where he is. If I can't see \n him, I must write at once. My business is very urgent.\" \n \n \"Indeed, my dear count, indeed! Dear me! Urgent, you say?\" \n \n \"But perhaps you can help me. Is he at Zenda?\" \n \n The chancellor was becoming very embarrassed; Anton had disappeared into","that all our efforts had secured no better ruler for Ruritania. Sapt \n could serve, but he liked his master to be a man. \n \n \"Ay, I'm afraid the lad's work here is done,\" he said, as I shook him \n by the hand. Then a sudden light came in his eyes. \"Perhaps not,\" he \n muttered. \"Who knows?\" \n \n A man need not, I hope, be deemed uxorious for liking a quiet dinner","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","knew my errand; and, sitting down beside him, I told him of the letter \n I carried, and arranged how to apprise him of my fortune surely and \n quickly. He was not in a good humor that day: the king had ruffled him \n also, and Colonel Sapt had no great reserve of patience. \n \n \"If we haven't cut one another's throats before then, we shall all be at \n Zenda by the time you arrive at Wintenberg,\" he said. \"The court moves","his hand and pointed to their riding-boots. \"Whither away so late at \n night?\" he asked. \n \n \"First together to the lodge, to find you, then I alone to the \n frontier,\" said Mr. Rassendyll. \n \n \"One thing at a time. The frontier will wait. What does your Majesty \n want with me at the lodge?\" \n \n \"I want so to contrive that I shall be no longer your Majesty,\" said \n Rudolf. \n","was dead. Who would ask if it were in truth the king who lay in state in \n the great hall of the palace, or whether the humble grave at Zenda held \n the bones of the last male Elphberg? In the silence of the grave all \n murmurs and questionings were hushed. \n \n Throughout the day people had been passing and repassing through the \n great hall. There, on a stately bier surmounted by a crown and the \n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest"],["Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","\"By God, Rudolf Rassendyll,\" said he, \"I'll kill you here and now.\" \n \n \"I ask no better than that you should try.\" \n \n \"And then I'll proclaim that woman for what she is in all Strelsau.\" A \n smile came on his lips as he watched Rudolf's face. \n \n \"Guard yourself, my lord,\" said Mr. Rassendyll. \n","enough in all its simplicity. Rudolf Rassendyll was dead, his body \n burnt to a cinder, and the king was alive, whole, and on his throne in \n Strelsau. Thus had Sapt caught from James, the servant, the infection of \n his madness, and had fulfilled in action the strange imagination which \n the little man had unfolded to him in order to pass their idle hours at \n the lodge. \n \n Suddenly Mr. Rassendyll spoke in clear, short tones. \n","king, that we didn't know, that we weren't accomplices in the tricking \n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \n me from a conscience that won't let me be true to the woman I love, or \n to the friends who love me!\" \n \n I had never seen the old fellow so moved; he carried me with him, as he \n carried Bernenstein. I know now that we were too ready to be convinced;","Rassendyll's: a sudden suspicion seized him, for the face, though the \n king's face in every feature, bore a stern resolution and witnessed a \n vigor that were not the king's. In that instant the truth, or a hint of \n it, flashed across his mind. He gave a half-articulate cry; in one hand \n he crumpled up the paper, the other flew to his revolver. But he was \n too late. Rudolf's left hand encircled his hand and the paper in an iron","Bernenstein's head and heard it whistle through the air. It crashed on \n the crown of Bauer's head, and he fell like a log to the ground with his \n skull split. The queen's hold on me relaxed; she sank into Rischenheim's \n arms. I ran forward and knelt by Mr. Rassendyll. He still held Sapt's \n hands, and by their help buoyed himself up. But when he saw me he let go \n of them and sank back against me, his head resting on my chest. He moved","said I; and I watched her eyes still. For a long while (or long \n it seemed) they were on my face; at last, as though drawn by some \n irresistible force, they turned away. I followed the new line they took. \n She looked at Rudolf Rassendyll, and he at her. Helga had taken out her \n handkerchief, and, utterly upset by the horror and shock, was lying back \n in a low chair, sobbing half-hysterically; I saw the swift look that","that he meant to strangle him, but the anger, long stored in his heart, \n found vent in the fierce grip of his fingers. It is certain that \n Bauer thought his time was come, unless he struck a blow for himself. \n Instantly he raised his hand and thrust fiercely at Rudolf with his long \n knife. Mr. Rassendyll would have been a dead man, had he not loosed his \n hold and sprung lightly away. But Bauer sprang at him again, thrusting \n with the knife, and crying to his associates,","Rassendyll, and that I played the king only in order to serve the queen \n and punish Rupert of Hentzau. That will serve, and it will cut this net \n of Sapt's from about my limbs.\" \n \n He spoke firmly and coldly; so that when I looked at him I was amazed \n to see how his lips twitched and that his forehead was moist with sweat. \n Then I understood what a sudden, swift, and fearful struggle he had","\"I should wrong you by straining your kindness so far,\" said he; and in \n wanton insolence, seeking again to show Mr. Rassendyll the mean esteem \n in which he held him, and the weariness his presence was, he raised his \n arms and stretched them above his head, as a man does in the fatigue of \n tedium. \"Heigho!\" he yawned. \n \n But he had overshot the mark this time. With a sudden swift bound Rudolf","is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \n hours with the queen, when the king is at his hunting lodge? A king \n has died already, and two men besides, to save a word against her. And \n you--you'll be the man to set every tongue in Strelsau talking, and \n every finger pointing in suspicion at her?\" \n \n Rudolf made no answer. When Sapt had first uttered the queen's name, he","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","comfort. Rudolf Rassendyll was in Strelsau. He had been seen by somebody \n and taken for the king. But comfort? What comfort was there, now that \n the king was dead and could never come to the rescue of his counterfeit? \n \n In fact, the truth was worse than I conceived. Had I known it all, I \n might well have yielded to despair. For not by the chance, uncertain \n sight of a passer-by, not by mere rumor which might have been sturdily","\"They saw you?\" she gasped. \n \n \"Undoubtedly,\" said he. Then his sense of amusement conquered everything \n else, and he sat down in a chair, laughing. \n \n \"I'd give my life,\" said he, \"to hear the story that the chancellor will \n be waked up to hear in a minute or two from now!\" \n \n But a moment's thought made him grave again. For whether he were the \n king or Rudolf Rassendyll, he knew that my wife's name was in equal","I went straight back to Rudolf Rassendyll. His eyes greeted me and \n questioned me. He was a man, and I played no silly tricks with him. I \n bent down and said: \"An hour, they think, Rudolf.\" \n \n He made one restless movement, whether of pain or protest I do not know. \n Then he spoke, very low, slowly, and with difficulty. \n \n \"Then they can go,\" he said; and when I spoke of a priest he shook his \n head. \n","Rassendyll what he had offered once before, three years ago--a \n partnership in crime and the profits of crime--or if this advance were \n refused, then he declared that he would himself descend openly into the \n streets of Strelsau and proclaim the death of the king from the steps of \n the cathedral. \n \n \"Who can tell,\" he cried, springing up, enraptured and merry with the \n inspiration of his plan, \"who can tell whether Sapt or I came first to","\"Nobody knows yet,\" I said. \"We were afraid you might be taken for him \n by somebody. But, my God, Rudolf, what's to be done now?\" \n \n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \n his blue eyes wore a curious entranced expression. He seemed to me to be \n forgetful of everything, even of us who were with him, in some one idea \n that possessed him. The queen herself came nearer to him and lightly","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","There were two things that seemed plain. If Rupert had escaped the trap \n and was still alive with the letter on him, Rupert must be found; here \n was the first task. That accomplished, there remained for Rudolf himself \n nothing save to disappear as quietly and secretly as he had come, \n trusting that his presence could be concealed from the man whose name \n he had usurped. Nay, if need were, the king must be told that Rudolf \n Rassendyll had played a trick on the chancellor, and, having enjoyed his"],["\"True,\" said Rudolf. \"Bauer knows. Well, we'll see about Bauer.\" \n \n As he spoke he turned towards the door. Suddenly the girl bent, snatched \n at his hand and kissed it. \n \n \"I would die for you,\" she murmured. \n \n \"Poor child!\" said he gently. I believe he was loath to make profit, \n even in the queen's service, of her poor foolish love. He laid his hand \n on the door, but paused a moment to say: \n","and stretched out her hands towards me, her eyes filled with tears. \n \n \"Yet,\" said she, \"your wife knows, and still loves me, Fritz.\" \n \n \"She should be no wife of mine, if she didn't,\" I cried. \"For I and all \n of mine ask no better than to die for your Majesty.\" \n \n \"She knows, and yet she loves me,\" repeated the queen. I loved to see \n that she seemed to find comfort in Helga's love. It is women to whom","and her honor! While he was alive I'd have killed you sooner than let \n you take it. He's dead. Now--for our love and her honor, lad!\" \n \n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \n was set and rigid. He made no sign when Sapt finished, but stood as \n he was, motionless, for a long while. Then he slowly bent his head and \n looked down into the queen's eyes. For a while she sat looking back into","\"No, but what could it mean?\" she asked again. \n \n \"What does it mean when I dream always of you, except that I always love \n you?\" \n \n \"Was it only that?\" she said, still unconvinced. \n \n What more passed between them I do not know. I think that the queen told \n my wife more, but women will sometimes keep women's secrets even from \n their husbands; though they love us, yet we are always in some sort the","Well, I take it that when a man comes to die, love is more to him than \n a kingdom: it may be, if we could see truly, that it is more to him even \n while he lives. \n \n \"Of nothing but his great love for me, Fritz,\" she said again. \"And my \n love brought him to his death.\" \n \n \"He wouldn't have had it otherwise,\" said I. \n \n \"No,\" she whispered; and she leant over the parapet of the gallery,","her head round young Bernenstein's broad shoulders. Thus she saw \n what happened. The queen, forgetting the servants, and not observing \n Helsing--seeming indeed to stay for nothing, and to think of nothing, \n but to have her thoughts and heart filled with the sight of the man she \n loved and the knowledge of his safety--met him as he ran towards her, \n and, before Helga, or Bernenstein, or Rudolf himself, could stay her or","He is not too young to desire to serve the queen, and not too young to \n learn to love and reverence him who sleeps there in the vault and was in \n his life the noblest gentleman I have known. \n \n I will take the boy with me and tell him what I may of brave King \n Rudolf, how he fought and how he loved, and how he held the queen's \n honor and his own above all things in this world. The boy is not too \n young to learn such lessons from the life of Mr. Rassendyll. And while","passed from the queen to her lover, carrying in it grief, remorse, and \n most unwilling joy. He did not speak to her, but put out his hand and \n took hers. She drew it away almost sharply, and covered her face with \n both hands. \n \n Rudolf turned to me. \"When was it?\" \n \n \"Last night.\" \n \n \"And the.... He's at the lodge?\" \n \n \"Yes, with Sapt and James.\" \n \n I was recovering my senses and my coolness. \n","than to be allowed to serve him all my days. Yet I serve the queen, and \n in that I do most truly serve her lover. \n \n Times change for all of us. The roaring flood of youth goes by, and the \n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \n the memory of Rudolf Rassendyll is fresh to me as on the day he died,","the queen, pale as the marble itself, stretching out her hands towards \n Rudolf. The people had seen her: she it was whom this last rapturous \n cheer greeted. My wife stood close behind her, and farther back others \n of her ladies. Bernenstein and I sprang out. With a last salute to the \n people Rudolf followed us. He walked up to the highest step but one, and \n there fell on one knee and kissed the queen's hand. I was by him, and \n when he looked up in her face I heard him say:","Yet there was in truth nothing strange in the queen seeking to see old \n Sapt that night, nor in her guessing where he would most probably be \n found. For she had asked him three times whether news had come from \n Wintenberg and each time he had put her off with excuses. Quick to \n forbode evil, and conscious of the pledge to fortune that she had given \n in her letter, she had determined to know from him whether there were \n really cause for alarm, and had stolen, undetected, from her apartments","The queen, looking still in Rudolf's face, and forgetful now, as it \n seemed, of the dream that had so terrified her, took no notice of what I \n said, but urged again: \"You'll come, Rudolf?\" \n \n \"Yes, once, my queen,\" and with a last kiss of her hand he was gone. \n \n The queen stood for yet another moment where she was, still and almost \n rigid. Then suddenly she walked or stumbled to where my wife sat, and,","Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \n the door and the queen appeared on the threshold. She was very pale, \n and she had been crying, but her eyes were happy and her air firm. The \n moment he saw her, young Bernenstein fell on his knee and raised her \n hand to his lips. \n \n \"To the death, madame,\" said he, in a trembling voice. \n \n \"I knew it, sir,\" she answered graciously. Then she looked round on the","kiss it. We've done with pretence now.\" \n \n We shook his hand as he bade us. Then he took the queen's hand. Again \n she knew his mind, and moved it to his lips. \"In life and in death, my \n sweet queen,\" he murmured. And thus he fell asleep. \n \n \n \n CHAPTER XXI. THE COMING OF THE DREAM \n \n THERE IS little need, and I have little heart, to dwell on what followed","And I must endure more still. For he will go now, and the time will be \n very long. But, at last, we shall be together. There is pity in God; we \n shall be together at last.\" \n \n \"If he goes now, how can he come back?\" \n \n \"He will not come back; I shall go to him. I shall give up the throne \n and go to him, some day, when I can be spared from here, when I've done \n my--my work.\" \n","her memories. There was no child to bridge the gulf between them, and \n although she was his queen and his wife, she grew almost a stranger to \n him. So he seemed to will that it should be. \n \n Thus, worse than widowed, she lived for three years; and once only in \n each year she sent three words to the man she loved, and received from \n him three words in answer. Then her strength failed her. A pitiful scene \n had occurred in which the king peevishly upbraided her in regard to some","resentful of the queen's reproof and scornful of the woman's agitation. \n He was also out of temper with Rudolf himself, because the moon took so \n long in deciding whether she would make or unmake a king. \n \n \"The gardens!\" she cried. \"Then let us look for him. Oh, you've let him \n walk in the gardens alone?\" \n \n \"What should harm the fellow?\" muttered Sapt. \n \n She did not hear him, for she had swept out of the room. Helga went with","\"I gave my honor to the queen, and even in that I will serve her if she \n commands me.\" \n \n Bernenstein sprang forward and caught him by the hand. \"That's what I \n like,\" said he, \"and damn the moon, colonel!\" His sentence was hardly \n out of his mouth when the door opened, and to our astonishment the queen \n entered. Helga was just behind her; her clasped hands and frightened \n eyes seemed to protest that their coming was against her will. The queen","\"I make a rogue of you?\" he exclaimed. \"And what do you make of our \n queen, whom we all serve? What does this truth that you'll tell make \n of her? Haven't I heard how she greeted you before all Strelsau as \n her husband and her love? Will they believe that she didn't know her \n husband? Ay, you may show yourself, you may say they didn't know you. \n Will they believe she didn't? Was the king's ring on your finger? Where","\"My queen!\" said he, laughing again. \n \n \"No, I knew really, Rudolf, I knew really,\" and now her hands flew out \n towards him, imploring his pardon. Then she began to speak quickly: \n \"Rudolf, last night I had a dream about you, a strange dream. I seemed \n to be in Strelsau, and all the people were talking about the king. It \n was you they meant; you were the king. At last you were the king, and I"],["The queen, looking still in Rudolf's face, and forgetful now, as it \n seemed, of the dream that had so terrified her, took no notice of what I \n said, but urged again: \"You'll come, Rudolf?\" \n \n \"Yes, once, my queen,\" and with a last kiss of her hand he was gone. \n \n The queen stood for yet another moment where she was, still and almost \n rigid. Then suddenly she walked or stumbled to where my wife sat, and,","the queen, pale as the marble itself, stretching out her hands towards \n Rudolf. The people had seen her: she it was whom this last rapturous \n cheer greeted. My wife stood close behind her, and farther back others \n of her ladies. Bernenstein and I sprang out. With a last salute to the \n people Rudolf followed us. He walked up to the highest step but one, and \n there fell on one knee and kissed the queen's hand. I was by him, and \n when he looked up in her face I heard him say:","He opened his eyes a little in languid, elegant surprise. \"Oh, I \n supposed you'd be on duty, or something, and have to come. Aren't you in \n attendance?\" \n \n \"On the queen? No, not just now.\" \n \n \"But on the king?\" \n \n \"Why, yes,\" said I, and I leaned forward. \"At least I'm engaged now on \n the king's business.\" \n","resentful of the queen's reproof and scornful of the woman's agitation. \n He was also out of temper with Rudolf himself, because the moon took so \n long in deciding whether she would make or unmake a king. \n \n \"The gardens!\" she cried. \"Then let us look for him. Oh, you've let him \n walk in the gardens alone?\" \n \n \"What should harm the fellow?\" muttered Sapt. \n \n She did not hear him, for she had swept out of the room. Helga went with","his feet. A second later he jerked his head--it was bare, and I saw \n the dark red hair stir with the movement--like a man who has settled \n something which caused him a puzzle. In an instant we knew, by the quick \n intuition of contagious emotion, that the question had found its answer. \n He was by now king or a fugitive. The Lady of the Skies had given her \n decision. The thrill ran through us; I felt the queen draw herself","set a sentry at the end of the passage with orders that her Majesty \n should on no pretence be disturbed, promised her very audibly to return \n as soon as he possibly could, and respectfully closed the door after \n she had entered. The constable was well aware of the value in a secret \n business of doing openly all that can safely be done with openness. \n \n All of what passed at that interview I do not know, but a part Queen \n Flavia herself told to me, or rather to Helga, my wife; for although it","her memories. There was no child to bridge the gulf between them, and \n although she was his queen and his wife, she grew almost a stranger to \n him. So he seemed to will that it should be. \n \n Thus, worse than widowed, she lived for three years; and once only in \n each year she sent three words to the man she loved, and received from \n him three words in answer. Then her strength failed her. A pitiful scene \n had occurred in which the king peevishly upbraided her in regard to some","\"My queen!\" said he, laughing again. \n \n \"No, I knew really, Rudolf, I knew really,\" and now her hands flew out \n towards him, imploring his pardon. Then she began to speak quickly: \n \"Rudolf, last night I had a dream about you, a strange dream. I seemed \n to be in Strelsau, and all the people were talking about the king. It \n was you they meant; you were the king. At last you were the king, and I","destination by a circuitous way, hoping to gain it without attracting \n notice. The queen's carriage was still before my door, for it had been \n arranged that she was to proceed to the palace and there await tidings. \n My wife and I were to accompany her; and I went to her now, where she \n sat alone, and asked if it were her pleasure to start at once. I found \n her thoughtful but calm. She listened to me; then, rising, she said,","king's sovereignty. It seemed to me that by the violence and bloodshed \n we had passed through, fate, for once penitent, was but righting the \n mistake made when Rudolf was not born a king. \n \n For a long while I stood thus, musing and dreaming; I was roused by the \n sound of the door opening and closing; turning, I saw the queen. She was \n alone, and came towards me with timid steps. She looked out for a moment","\"I gave my honor to the queen, and even in that I will serve her if she \n commands me.\" \n \n Bernenstein sprang forward and caught him by the hand. \"That's what I \n like,\" said he, \"and damn the moon, colonel!\" His sentence was hardly \n out of his mouth when the door opened, and to our astonishment the queen \n entered. Helga was just behind her; her clasped hands and frightened \n eyes seemed to protest that their coming was against her will. The queen","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","and stretched out her hands towards me, her eyes filled with tears. \n \n \"Yet,\" said she, \"your wife knows, and still loves me, Fritz.\" \n \n \"She should be no wife of mine, if she didn't,\" I cried. \"For I and all \n of mine ask no better than to die for your Majesty.\" \n \n \"She knows, and yet she loves me,\" repeated the queen. I loved to see \n that she seemed to find comfort in Helga's love. It is women to whom","Yet there was in truth nothing strange in the queen seeking to see old \n Sapt that night, nor in her guessing where he would most probably be \n found. For she had asked him three times whether news had come from \n Wintenberg and each time he had put her off with excuses. Quick to \n forbode evil, and conscious of the pledge to fortune that she had given \n in her letter, she had determined to know from him whether there were \n really cause for alarm, and had stolen, undetected, from her apartments","for eager talk and for conjectures unrestrained by respect or charity. \n Therefore, alive as we were to its difficulties and its unending risks, \n we yet conceived of the thing as possible, had it in our hearts, and \n hinted it to one another--my wife to me, I to Bernenstein, and he \n to me--in quick glances and half uttered sentences that declared its \n presence while shunning the open confession of it. For the queen herself \n I cannot speak. Her thoughts, as I judged them, were bounded by the","I did not understand what plan he had in his head, or what scheme he \n could contrive. But at the moment my mind was not directed to such \n matters; it was set on the sight before my eyes. \n \n \"And the queen?\" I whispered in answer to him. \n \n Low as my voice was, she heard it. She turned to us with a sudden, \n startled movement, still holding Helga's hand. Her eyes searched our \n faces, and she knew in an instant of what we had been speaking. A little","Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \n the door and the queen appeared on the threshold. She was very pale, \n and she had been crying, but her eyes were happy and her air firm. The \n moment he saw her, young Bernenstein fell on his knee and raised her \n hand to his lips. \n \n \"To the death, madame,\" said he, in a trembling voice. \n \n \"I knew it, sir,\" she answered graciously. Then she looked round on the","\"You'll be in time?\" asked the queen, with clasped hands and frightened \n eyes. \n \n \"Assuredly, madam,\" returned Sapt with a bow. \n \n \"You won't let him reach the king?\" \n \n \"Why, no, madam,\" said Sapt with a smile. \n \n \"From my heart, gentlemen,\" she said in a trembling voice, \"from my \n heart--\" \n \n \"Here are the horses,\" cried Sapt. He snatched her hand, brushed it","him, and his body never stirring from hour to hour through the long day. \n \n A distant faint hum of voices reached us. The queen laid her hand on my \n arm. \n \n \"It is the dream, Fritz,\" she said. \"Hark! They speak of the king; they \n speak in low voices and with grief, but they call him king. It's what I \n saw in the dream. But he does not hear nor heed. No, he can't hear nor \n heed even when I call him my king.\" \n","\"The queen changed her mind suddenly,\" said I, smiling. \"Ladies do, as \n you know well, you who know all about them.\" \n \n My compliment, or insinuation, produced a pleased smile and a gallant \n twirling of his moustache. \n \n \"Well, I thought you'd be here soon,\" he said, \"but I didn't know that \n the queen had come.\" \n \n \"You didn't? Then why did you look for me?\" \n"],["prince whom Michael's villains had caught in the shooting lodge. There \n was worse than this. As time went on, the first impulse of gratitude and \n admiration that he had felt towards Mr. Rassendyll died away. He came to \n brood more and more on what had passed while he was a prisoner; he was \n possessed not only by a haunting dread of Rupert of Hentzau, at whose \n hands he had suffered so greatly, but also by a morbid, half mad","\"Not I, sire!\" he repeated, in a half-merry, half-sad mockery. Then he \n came between Bernenstein and me and passed his arms through ours. \"You \n two villains!\" he said. \"You two unscrupulous villains! Here you are, \n as rough as bears, because I won't be a thief! Why have I killed young \n Rupert and left you rogues alive?\" \n \n I felt the friendly pressure of his hand on my arm. I could not answer","\"The Count of Hentzau, my lord, has incurred my heaviest displeasure.\" \n \n \"Sire, it is in the hopes of atoning for his offences that he has sent \n me here to-day. There is a conspiracy against your Majesty's honor.\" \n \n \"By whom, my lord?\" asked Rudolf, in cold and doubting tones. \n \n \"By those who are very near your Majesty's person and very high in your \n Majesty's love.\" \n \n \"Name them.\"","Rischenheim's errand had fallen out ill, at which he was not surprised, \n and that his old enemy was again in his path, at which (as I verily \n believe) he was more glad than sorry. As Rudolf entered, he had been \n half-way between window and table; he came forward to the table now, and \n stood leaning the points of two fingers on the unpolished dirty-white \n deal. \n \n \"Ah, the play-actor!\" said he, with a gleam of his teeth and a toss of","were to have five crowns each and go home in peace; if the former, they \n were to do their work and make ten crowns. Years after, one of them told \n me the whole story without shame or reserve. What their work was, the \n heavy bludgeons they carried and the long knife that one of them had \n lent to Bauer showed pretty clearly. \n \n But neither to Bauer nor to them did it occur that their quarry might be \n crouching near, hunting as well as hunted. Not that the pair of ruffians","who lay on the ground. Then Rupert walked towards the door. I wish I \n had seen his face then! Did he frown or smile? Was triumph or chagrin \n uppermost? Remorse? Not he! \n \n He reached the door and passed through. That was the last Herbert saw of \n him; but the fourth actor in the drama, the wordless player whose part \n had been so momentous, took the stage. Limping along, now whining in \n sharp agony, now growling in fierce anger, with blood flowing but hair","\"Let me alone, man. I haven't read anything so amusing for a long \n while,\" answered Rupert. Then he burst into a laugh, crying, \"Look, \n look!\" and pointing to the foot of the last page of the letter. I was \n mad with anger; my fury gave me new strength. In his enjoyment of what \n he read Rupert had grown careless; his knee pressed more lightly on me, \n and as he showed Rischenheim the passage in the letter that caused him","his revolver in his hand--none too soon, for Rupert of Hentzau's barrel \n faced him, and they stood thus, opposite to one another, with no more \n than three or four feet between the mouths of their weapons. \n \n There is, indeed, much that may be said against Rupert of Hentzau, the \n truth about him well-nigh forbidding that charity of judgment which we \n are taught to observe towards all men. But neither I nor any man who","motioning impatiently to the man to hold the lantern nearer, he began to \n examine the contents. I remember well the look of his face as the fierce \n white light threw it up against the darkness in its clear pallor and \n high-bred comeliness, with its curling lips and scornful eyes. He had \n the letter now, and a gleam of joy danced in his eyes as he tore it \n open. A hasty glance showed him what his prize was; then, coolly and","that he meant to strangle him, but the anger, long stored in his heart, \n found vent in the fierce grip of his fingers. It is certain that \n Bauer thought his time was come, unless he struck a blow for himself. \n Instantly he raised his hand and thrust fiercely at Rudolf with his long \n knife. Mr. Rassendyll would have been a dead man, had he not loosed his \n hold and sprung lightly away. But Bauer sprang at him again, thrusting \n with the knife, and crying to his associates,","\"Yes; and the horse pecked and stumbled, and I fell forward on his neck. \n I put out my arm to recover myself, and--I jerked my revolver on to the \n ground.\" \n \n \"And he saw?\" \n \n \"He saw, curse him. For a second he waited; then he smiled, and turned, \n and dug his spurs in and was off, straight across country towards \n Strelsau. Well, I was off my horse in a moment, and I fired three times \n after him.\" \n","\"Yes, pray do,\" said he. \"I want somebody to look after me. Who knows \n what that villain Rupert may attempt against me? And I can't defend \n myself can I? I'm not Rudolf Rassendyll, am I?\" \n \n Thus, with a mixture of plaintiveness and malice, he scolded me. At last \n I stood silent, waiting till he should be pleased to dismiss me. At any \n rate I was thankful that he entertained no suspicion as to my errand.","\"My lord, you're alone in this matter now. Rischenheim is a prisoner; \n your rogue Bauer I encountered last night and broke his head.\" \n \n \"Ah, you did?\" \n \n \"You have what you know of in your hands. If you yield, on my honor I \n will save your life.\" \n \n \"You don't desire my blood, then, most forgiving play-actor?\" \n \n \"So much, that I daren't fail to offer you life,\" answered Rudolf","The servant bowed and shut the door. \n \n \"Open it,\" commanded Sapt. \n \n \"God's curse on you!\" cried Rischenheim in a voice that choked with \n passion. \n \n \"Eh? Oh, you can have no secrets from so good a friend as I am, my lord. \n Be quick and open it.\" \n \n The count began to open it. \n \n \"If you tear it up, or crumple it, I'll shoot you,\" said Sapt quietly.","and most persistent eye-shutting, in which occupations an hour wore its \n life away. Rudolf had not passed out of the porch, and we supposed that \n he had betaken himself to the gardens, there to fight his battle. Old \n Sapt, having done his work, suddenly turned talkative. \n \n \"That moon there,\" he said, pointing his square, thick forefinger at the \n window, \"is a mighty untrustworthy lady. I've known her wake a villain's \n conscience before now.\" \n","Rassendyll, and that I played the king only in order to serve the queen \n and punish Rupert of Hentzau. That will serve, and it will cut this net \n of Sapt's from about my limbs.\" \n \n He spoke firmly and coldly; so that when I looked at him I was amazed \n to see how his lips twitched and that his forehead was moist with sweat. \n Then I understood what a sudden, swift, and fearful struggle he had","\"You'll be in time?\" asked the queen, with clasped hands and frightened \n eyes. \n \n \"Assuredly, madam,\" returned Sapt with a bow. \n \n \"You won't let him reach the king?\" \n \n \"Why, no, madam,\" said Sapt with a smile. \n \n \"From my heart, gentlemen,\" she said in a trembling voice, \"from my \n heart--\" \n \n \"Here are the horses,\" cried Sapt. He snatched her hand, brushed it","suffered, and how the great temptation had wrung and tortured him before \n he, victorious, had set the thing behind him. I went to him and clasped \n his hand: this action of mine seemed to soften him. \n \n \"Sapt, Sapt,\" he said, \"you almost made a rogue of me.\" \n \n Sapt did not respond to his gentler mood. He had been pacing angrily up \n and down the room. Now he stopped abruptly before Rudolf, and pointed \n with his finger at the queen. \n","For, plan cautiously and skillfully as he might, Rudolf fought with an \n antagonist who lost no chances, and who had found an apt and useful tool \n in that same Bauer, a rascal, and a cunning rascal, if ever one were \n bred in the world. From the beginning even to the end our error lay in \n taking too little count of this fellow, and dear was the price we paid. \n \n Both to my wife and to Rudolf himself the street had seemed empty of","\"This is all a lie, Sapt,\" said he, and his lips curled in contemptuous \n amusement. \n \n \"It's no lie that the lodge is burnt, and the bodies in it, and that \n half a hundred of the peasants know it, and that no man could tell the \n body for the king's. As for the rest, it is a lie. But I think the truth \n in it is enough to serve.\" \n \n The two men stood facing one another with defiant eyes. Rudolf had"],["Rudolf tore it further open, and his hand dashed in. \n \n \"God's curse on you!\" snarled Rupert of Hentzau. \n \n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \n at it showed him the queen's seal. As he glanced Rupert made another \n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \n more than time to spring away, holding his prize. The next moment he had","\"Yes, sire. It is addressed to--\" Rischenheim paused. \n \n \"Well, my lord, to whom?\" \n \n \"To a Mr. Rudolf Rassendyll.\" \n \n Now Rudolf played his part well. He did not feign indifference, but \n allowed his voice to tremble with emotion as he stretched out his hand \n and said in a hoarse whisper, \"Give it me, give it me.\" \n \n Rischenheim's eyes sparkled. His shot had told: the king's attention was","have suspected that I carried some such token as the box, but he could \n not know of the letter. Would he listen to Rischenheim? No. The Count of \n Hentzau did things thoroughly. \n \n \"We may as well overhaul him a bit more,\" said he, and resumed his \n search. My hope vanished, for now he was bound to come upon the letter. \n \n Another instant brought him to it. He snatched the pocketbook, and,","letter, she stooped suddenly and kissed him off the brow. Then she \n looked straight across at Helga, almost defiantly; but Helga ran to her \n and caught her in her arms. \n \n Rudolf Rassendyll sat with his head resting on his hand. He looked up \n once at the two women; then he caught my eye, and beckoned me to come to \n him. I approached him, but for several moments he did not speak. Again","There were two things that seemed plain. If Rupert had escaped the trap \n and was still alive with the letter on him, Rupert must be found; here \n was the first task. That accomplished, there remained for Rudolf himself \n nothing save to disappear as quietly and secretly as he had come, \n trusting that his presence could be concealed from the man whose name \n he had usurped. Nay, if need were, the king must be told that Rudolf \n Rassendyll had played a trick on the chancellor, and, having enjoyed his","might be the business he professed as his errand. On the other hand, \n nothing was known against Rischenheim, while his rank would secure, and \n indeed entitle, him to an early audience. Therefore I concluded that \n Rischenheim would go with the letter, or, if Rupert would not let that \n out of his possession, with the news of the letter. \n \n \"Or a copy,\" suggested Rassendyll. \"Well, Rischenheim or Rupert will be","close on his heels, was in no better plight. Evidently they had ridden \n hard and furiously; indeed they were still panting. Sapt, with a most \n perfunctory bow to the queen, came straight to where Rudolf stood. \n \n \"Is he dead?\" he asked, without preface. \n \n \"Yes, Rupert is dead,\" answered Mr. Rassendyll: \"I killed him.\" \n \n \"And the letter?\" \n \n \"I burnt it.\" \n \n \"And Rischenheim?\"","concerning the letter, he would doubtless tell the king that Rudolf \n Rassendyll was in the castle. He leant now over the king's shoulder, and \n said with a sneer: \n \n \"Messages from Rupert of Hentzau are too exalted matters for my poor \n ears, it seems.\" \n \n The king flushed red. \n \n \"Is that your business, my lord?\" he asked Rischenheim sternly. \n \n \"Your Majesty does not know what my cousin--\" \n","that made the concealment of another copy, or of any other document, \n impossible. Then they let him sit down again. His eyes seemed fascinated \n by Rudolf Rassendyll. \n \n \"Yet you've seen me before, I think,\" smiled Rudolf. \"I seem to remember \n you as a boy in Strelsau when I was there. Now tell us, sir, where \n did you leave this cousin of yours?\" For the plan was to find out from","Rudolf Rassendyll. He sat down on the bed by me, and went on in quick, \n decisive words: \"You can't move for a day or two. Send my message to \n Sapt. Tell him to keep you informed of what happens. As soon as you can \n travel, go to Strelsau, and let Sapt know directly you arrive. We shall \n want your help.\" \n \n \"And what are you going to do?\" I cried, staring at him. \n","\"All right,\" said Rudolf Rassendyll. \"I can read my letter there.\" \n \n \"Burn it, you fool.\" \n \n \"When I've read it I'll eat it, if you like, but not before.\" \n \n Bernenstein looked in again. \"Quick, quick! The man will be back,\" he \n whispered. \n \n \"Bernenstein, did you hear what I said to the count?\" \n \n \"Yes, I heard.\" \n","Rassendyll. \"Come, sir, your plan has failed: give up the letter.\" \n \n Rupert looked at him thoughtfully. \n \n \"You'll see me safe off if I give it you?\" he asked. \n \n \"I'll prevent your death. Yes, and I'll see you safe.\" \n \n \"Where to?\" \n \n \"To a fortress, where a trustworthy gentleman will guard you.\" \n \n \"For how long, my dear friend?\" \n","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","said I; and I watched her eyes still. For a long while (or long \n it seemed) they were on my face; at last, as though drawn by some \n irresistible force, they turned away. I followed the new line they took. \n She looked at Rudolf Rassendyll, and he at her. Helga had taken out her \n handkerchief, and, utterly upset by the horror and shock, was lying back \n in a low chair, sobbing half-hysterically; I saw the swift look that","standing still!\" \n \n The carrying of arms in Strelsau was forbidden. Bauer had no wish to get \n into trouble with the police, and, moreover, he had intended nothing \n but a reconnaissance; he was therefore without any weapon, and he was a \n child in Rudolf's grasp. He had no alternative but to obey the \n suasion of Mr. Rassendyll's arm, and they two began to walk down the \n Konigstrasse. Bauer's whistle had died away, not to return; but from","seemed very faint and weary, but at peace. It was enough for her that \n Rudolf fought and planned for her. \n \n \"And see this,\" Rudolf went on. \"'The king will not leave the lodge \n to-day.' Thank God, then, we have to-day!\" \n \n \"Yes, but where's Rupert?\" \n \n \"We shall know in an hour, if he's in Strelsau,\" and Mr. Rassendyll","I could not persuade myself into security. I carried the queen's letter, \n and--well, I would have given much to have old Sapt or Rudolf Rassendyll \n by my side. \n \n Now, when a man suspects danger, let him not spend his time in asking \n whether there be really danger or in upbraiding himself for timidity, \n but let him face his cowardice, and act as though the danger were real. \n If I had followed that rule and kept my eyes about me, scanning the","tongue set wagging with gossip and guesses concerning Rudolf Rassendyll \n and his relations with the queen. Who that knows what men and women are \n would not have shrunk from that alternative? To adopt it was to expose \n the queen to all or nearly all the peril she had run by the loss of \n the letter. We indeed assumed, influenced by Rudolf's unhesitating \n self-confidence, that the letter would be won back, and the mouth of \n Rupert of Hentzau shut; but enough would remain to furnish material","hidden at all costs, and which the queen's passionate exclamation had \n threatened to expose. There was a Rudolf Rassendyll, and he had been \n king; but, more than all this, the queen loved him and he the queen. \n That could be told to none, not even to Helsing; for Helsing, though he \n would not gossip to the town, would yet hold himself bound to carry \n the matter to the king. So Rudolf chose to take any future difficulties","\"Yes, a letter, too; she wrote a letter, and I carried that as well as \n the box. I've lost them both, Rudolf. God help me, I've lost them both! \n Rupert has the letter too!\" I think I must have been weak and unmanned \n from the blow I had received, for my composure broke down here. Rudolf \n stepped up to me and wrung me by the hand. I mastered myself again and \n looked in his face as he stood in thought, his hand caressing the strong"],["\"Yes, a letter, too; she wrote a letter, and I carried that as well as \n the box. I've lost them both, Rudolf. God help me, I've lost them both! \n Rupert has the letter too!\" I think I must have been weak and unmanned \n from the blow I had received, for my composure broke down here. Rudolf \n stepped up to me and wrung me by the hand. I mastered myself again and \n looked in his face as he stood in thought, his hand caressing the strong","have suspected that I carried some such token as the box, but he could \n not know of the letter. Would he listen to Rischenheim? No. The Count of \n Hentzau did things thoroughly. \n \n \"We may as well overhaul him a bit more,\" said he, and resumed his \n search. My hope vanished, for now he was bound to come upon the letter. \n \n Another instant brought him to it. He snatched the pocketbook, and,","found no place in me--a great longing, the prospect or hope of whose \n sudden fulfilment dwarfed danger and banished despair. He saw that I \n detected its presence in him and perceived how it filled his mind. \n \n \"But the letter comes before all,\" said he. \"I expected to die without \n seeing her; I will die without seeing her, if I must, to save the \n letter.\" \n \n \"I know you will,\" said I. \n \n He pressed my hand again. As he turned away, James came with his","\"Why not, man; why not?\" he asked in urgent low tones. Again I looked \n at them, but somehow this time my eyes were attracted and held by the \n queen's face. I believe that she was the first to catch a hint of the \n tidings I brought. Her lips were parted, and her gaze eagerly strained \n upon me. I rubbed my hand across my forehead, and, looking up stupidly \n at her, I said: \n \n \"He never can see the letter. He's dead.\" \n","\"But surely Sapt, or Bernenstein, or some one was with him?\" \n \n \"As I tell you, his forester and his boar-hound. No other man or beast, \n on my honor.\" \n \n \"Then you gave him the letter?\" cried Rischenheim, trembling with \n excitement. \n \n \"Alas, no, my dear cousin. I threw the box at him, but I don't think he \n had time to open it. We didn't get to that stage of the conversation at","\"Then let's do it!\" I cried. \n \n \"With the queen's letter on him,\" said Colonel Sapt. \n \n I had forgotten. \n \n \"We have the box, he has the letter still,\" said Sapt. \n \n I could have laughed even at that moment. He had left the box (whether \n from haste or heedlessness or malice, we could not tell), but the letter \n was on him. Taken alive, he would use that powerful weapon to save his","with a mattock when I rode up; Sapt was standing by, smoking his pipe. \n The boots of both were stained and sticky with mud. I flung myself from \n my saddle and blurted out my news. The constable snatched at his letter \n with an oath; James leveled the ground with careful accuracy; I do \n not remember doing anything except wiping my forehead and feeling very \n hungry. \n \n \"Good Lord, she's gone after him!\" said Sapt, as he read. Then he handed \n me the letter.","Rudolf tore it further open, and his hand dashed in. \n \n \"God's curse on you!\" snarled Rupert of Hentzau. \n \n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \n at it showed him the queen's seal. As he glanced Rupert made another \n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \n more than time to spring away, holding his prize. The next moment he had","I was a poor fellow to have lost her letter and yet to be alive. But she \n would hear nothing of such talk, choosing rather to praise the little I \n had done than to blame the great thing in which I had failed. Dismissed \n from her presence, I flew open-mouthed to Sapt. I found him in his room \n with Bernenstein, and had the satisfaction of learning that my news of \n Rupert's whereabouts was confirmed by his information. I was also made","also were shot and left dead, or so helpless that he could not destroy \n the letter; and while Rupert's revolver was at his heart he could not \n tear it up nor reach the fire that burnt on the other side of the \n room. Nor did he fear the result of a trial with steel, for he had kept \n himself in practice and improved his skill since the days when he came \n first to Strelsau. \n \n \"As you will,\" said he. \"Provided we settle the matter here and now, the","dark-lantern, whose glow he turned on the box. Rupert opened it, and \n when he saw what was inside, he laughed again, and stowed it away in his \n pocket. \n \n \"Quick, quick!\" urged Rischenheim. \"We've got what we wanted, and \n somebody may come at any moment.\" \n \n A brief hope comforted me. The loss of the box was a calamity, but I \n would pardon fortune if only the letter escaped capture. Rupert might","\"None, my lord. She left with me a letter to the constable, which she \n ordered me to give to his own hands as soon as he arrived at the castle. \n She said it contained a message of importance, which the constable was \n to convey to the king, and that it must be intrusted to nobody except \n Colonel Sapt himself. I wonder, my lord, that you didn't notice that the \n flag was hauled down.\" \n \n \"Tut, man, I wasn't staring at the keep. Give me the letter.\" For I saw","there to-morrow, and I shall be there as long as the king is.\" \n \n He paused, and then added: \"Destroy the letter if there's any danger.\" \n \n I nodded my head. \n \n \"And destroy yourself with it, if there's the only way,\" he went on with \n a surly smile. \"Heaven knows why she must send such a silly message at \n all; but since she must, she'd better have sent me with it.\" \n","\"I don't know about that, my lord: her orders were plain, and she \n doesn't like being disobeyed.\" \n \n The stableman had led the horse away, the footman had disappeared, \n Hermann and I were alone. \"Give me the letter,\" I said; and I know that \n my self-control failed, and eagerness was plain in my voice. Plain it \n was, and Hermann took alarm. He started back, clapping his hand to the","me, see if he--if he looks as if he still loved me.\" But then she broke \n off, crying, \"But don't tell him I said that. He'd be grieved if I \n doubted his love. I don't doubt it; I don't, indeed; but still tell me \n how he looks when you speak of me, won't you, Fritz? See, here's the \n letter.\" \n \n Taking it from her bosom, she kissed it before she gave it to me. Then","\"Yes, but give me some brandy,\" said I. \n \n Rudolf gave me a little brandy mixed in a great deal of water, and then \n I made shift to tell him. Though faint, I was not confused, and I gave \n my story in brief, hurried, yet sufficient words. He made no sign till I \n mentioned the letter. Then his face changed. \n \n \"A letter, too?\" he exclaimed, in a strange mixture of increased \n apprehension and unlooked-for joy. \n","it, I could make nothing. \n \n \"The king will never see the letter,\" I repeated. \"Rupert himself has \n insured that.\" \n \n \"What do you mean? You've not met Rupert? You've not got the letter?\" \n \n \"No, no; but the king can never read it.\" \n \n Then Rudolf seized me by the shoulder and fairly shook me; indeed I must \n have seemed like a man in a dream or a torpor. \n","to bind him to secrecy, and make him impose the same obligation on his \n wife, daughter, and servants. The chancellor was to be quieted with the \n excuse of urgent business, and conciliated by a promise that he should \n know its nature in the course of a few hours; meanwhile an appeal to his \n loyalty must suffice to insure obedience. If all went well in the day \n that had now dawned, by the evening of it the letter would be destroyed,","\"Ay, but though you won't fire, you'll destroy the letter,\" he sneered. \n \"I know your fine distinctions.\" \n \n \"Again I beg your pardon. You know very well that, although all Strelsau \n were at the door, I wouldn't touch the letter.\" \n \n With an angry muttered oath Rupert flung his revolver on the table. \n Rudolf came forward and laid his by it. Then he took up both, and,","motioning impatiently to the man to hold the lantern nearer, he began to \n examine the contents. I remember well the look of his face as the fierce \n white light threw it up against the darkness in its clear pallor and \n high-bred comeliness, with its curling lips and scornful eyes. He had \n the letter now, and a gleam of joy danced in his eyes as he tore it \n open. A hasty glance showed him what his prize was; then, coolly and"],["Ignorant of the mind and heart of young Rupert, she could not conceive \n that he tried to kill the king. Yet the words she had caught sounded \n like the words of men quarreling, and she could not persuade herself \n that the gentlemen fenced only for pastime. They were not speaking now; \n but she heard their hard breathing and the movement of their unresting \n feet on the bare boards of the floor. Then a cry rang out, clear and \n merry with the fierce hope of triumph: \"Nearly! nearly!\" \n","\"You expected me, sire?\" said Rupert with a bow; but he smiled. I know \n that the sight of the king's alarm pleased him. To inspire terror was \n his delight, and it does not come to every man to strike fear into the \n heart of a king and an Elphberg. It had come more than once to Rupert of \n Hentzau. \n \n \"No,\" muttered the king. Then, recovering his composure a little, he \n said angrily, \"How dare you come here?\" \n","\"You didn't expect me?\" cried Rupert, and in an instant the thought of a \n trap seemed to flash across his alert mind. He drew the revolver halfway \n from his belt, probably in a scarcely conscious movement, born of the \n desire to assure himself of its presence. With a cry of alarm Herbert \n flung himself before the king, who sank back on the bed. Rupert, \n puzzled, vexed, yet half-amused (for he smiled still, the man said),","looked as though it would please him well to find Rupert in Strelsau. \n \"Yes, I must seek him. I shall stand at nothing to find him. If I can \n only get to him as the king, then I'll be the king. We have to-day!\" \n \n My message put them in heart again, although it left so much still \n unexplained. Rudolf turned to the queen. \n \n \"Courage, my queen,\" said he. \"A few hours now will see an end of all \n our dangers.\"","guiltily conscious of having left the door unbolted, drew back. He was \n unarmed, but, being a stout fellow, was prepared to defend his master \n as best he could. Rupert--beyond doubt it was Rupert--laughed lightly, \n saying again, \"Man, he expects me. Go and tell him,\" and sat himself on \n the table, swinging his leg. Herbert, influenced by the visitor's air of \n command, began to retreat towards the bedroom, keeping his face towards \n Rupert. \n","\"Gone? How will that help, since they believe you to be the king?\" \n \n \"You can keep it from the king,\" he urged. \"I couldn't help it. I can \n settle with Rupert and disappear.\" \n \n The three were standing round me, surprised at my great and terrible \n agitation. Looking back now, I wonder that I could speak to them at all. \n \n Rudolf tried again to reassure me. He little knew the cause of what he \n saw. \n","deliberately he settled himself to read, regarding neither Rischenheim's \n nervous hurry nor my desperate, angry glance that glared up at him. He \n read leisurely, as though he had been in an armchair in his own house; \n the lips smiled and curled as he read the last words that the queen had \n written to her lover. He had indeed come on more than he thought. \n \n Rischenheim laid a hand on his shoulder. \n \n \"Quick, Rupert, quick,\" he urged again, in a voice full of agitation. \n","own servant, and thus we had been able to talk freely. The man's calm \n confidence in his master and his master's fortune also went far to \n comfort me. \n \n \"The king should be back soon,\" said Sapt at last, with a glance at his \n big, old-fashioned silver watch. \"Thank God, he'll be too tired to sit \n up long. We shall be free by nine o'clock, Fritz. I wish young Rupert","\"Yes, pray do,\" said he. \"I want somebody to look after me. Who knows \n what that villain Rupert may attempt against me? And I can't defend \n myself can I? I'm not Rudolf Rassendyll, am I?\" \n \n Thus, with a mixture of plaintiveness and malice, he scolded me. At last \n I stood silent, waiting till he should be pleased to dismiss me. At any \n rate I was thankful that he entertained no suspicion as to my errand.","\"A lucky thing I met him,\" said Rupert cheerily. \"The wagon hid me very \n well; and handsome as my face is, I can't let Strelsau enjoy too much of \n it just now. Well, mother, what cheer? And you, my pretty, how goes it \n with you?\" He carelessly brushed the girl's cheek with the glove that \n he had drawn off. \"Faith, though, I beg your pardon.\" he added a moment","heard or felt me, and turned his eyes for an instant. I do not know \n what my face said, but he shook his head and turned back to Rupert. The \n revolver, held still in the man's own hand, was at his heart. The motion \n ceased, the point was reached. \n \n I looked again at Rupert. Now his face was easier; there was a slight \n smile on his lips; he flung back his comely head and rested thus against","\"We must find that out, I think.\" \n \n Rischenheim turned abruptly on him. \n \n \"I had no hand in this thing,\" he said, \"and I'll have no more to do \n with it. I was not there. What did I know of the king being there? I'm \n not guilty of it: on my soul, I know nothing of it.\" \n \n \"That's all very true,\" nodded Rupert. \n","year before at Dresden; Rupert was keeping a watchful eye on all that \n passed in Strelsau; Rupert had procured the fellow his fine testimonials \n and sent him to me, in the hope that he would chance on something of \n advantage to his employer. My resolve to take him to Wintenberg may \n have been hoped for, but could scarcely have been counted on; it was the \n added luck that waits so often on the plans of a clever schemer. \n","\"Let me alone, man. I haven't read anything so amusing for a long \n while,\" answered Rupert. Then he burst into a laugh, crying, \"Look, \n look!\" and pointing to the foot of the last page of the letter. I was \n mad with anger; my fury gave me new strength. In his enjoyment of what \n he read Rupert had grown careless; his knee pressed more lightly on me, \n and as he showed Rischenheim the passage in the letter that caused him","tree must have what they call a fair trial; and we feared that, if \n Rupert were handed over to our police and arraigned before the courts \n at Strelsau, the secret which we guarded so sedulously would become the \n gossip of all the city, ay, and of all Europe. So Rupert went unpunished \n except by banishment and the impounding of his rents. \n \n Yet Sapt was in the right about him. Helpless as he seemed, he did","Rupert began to pace up and down the room, smoking another cigarette at \n a great pace. Rischenheim sat down by the table, resting his head on \n his hand. He was wearied out by strain and excitement, his wounded arm \n pained him greatly, and he was full of horror and remorse at the event \n which happened unknown to him the night before. \n \n \"I wish I was quit of it,\" he moaned at last. Rupert stopped before him. \n","ceased to contrive how he might gain permission to return and enjoy the \n estates to which his uncle's death had entitled him. The chief agent \n through whom he had the effrontery to approach the king was his \n relative, the Count of Luzau-Rischenheim, a young man of high rank and \n great wealth who was devoted to Rupert. The count fulfilled his mission \n well: acknowledging Rupert's heavy offences, he put forward in his \n behalf the pleas of youth and of the predominant influence which Duke","kill Rupert and to convince the king that the letter was a forgery--a \n desperate hope, so desperate that we turned our eyes away from the \n possibility which would make it our only resource. \n \n We were now very near the hunting-lodge, being about forty yards from \n the front of it. All at once Sapt threw himself on his stomach on the \n ground. \n \n \"Give me a match,\" he whispered. \n \n James struck a light, and, the night being still, the flame burnt","Michael had exercised over his adherent, and promised, in words so \n significant as to betray Rupert's own dictation, a future fidelity no \n less discreet than hearty. \"Give me my price and I'll hold my tongue,\" \n seemed to come in Rupert's off-hand accents through his cousin's \n deferential lips. As may be supposed, however, the king and those who \n advised him in the matter, knowing too well the manner of man the","\"I hope for many years, my dear Count.\" \n \n \"In fact, I suppose, as long as--?\" \n \n \"Heaven leaves you to the world, Count. It's impossible to set you \n free.\" \n \n \"That's the offer, then?\" \n \n \"The extreme limit of indulgence,\" answered Rudolf. Rupert burst into \n a laugh, half of defiance, yet touched with the ring of true amusement. \n Then he lit a cigarette and sat puffing and smiling. \n"],["hidden at all costs, and which the queen's passionate exclamation had \n threatened to expose. There was a Rudolf Rassendyll, and he had been \n king; but, more than all this, the queen loved him and he the queen. \n That could be told to none, not even to Helsing; for Helsing, though he \n would not gossip to the town, would yet hold himself bound to carry \n the matter to the king. So Rudolf chose to take any future difficulties","\"A Mr. Rassendyll, a friend of the king's, who with his servant James \n was awaiting his Majesty's return from Strelsau. His servant here is \n ready to start for England, to tell Mr. Rassendyll's relatives the \n news.\" \n \n The queen had begun to listen before now; her eyes were fixed on Sapt, \n and she had stretched out one arm to him, as if imploring him to read \n her his riddle. But a few words had in truth declared his device plainly","again wrapped up. She watched his tall figure stride quickly along \n till a turn of the road hid it. Then, having closed the window and the \n shutters again, she sat down to keep her watch, praying for him, for me, \n and for her dear mistress the queen. For she knew that perilous work \n was afoot that night, and did not know whom it might threaten or whom \n destroy. \n \n From the moment that Mr. Rassendyll thus left my house at midnight on","between the queen and Rudolf Rassendyll, set his spies to work, and \n was rewarded by discovering the object of my yearly meetings with Mr. \n Rassendyll. At least he conjectured the nature of my errand; this was \n enough for him. Head and hand were soon busy in turning the knowledge to \n account; scruples of the heart never stood in Rupert's way. \n \n The marriage which had set all Ruritania on fire with joy and formed","and she held out her hand. \n \n Well, he was young; I do not laugh at the sob that escaped his lips as \n he turned his head. \n \n \"Let me try something else!\" he implored. \n \n \"Mr. Rassendyll,\" said the queen, \"you'll do my pleasure by employing \n this gentleman in my further service. I am already deep in his debt, and \n would be deeper.\" There was a moment's silence. \n","\"Nobody knows yet,\" I said. \"We were afraid you might be taken for him \n by somebody. But, my God, Rudolf, what's to be done now?\" \n \n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \n his blue eyes wore a curious entranced expression. He seemed to me to be \n forgetful of everything, even of us who were with him, in some one idea \n that possessed him. The queen herself came nearer to him and lightly","It was now well on in the morning, and the risk of Rudolf's sojourn in \n the castle grew greater with every moment. Yet he was resolved to \n see the queen before he went. This interview presented no great \n difficulties, since her Majesty was in the habit of coming to the \n constable's room to take his advice or to consult with him. The hardest \n task was to contrive afterwards a free and unnoticed escape for Mr. \n Rassendyll. To meet this necessity, the constable issued orders that","the death of Mr. Rassendyll. The plans we had laid to secure his tenure \n of the throne, in case he had accepted it, served well in the event \n of his death. Bauer's lips were for ever sealed; the old woman was too \n scared and appalled to hint even to her gossips of the suspicions she \n entertained. Rischenheim was loyal to the pledge he had given to the \n queen. The ashes of the hunting-lodge held their secret fast, and none","Rassendyll, the man who bore a face that he dared not show in open day, \n must be under cover; else men would say that the king was in Strelsau, \n and the news would flash in a few hours through the kingdom and (so \n Rudolf feared) reach even those ears which we knew to be shut to all \n earthly sounds. But there was still some time at Mr. Rassendyll's \n disposal, and he could not spend it better than in pursuing his fight","Rassendyll himself was confident of his ability to conceal his presence, \n or, if need were, so to hide his face that no strange tale of the king \n being seen wandering, alone and beardless, should reach the ears of the \n castle or the town. \n \n While Sapt was making his arrangements, Queen Flavia came to the room \n where Rudolf Rassendyll was. It was then nearing twelve, and young \n Bernenstein had been gone half an hour. Sapt attended her to the door,","and her honor! While he was alive I'd have killed you sooner than let \n you take it. He's dead. Now--for our love and her honor, lad!\" \n \n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \n was set and rigid. He made no sign when Sapt finished, but stood as \n he was, motionless, for a long while. Then he slowly bent his head and \n looked down into the queen's eyes. For a while she sat looking back into","the queen's peril past, and Rudolf once more far away from Strelsau. \n Then enough of the truth--no more--must be disclosed. Helsing would be \n told the story of Rudolf Rassendyll and persuaded to hold his tongue \n about the harum-scarum Englishman (we are ready to believe much of \n an Englishman) having been audacious enough again to play the king in \n Strelsau. The old chancellor was a very good fellow, and I do not think","Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \n his palace at Strelsau, while the news of his murder at the hands of a \n confederate of Rupert of Hentzau went forth to startle and appall the \n world. At a mighty price our task had been made easy; many might have \n doubted the living, none questioned the dead; suspicions which might \n have gathered round a throne died away at the gate of a vault. The king","\"You'll have a royal progress to your palace,\" said he to Rudolf \n Rassendyll. \n \n Mr. Rassendyll made no answer, but, coming to me, took my arm. We \n went out, leaving Rischenheim by the body. I did not think of him; \n Bernenstein probably thought that he would keep his pledge given to \n the queen, for he followed us immediately and without demur. There was \n nobody outside the door. The house was very quiet, and the tumult from","Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \n the door and the queen appeared on the threshold. She was very pale, \n and she had been crying, but her eyes were happy and her air firm. The \n moment he saw her, young Bernenstein fell on his knee and raised her \n hand to his lips. \n \n \"To the death, madame,\" said he, in a trembling voice. \n \n \"I knew it, sir,\" she answered graciously. Then she looked round on the","his side. In the doorway stood Queen Flavia, all in white; and now \n her face turned white as her dress. For her eyes had fallen on Rudolf \n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \n thrust Bernenstein's brawny shoulders (the young man had not looked \n round) out of the way, and, falling on his knee before the queen, seized \n her hand and kissed it. Bernenstein could see now without looking round,","that they would go from the queen's presence set on a deadly quarrel. \n Mr. Rassendyll, however, mastered his temper. \n \n \"You're all bent on having me a rascal,\" he said coldly. \"Fritz and \n Bernenstein here urge me; you, Sapt, try to force me. James, there, is \n in the plot, for all I know.\" \n \n \"I suggested it, sir,\" said James, not defiantly or with disrespect, but","He is not too young to desire to serve the queen, and not too young to \n learn to love and reverence him who sleeps there in the vault and was in \n his life the noblest gentleman I have known. \n \n I will take the boy with me and tell him what I may of brave King \n Rudolf, how he fought and how he loved, and how he held the queen's \n honor and his own above all things in this world. The boy is not too \n young to learn such lessons from the life of Mr. Rassendyll. And while","than to be allowed to serve him all my days. Yet I serve the queen, and \n in that I do most truly serve her lover. \n \n Times change for all of us. The roaring flood of youth goes by, and the \n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \n the memory of Rudolf Rassendyll is fresh to me as on the day he died,","Rassendyll, and that I played the king only in order to serve the queen \n and punish Rupert of Hentzau. That will serve, and it will cut this net \n of Sapt's from about my limbs.\" \n \n He spoke firmly and coldly; so that when I looked at him I was amazed \n to see how his lips twitched and that his forehead was moist with sweat. \n Then I understood what a sudden, swift, and fearful struggle he had"]],"string":"[\n [\n \"from their case and put them on the table. With a slight bow Rudolf took \\n one, and the two assumed their positions. Suddenly Rupert lowered his \\n point. The frown vanished from his face, and he spoke in his usual \\n bantering tone. \\n \\n \\\"By the way,\\\" said he, \\\"perhaps we're letting our feelings run away \\n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \\n ready to be the most faithful of your subjects.\\\" \\n\",\n \"stretching out her arms to him. But he lay still and quiet, not hearing \\n and not heeding what she murmured, \\\"My king! my king!\\\" It was even as it \\n had been in the dream. \\n \\n That night James, the servant, took leave of his dead master and of \\n us. He carried to England by word of mouth--for we dared write nothing \\n down--the truth concerning the King of Ruritania and Mr. Rassendyll.\",\n \"\\\"Precisely,\\\" said he. \\\"So I thought you'd come, as soon as I heard that \\n the king was here.\\\" \\n \\n It may be that I ought to have preserved my composure. But I am not Sapt \\n nor Rudolf Rassendyll. \\n \\n \\\"The king here?\\\" I gasped, clutching him by the arm. \\n \\n \\\"Of course. You didn't know? Yes, he's in town.\\\" \\n\",\n \"\\\"I won't quit Ruritania a second time leaving Rupert of Hentzau \\n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \\n understand--and that instructions from the king will follow by midday. \\n When I have killed Rupert, I shall visit the lodge on my way to the \\n frontier.\\\" \\n \\n He turned to go, but the queen, following, detained him for a minute. \\n \\n \\\"You'll come and see me before you go?\\\" she pleaded.\",\n \"denied, not by the evidence of one only or of two, was the king's \\n presence in the city known. That day, by the witness of a crowd of \\n people, by his own claim and his own voice, ay, and by the assent of \\n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \\n while neither he nor Queen Flavia knew that the king was dead. I must \\n now relate the strange and perverse succession of events which forced\",\n \"declare his errand to the king or betray Mr. Rassendyll's presence. He \\n cleared his throat and opened his mouth as if to speak, but still he \\n remained silent. \\n \\n \\\"Well, my lord, is it the old story or something new,\\\" asked the king \\n impatiently. \\n \\n Again Rischenheim sat silent. \\n \\n \\\"Are you dumb, my lord?\\\" cried the king most impatiently. \\n \\n \\\"It--it is only what you call the old story, sire.\\\" \\n\",\n \"\\\"But the king is in Strelsau, sir.\\\" \\n \\n \\\"The deuce he is! He said nothing of going to Strelsau. He rose early \\n and rode off with Herbert, merely saying they would be back to-night.\\\" \\n \\n \\\"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \\n known to have been in town with the queen. They were both at Count \\n Fritz's.\\\" \\n\",\n \"\\\"What part to-day? Isn't it the old one, the king with a pasteboard \\n crown?\\\" asked Rupert, sitting down on the table. \\\"Faith, we shall do \\n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \\n though I am) have given the other one a heavenly crown. What a brave \\n show! But perhaps I tell you news?\\\" \\n \\n \\\"No, I know what you've done.\\\" \\n\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"concerning the letter, he would doubtless tell the king that Rudolf \\n Rassendyll was in the castle. He leant now over the king's shoulder, and \\n said with a sneer: \\n \\n \\\"Messages from Rupert of Hentzau are too exalted matters for my poor \\n ears, it seems.\\\" \\n \\n The king flushed red. \\n \\n \\\"Is that your business, my lord?\\\" he asked Rischenheim sternly. \\n \\n \\\"Your Majesty does not know what my cousin--\\\" \\n\",\n \"was dead. Who would ask if it were in truth the king who lay in state in \\n the great hall of the palace, or whether the humble grave at Zenda held \\n the bones of the last male Elphberg? In the silence of the grave all \\n murmurs and questionings were hushed. \\n \\n Throughout the day people had been passing and repassing through the \\n great hall. There, on a stately bier surmounted by a crown and the \\n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"in Ruritania. Rischenheim is to try first; but if he fails, Rupert will \\n risk everything and break through to the king's presence. Give him five \\n minutes with the king, and the mischief's done! Very well, then; Sapt \\n must keep Rupert at bay while I tackle Rischenheim. As soon as you can \\n move, go to Strelsau, and let Sapt know where you are.\\\" \\n \\n \\\"But if you're seen, if you're found out?\\\" \\n\",\n \"\\\"You see, the king is not even in Strelsau,\\\" said Rudolf. \\n \\n \\\"Not in Strelsau, sir?\\\" \\n \\n \\\"Why, no, he's at Zenda.\\\" \\n \\n \\\"Ah! At Zenda, sir?\\\" \\n \\n \\\"Certainly. It is therefore impossible--physically impossible--that he \\n should be here.\\\" \\n \\n The fellow was convinced that he understood now. \\n \\n \\\"It's certainly impossible, sir,\\\" said he, smiling more broadly. \\n\",\n \"enthusiasm and followed his lead. All the people took up the cry with \\n boundless fervor, and thus we all, high and low in Strelsau, that \\n afternoon hailed Mr. Rassendyll for our king. There had been no such \\n zeal since Henry the Lion came back from his wars, a hundred and fifty \\n years ago. \\n \\n \\\"And yet,\\\" observed old Helsing at my elbow, \\\"agitators say that there \\n is no enthusiasm for the house of Elphberg!\\\" He took a pinch of snuff in\",\n \"servant, and, the king being summoned unexpectedly to the capital, had \\n been awaiting his Majesty's return when he met his fate. There was a \\n short history of Rudolf, a glancing reference to his family, a dignified \\n expression of condolence with his relatives, to whom the king was \\n sending messages of deepest regret by the hands of Mr. Rassendyll's \\n servant. At another table young Bernenstein was drawing up, under the\",\n \"\\\"A Mr. Rassendyll, a friend of the king's, who with his servant James \\n was awaiting his Majesty's return from Strelsau. His servant here is \\n ready to start for England, to tell Mr. Rassendyll's relatives the \\n news.\\\" \\n \\n The queen had begun to listen before now; her eyes were fixed on Sapt, \\n and she had stretched out one arm to him, as if imploring him to read \\n her his riddle. But a few words had in truth declared his device plainly\",\n \"there is still a Rassendyll, if she has need of one.\\\" \\n \\n The offer was such as should come from a man of Rudolf's name, yet I \\n trust that the queen needs no further service than such as it is our \\n humble duty and dear delight to render her. It is our part to strive \\n to lighten the burden that she bears, and by our love to assuage her \\n undying grief. For she reigns now in Ruritania alone, the last of all\",\n \"\\\"Why not call me king?\\\" asked Rudolf. \\n \\n \\\"They call you that in Strelsau?\\\" \\n \\n \\\"Those that know I'm here.\\\" \\n \\n \\\"And they are--?\\\" \\n \\n \\\"Some few score.\\\" \\n \\n \\\"And thus,\\\" said Rupert, waving an arm towards the window, \\\"the town is \\n quiet and the flags fly?\\\" \\n \\n \\\"You've been waiting to see them lowered?\\\" \\n \\n \\\"A man likes to have some notice taken of what he has done,\\\" Rupert\",\n \"nay, who would listen to such a tale from such a man? Rischenheim was \\n ours; the old woman would keep her doubts between her teeth for her own \\n sake. To his own land and his own people Rudolf must be dead while \\n the King of Ruritania would stand before all Europe recognized, \\n unquestioned, unassailed. True, he must marry the queen again; Sapt was \\n ready with the means, and would hear nothing of the difficulty and risk \\n in finding a hand to perform the necessary ceremony. If we quailed in\"\n ],\n [\n \"there is still a Rassendyll, if she has need of one.\\\" \\n \\n The offer was such as should come from a man of Rudolf's name, yet I \\n trust that the queen needs no further service than such as it is our \\n humble duty and dear delight to render her. It is our part to strive \\n to lighten the burden that she bears, and by our love to assuage her \\n undying grief. For she reigns now in Ruritania alone, the last of all\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"\\\"I won't quit Ruritania a second time leaving Rupert of Hentzau \\n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \\n understand--and that instructions from the king will follow by midday. \\n When I have killed Rupert, I shall visit the lodge on my way to the \\n frontier.\\\" \\n \\n He turned to go, but the queen, following, detained him for a minute. \\n \\n \\\"You'll come and see me before you go?\\\" she pleaded.\",\n \"Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \\n the door and the queen appeared on the threshold. She was very pale, \\n and she had been crying, but her eyes were happy and her air firm. The \\n moment he saw her, young Bernenstein fell on his knee and raised her \\n hand to his lips. \\n \\n \\\"To the death, madame,\\\" said he, in a trembling voice. \\n \\n \\\"I knew it, sir,\\\" she answered graciously. Then she looked round on the\",\n \"\\\"Nobody knows yet,\\\" I said. \\\"We were afraid you might be taken for him \\n by somebody. But, my God, Rudolf, what's to be done now?\\\" \\n \\n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \\n his blue eyes wore a curious entranced expression. He seemed to me to be \\n forgetful of everything, even of us who were with him, in some one idea \\n that possessed him. The queen herself came nearer to him and lightly\",\n \"the queen, pale as the marble itself, stretching out her hands towards \\n Rudolf. The people had seen her: she it was whom this last rapturous \\n cheer greeted. My wife stood close behind her, and farther back others \\n of her ladies. Bernenstein and I sprang out. With a last salute to the \\n people Rudolf followed us. He walked up to the highest step but one, and \\n there fell on one knee and kissed the queen's hand. I was by him, and \\n when he looked up in her face I heard him say:\",\n \"nay, who would listen to such a tale from such a man? Rischenheim was \\n ours; the old woman would keep her doubts between her teeth for her own \\n sake. To his own land and his own people Rudolf must be dead while \\n the King of Ruritania would stand before all Europe recognized, \\n unquestioned, unassailed. True, he must marry the queen again; Sapt was \\n ready with the means, and would hear nothing of the difficulty and risk \\n in finding a hand to perform the necessary ceremony. If we quailed in\",\n \"his side. In the doorway stood Queen Flavia, all in white; and now \\n her face turned white as her dress. For her eyes had fallen on Rudolf \\n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \\n thrust Bernenstein's brawny shoulders (the young man had not looked \\n round) out of the way, and, falling on his knee before the queen, seized \\n her hand and kissed it. Bernenstein could see now without looking round,\",\n \"The queen, looking still in Rudolf's face, and forgetful now, as it \\n seemed, of the dream that had so terrified her, took no notice of what I \\n said, but urged again: \\\"You'll come, Rudolf?\\\" \\n \\n \\\"Yes, once, my queen,\\\" and with a last kiss of her hand he was gone. \\n \\n The queen stood for yet another moment where she was, still and almost \\n rigid. Then suddenly she walked or stumbled to where my wife sat, and,\",\n \"denied, not by the evidence of one only or of two, was the king's \\n presence in the city known. That day, by the witness of a crowd of \\n people, by his own claim and his own voice, ay, and by the assent of \\n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \\n while neither he nor Queen Flavia knew that the king was dead. I must \\n now relate the strange and perverse succession of events which forced\",\n \"hidden at all costs, and which the queen's passionate exclamation had \\n threatened to expose. There was a Rudolf Rassendyll, and he had been \\n king; but, more than all this, the queen loved him and he the queen. \\n That could be told to none, not even to Helsing; for Helsing, though he \\n would not gossip to the town, would yet hold himself bound to carry \\n the matter to the king. So Rudolf chose to take any future difficulties\",\n \"\\\"But the king is in Strelsau, sir.\\\" \\n \\n \\\"The deuce he is! He said nothing of going to Strelsau. He rose early \\n and rode off with Herbert, merely saying they would be back to-night.\\\" \\n \\n \\\"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \\n known to have been in town with the queen. They were both at Count \\n Fritz's.\\\" \\n\",\n \"women turn, and women whom women fear. \\n \\n \\\"But Helga writes no letters,\\\" said the queen. \\n \\n \\\"Why, no,\\\" said I, and I smiled a grim smile. Well, Rudolf Rassendyll \\n had never wooed my wife. \\n \\n She rose, saying: \\\"Come, let us go to the palace.\\\" \\n \\n As she rose, Rischenheim made a quick impulsive step towards her. \\n \\n \\\"Well, my lord,\\\" said she, turning towards him, \\\"will you also go with\",\n \"and her honor! While he was alive I'd have killed you sooner than let \\n you take it. He's dead. Now--for our love and her honor, lad!\\\" \\n \\n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \\n was set and rigid. He made no sign when Sapt finished, but stood as \\n he was, motionless, for a long while. Then he slowly bent his head and \\n looked down into the queen's eyes. For a while she sat looking back into\",\n \"surgeon. The queen came up, Rischenheim still supporting her. \\\"Rudolf! \\n Rudolf!\\\" she whispered, very softly. \\n \\n He opened his eyes, and his lips bent in a smile. She flung herself on \\n her knees and kissed his hand passionately. \\\"The surgeon will be here \\n directly,\\\" said I. \\n \\n Rudolf's eyes had been on the queen. As I spoke he looked up at me, \\n smiled again, and shook his head. I turned away. \\n\",\n \"the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \\n few who knew him, her only hope that she may some day be with him again. \\n \\n In great pomp we laid him to his rest in the vault of the kings of \\n Ruritania in the Cathedral of Strelsau. There he lies among the \\n princes of the House of Elphberg. I think that if there be indeed any \\n consciousness among the dead, or any knowledge of what passes in the\",\n \"\\\"A Mr. Rassendyll, a friend of the king's, who with his servant James \\n was awaiting his Majesty's return from Strelsau. His servant here is \\n ready to start for England, to tell Mr. Rassendyll's relatives the \\n news.\\\" \\n \\n The queen had begun to listen before now; her eyes were fixed on Sapt, \\n and she had stretched out one arm to him, as if imploring him to read \\n her his riddle. But a few words had in truth declared his device plainly\",\n \"the queen's peril past, and Rudolf once more far away from Strelsau. \\n Then enough of the truth--no more--must be disclosed. Helsing would be \\n told the story of Rudolf Rassendyll and persuaded to hold his tongue \\n about the harum-scarum Englishman (we are ready to believe much of \\n an Englishman) having been audacious enough again to play the king in \\n Strelsau. The old chancellor was a very good fellow, and I do not think\",\n \"I will not set out what the queen wrote. The purport seemed to us, who \\n did not share her feelings, pathetic indeed and moving, but in the end \\n (to speak plainly) folly. She had tried to endure her sojourn at Zenda, \\n she said; but it drove her mad. She could not rest; she did not know how \\n we fared, nor how those in Strelsau; for hours she had lain awake; then \\n at last falling asleep, she had dreamt. \\n\",\n \"the duty of guarding the door. Evening was now falling fast, and it grew \\n dark. The garden was quiet; the distant noise of the crowd threw its \\n stillness into greater relief. Rudolf told us there the story of his \\n struggle with Rupert of Hentzau in the attic of the old house, dwelling \\n on it as lightly as he could. The queen stood by his chair--she would \\n not let him rise; when he finished by telling how he had burnt her\"\n ],\n [\n \"in the people's eyes the visible triumph over Black Michael and his \\n fellow-conspirators was now three years old. For three years the \\n Princess Flavia had been queen. I am come by now to the age when a man \\n should look out on life with an eye undimmed by the mists of passion. \\n My love-making days are over; yet there is nothing for which I am more \\n thankful to Almighty God than the gift of my wife's love. In storm it\",\n \"than to be allowed to serve him all my days. Yet I serve the queen, and \\n in that I do most truly serve her lover. \\n \\n Times change for all of us. The roaring flood of youth goes by, and the \\n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \\n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \\n the memory of Rudolf Rassendyll is fresh to me as on the day he died,\",\n \"set a sentry at the end of the passage with orders that her Majesty \\n should on no pretence be disturbed, promised her very audibly to return \\n as soon as he possibly could, and respectfully closed the door after \\n she had entered. The constable was well aware of the value in a secret \\n business of doing openly all that can safely be done with openness. \\n \\n All of what passed at that interview I do not know, but a part Queen \\n Flavia herself told to me, or rather to Helga, my wife; for although it\",\n \"officer guarded him; in the cathedral the archbishop said a mass for his \\n soul. He had lain there three days; the evening of the third had come, \\n and early on the morrow he was to be buried. There is a little gallery \\n in the hall, that looks down on the spot where the bier stood; here was \\n I on this evening, and with me Queen Flavia. We were alone together, and \\n together we saw beneath us the calm face of the dead man. He was clad\",\n \"in the white uniform in which he had been crowned; the ribbon of the \\n Red Rose was across his breast. His hand held a true red rose, fresh and \\n fragrant; Flavia herself had set it there, that even in death he might \\n not miss the chosen token of her love. I had not spoken to her, nor \\n she to me, since we came there. We watched the pomp round him, and the \\n circles of people that came to bring a wreath for him or to look upon\",\n \"Well, I take it that when a man comes to die, love is more to him than \\n a kingdom: it may be, if we could see truly, that it is more to him even \\n while he lives. \\n \\n \\\"Of nothing but his great love for me, Fritz,\\\" she said again. \\\"And my \\n love brought him to his death.\\\" \\n \\n \\\"He wouldn't have had it otherwise,\\\" said I. \\n \\n \\\"No,\\\" she whispered; and she leant over the parapet of the gallery,\",\n \"and her honor! While he was alive I'd have killed you sooner than let \\n you take it. He's dead. Now--for our love and her honor, lad!\\\" \\n \\n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \\n was set and rigid. He made no sign when Sapt finished, but stood as \\n he was, motionless, for a long while. Then he slowly bent his head and \\n looked down into the queen's eyes. For a while she sat looking back into\",\n \"his side. In the doorway stood Queen Flavia, all in white; and now \\n her face turned white as her dress. For her eyes had fallen on Rudolf \\n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \\n thrust Bernenstein's brawny shoulders (the young man had not looked \\n round) out of the way, and, falling on his knee before the queen, seized \\n her hand and kissed it. Bernenstein could see now without looking round,\",\n \"poor, what is to us mean and of no sweetness may appear decked in the \\n robes of pleasure and delight. Well, if it were not so, who could sleep \\n at nights? The burden laid on Queen Flavia I knew, and know, so well as \\n a man can know it. I think it needs a woman to know it fully; for even \\n now my wife's eyes fill with tears when we speak of it. Yet she bore it, \\n and if she failed in anything, I wonder that it was in so little. For\",\n \"I understood his feeling, and knew that he held life a light thing \\n compared with the recovery of Queen Flavia's letter. I ceased to urge \\n him. When I assented to his wishes, every shadow vanished from his \\n face, and he began to discuss the details of the plan with business-like \\n brevity. \\n \\n \\\"I shall leave James with you,\\\" said Rudolf. \\\"He'll be very useful, and \\n you can rely on him absolutely. Any message that you dare trust to no\",\n \"\\\"True,\\\" said Rudolf. \\\"Bauer knows. Well, we'll see about Bauer.\\\" \\n \\n As he spoke he turned towards the door. Suddenly the girl bent, snatched \\n at his hand and kissed it. \\n \\n \\\"I would die for you,\\\" she murmured. \\n \\n \\\"Poor child!\\\" said he gently. I believe he was loath to make profit, \\n even in the queen's service, of her poor foolish love. He laid his hand \\n on the door, but paused a moment to say: \\n\",\n \"\\\"What a friend you are, aren't you, Fritz?\\\" said she. \\\"You worship Mr. \\n Rassendyll. I know you think I should worship him too, if he asked me. \\n Well, I shouldn't. I am foolish enough to have my own idol.\\\" All my \\n modesty did not let me doubt who her idol might be. Suddenly she drew \\n near to me and whispered in my ear. I think that our own happiness \\n brought to her a sudden keen sympathy with her mistress. \\n\",\n \"we stand there I will turn again into his native tongue--for, alas, \\n the young rogue loves his toy soldiers better than his Latin!--the \\n inscription that the queen wrote with her own hand, directing that it \\n should be inscribed in that stately tongue over the tomb in which her \\n life lies buried. \\n \\n \\\"To Rudolf, who reigned lately in this city, and reigns for ever in her \\n heart.--QUEEN FLAVIA.\\\" \\n\",\n \"me, see if he--if he looks as if he still loved me.\\\" But then she broke \\n off, crying, \\\"But don't tell him I said that. He'd be grieved if I \\n doubted his love. I don't doubt it; I don't, indeed; but still tell me \\n how he looks when you speak of me, won't you, Fritz? See, here's the \\n letter.\\\" \\n \\n Taking it from her bosom, she kissed it before she gave it to me. Then\",\n \"A sudden impulse came on me, and I turned to her, asking: \\n \\n \\\"What had he decided, madam? Would he have been king?\\\" She started a \\n little. \\n \\n \\\"He didn't tell me,\\\" she answered, \\\"and I didn't think of it while he \\n spoke to me.\\\" \\n \\n \\\"Of what then did he speak, madam?\\\" \\n \\n \\\"Only of his love--of nothing but his love, Fritz,\\\" she answered. \\n\",\n \"He is not too young to desire to serve the queen, and not too young to \\n learn to love and reverence him who sleeps there in the vault and was in \\n his life the noblest gentleman I have known. \\n \\n I will take the boy with me and tell him what I may of brave King \\n Rudolf, how he fought and how he loved, and how he held the queen's \\n honor and his own above all things in this world. The boy is not too \\n young to learn such lessons from the life of Mr. Rassendyll. And while\",\n \"her head round young Bernenstein's broad shoulders. Thus she saw \\n what happened. The queen, forgetting the servants, and not observing \\n Helsing--seeming indeed to stay for nothing, and to think of nothing, \\n but to have her thoughts and heart filled with the sight of the man she \\n loved and the knowledge of his safety--met him as he ran towards her, \\n and, before Helga, or Bernenstein, or Rudolf himself, could stay her or\",\n \"Rassendyll himself was confident of his ability to conceal his presence, \\n or, if need were, so to hide his face that no strange tale of the king \\n being seen wandering, alone and beardless, should reach the ears of the \\n castle or the town. \\n \\n While Sapt was making his arrangements, Queen Flavia came to the room \\n where Rudolf Rassendyll was. It was then nearing twelve, and young \\n Bernenstein had been gone half an hour. Sapt attended her to the door,\",\n \"and stretched out her hands towards me, her eyes filled with tears. \\n \\n \\\"Yet,\\\" said she, \\\"your wife knows, and still loves me, Fritz.\\\" \\n \\n \\\"She should be no wife of mine, if she didn't,\\\" I cried. \\\"For I and all \\n of mine ask no better than to die for your Majesty.\\\" \\n \\n \\\"She knows, and yet she loves me,\\\" repeated the queen. I loved to see \\n that she seemed to find comfort in Helga's love. It is women to whom\",\n \"then stood at the salute, while Rudolf walked with her to the end of the \\n passage. There for a moment she and he stood together; the others turned \\n their eyes away and thus did not see her suddenly stoop and cover his \\n hand with her kisses. He tried to draw it away, not thinking it fit that \\n she should kiss his hand, but she seemed as though she could not let \\n it go. Yet at last, still with her eyes on his, she passed backwards \\n through the door, and he shut it after her. \\n\"\n ],\n [\n \"concerning the letter, he would doubtless tell the king that Rudolf \\n Rassendyll was in the castle. He leant now over the king's shoulder, and \\n said with a sneer: \\n \\n \\\"Messages from Rupert of Hentzau are too exalted matters for my poor \\n ears, it seems.\\\" \\n \\n The king flushed red. \\n \\n \\\"Is that your business, my lord?\\\" he asked Rischenheim sternly. \\n \\n \\\"Your Majesty does not know what my cousin--\\\" \\n\",\n \"was dead. Who would ask if it were in truth the king who lay in state in \\n the great hall of the palace, or whether the humble grave at Zenda held \\n the bones of the last male Elphberg? In the silence of the grave all \\n murmurs and questionings were hushed. \\n \\n Throughout the day people had been passing and repassing through the \\n great hall. There, on a stately bier surmounted by a crown and the \\n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest\",\n \"hidden at all costs, and which the queen's passionate exclamation had \\n threatened to expose. There was a Rudolf Rassendyll, and he had been \\n king; but, more than all this, the queen loved him and he the queen. \\n That could be told to none, not even to Helsing; for Helsing, though he \\n would not gossip to the town, would yet hold himself bound to carry \\n the matter to the king. So Rudolf chose to take any future difficulties\",\n \"the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \\n few who knew him, her only hope that she may some day be with him again. \\n \\n In great pomp we laid him to his rest in the vault of the kings of \\n Ruritania in the Cathedral of Strelsau. There he lies among the \\n princes of the House of Elphberg. I think that if there be indeed any \\n consciousness among the dead, or any knowledge of what passes in the\",\n \"\\\"I'm very glad to see you, Lieutenant von Bernenstein,\\\" said Rudolf \\n Rassendyll. \\n \\n For a moment the thing was done, ruin averted, and safety secured. \\n Everything had been at stake; that there was such a man as Rudolf \\n Rassendyll might have been disclosed; that he had once filled the king's \\n throne was a high secret which they were prepared to trust to Helsing \\n under stress of necessity; but there remained something which must be\",\n \"servant, and, the king being summoned unexpectedly to the capital, had \\n been awaiting his Majesty's return when he met his fate. There was a \\n short history of Rudolf, a glancing reference to his family, a dignified \\n expression of condolence with his relatives, to whom the king was \\n sending messages of deepest regret by the hands of Mr. Rassendyll's \\n servant. At another table young Bernenstein was drawing up, under the\",\n \"is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \\n hours with the queen, when the king is at his hunting lodge? A king \\n has died already, and two men besides, to save a word against her. And \\n you--you'll be the man to set every tongue in Strelsau talking, and \\n every finger pointing in suspicion at her?\\\" \\n \\n Rudolf made no answer. When Sapt had first uttered the queen's name, he\",\n \"enthusiasm and followed his lead. All the people took up the cry with \\n boundless fervor, and thus we all, high and low in Strelsau, that \\n afternoon hailed Mr. Rassendyll for our king. There had been no such \\n zeal since Henry the Lion came back from his wars, a hundred and fifty \\n years ago. \\n \\n \\\"And yet,\\\" observed old Helsing at my elbow, \\\"agitators say that there \\n is no enthusiasm for the house of Elphberg!\\\" He took a pinch of snuff in\",\n \"\\\"I was seeking a friend of mine,\\\" said Rudolf. \\\"I want to see him alone. \\n It's not easy for a king to see people alone.\\\" \\n \\n \\\"You mean--?\\\" \\n \\n \\\"Well, you know whom I mean.\\\" \\n \\n \\\"Yes. No, he's gone; but he's gone to find you.\\\" \\n \\n \\\"To find me! Plague take it! How do you know that, my pretty lady?\\\" \\n \\n \\\"Bauer told me.\\\" \\n\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"seemed very faint and weary, but at peace. It was enough for her that \\n Rudolf fought and planned for her. \\n \\n \\\"And see this,\\\" Rudolf went on. \\\"'The king will not leave the lodge \\n to-day.' Thank God, then, we have to-day!\\\" \\n \\n \\\"Yes, but where's Rupert?\\\" \\n \\n \\\"We shall know in an hour, if he's in Strelsau,\\\" and Mr. Rassendyll\",\n \"Rassendyll himself was confident of his ability to conceal his presence, \\n or, if need were, so to hide his face that no strange tale of the king \\n being seen wandering, alone and beardless, should reach the ears of the \\n castle or the town. \\n \\n While Sapt was making his arrangements, Queen Flavia came to the room \\n where Rudolf Rassendyll was. It was then nearing twelve, and young \\n Bernenstein had been gone half an hour. Sapt attended her to the door,\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"Truly we had tempted fate too far by bringing Rudolf Rassendyll again to \\n Strelsau. \\n \\n \\n \\n CHAPTER XII. BEFORE THEM ALL! \\n \\n GREAT as was the risk and immense as were the difficulties created by \\n the course which Mr. Rassendyll adopted, I cannot doubt that he acted \\n for the best in the light of the information which he possessed. His \\n plan was to disclose himself in the character of the king to Helsing,\",\n \"\\\"Precisely,\\\" said he. \\\"So I thought you'd come, as soon as I heard that \\n the king was here.\\\" \\n \\n It may be that I ought to have preserved my composure. But I am not Sapt \\n nor Rudolf Rassendyll. \\n \\n \\\"The king here?\\\" I gasped, clutching him by the arm. \\n \\n \\\"Of course. You didn't know? Yes, he's in town.\\\" \\n\",\n \"Rassendyll's: a sudden suspicion seized him, for the face, though the \\n king's face in every feature, bore a stern resolution and witnessed a \\n vigor that were not the king's. In that instant the truth, or a hint of \\n it, flashed across his mind. He gave a half-articulate cry; in one hand \\n he crumpled up the paper, the other flew to his revolver. But he was \\n too late. Rudolf's left hand encircled his hand and the paper in an iron\",\n \"king, that we didn't know, that we weren't accomplices in the tricking \\n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \\n me from a conscience that won't let me be true to the woman I love, or \\n to the friends who love me!\\\" \\n \\n I had never seen the old fellow so moved; he carried me with him, as he \\n carried Bernenstein. I know now that we were too ready to be convinced;\",\n \"before); his face was in deep shadow, but Rischenheim perceived that the \\n beard was indeed gone. The king held out his hand to Rischenheim, and \\n motioned him to sit in a chair just opposite to him and within a foot of \\n the window-curtains. \\n \\n \\\"I'm delighted to see you, my lord,\\\" said the king. \\n \\n Rischenheim looked up. Rudolf's voice had once been so like the king's \\n that no man could tell the difference, but in the last year or two the\",\n \"He is not too young to desire to serve the queen, and not too young to \\n learn to love and reverence him who sleeps there in the vault and was in \\n his life the noblest gentleman I have known. \\n \\n I will take the boy with me and tell him what I may of brave King \\n Rudolf, how he fought and how he loved, and how he held the queen's \\n honor and his own above all things in this world. The boy is not too \\n young to learn such lessons from the life of Mr. Rassendyll. And while\",\n \"Helga's description had just passed between them. Rudolf ran to meet me. \\n \\n \\\"Is all well?\\\" he asked eagerly. \\n \\n I forgot the queen's presence and paid no sign of respect to her. I \\n caught Rudolf by the arm and cried to him: \\\"Do they take you for the \\n king?\\\" \\n \\n \\\"Yes,\\\" he said. \\\"Heavens, man, don't look so white! We shall manage it. \\n I can be gone by to-night.\\\" \\n\"\n ],\n [\n \"\\\"We're most likely, madam, to find him at Fritz von Tarlenheim's,\\\" \\n answered the lieutenant. \\\"He would wait there till the time came to \\n attack Rupert, or, if the thing is over, he will have returned there.\\\" \\n \\n \\\"Then let us drive there at once,\\\" she urged. \\n \\n Bernenstein, however, persuaded her to go to the palace first and let it \\n be known there that she was going to pay a visit to my wife. She arrived\",\n \"Rudolf glanced at Sapt. The constable shook his head. Bernenstein's face \\n fell. \\n \\n \\\"It's not that, boy,\\\" said old Sapt, half in kindness, half in \\n impatience. \\\"We want you here. Suppose Rupert comes here with \\n Rischenheim!\\\" \\n \\n The idea was new, but the event was by no means unlikely. \\n \\n \\\"But you'll be here, Constable,\\\" urged Bernenstein, \\\"and Fritz von \\n Tarlenheim will arrive in an hour.\\\" \\n\",\n \"it's dark. Then, if you want a shelter--\\\" \\n \\n \\\"To Fritz von Tarlenheim's, yes! From there I shall go straight to the \\n address.\\\" \\n \\n \\\"Ay. And--Rudolf!\\\" \\n \\n \\\"Yes?\\\" \\n \\n \\\"Make an end of him this time.\\\" \\n \\n \\\"Please God. But if he goes to the lodge? He will, unless Rischenheim \\n stops him.\\\" \\n\",\n \"\\\"I'll risk anything.\\\" \\n \\n \\\"Most gallant gentleman! At the worst they'll only keep you a prisoner. \\n Well, if you're not back in a couple of hours, I shall draw my \\n conclusions. I shall know that there's a king in Strelsau.\\\" \\n \\n \\\"But where shall I look for the king?\\\" \\n \\n \\\"Why, first in the palace, and secondly at Fritz von Tarlenheim's. I \\n expect you'll find him at Fritz's, though.\\\" \\n\",\n \"\\\"Then--when he comes?\\\" asked Bernenstein. \\n \\n \\\"He finds such a king as Rischenheim found, and Sapt, here, at his \\n elbow.\\\" \\n \\n \\\"But he'll know you,\\\" objected Bernenstein. \\n \\n \\\"Ay, I think he'll know me,\\\" said Rudolf with a smile. \\\"Meanwhile we \\n send for Fritz to come here and look after the king.\\\" \\n \\n \\\"And Rischenheim?\\\" \\n\",\n \"\\\"That's old Fritz!\\\" he said; and he caught hold of Bernenstein's hand, \\n which the lieutenant yielded with some reluctance. \\\"Now for the \\n plan,\\\" said he. \\\"Bernenstein and I set out at once for the lodge--yes, \\n publicly, as publicly as we can. I shall ride right through the people \\n there, showing myself to as many as will look at me, and letting it \\n be known to everybody where I'm going. We shall get there quite early\",\n \"\\\"That's your share, Lieutenant. Sapt, is any one at Tarlenheim?\\\" \\n \\n \\\"No. Count Stanislas has put it at Fritz's disposal.\\\" \\n \\n \\\"Good; then Fritz's two friends, the Count of Luzau-Rischenheim and \\n Lieutenant von Bernenstein, will ride over there to-day. The constable \\n of Zenda will give the lieutenant twenty-four hours' leave of absence, \\n and the two gentlemen will pass the day and sleep at the chateau. They\",\n \"She was looking at him with wondering eyes. \\n \\n \\\"Don't you see,\\\" he said, \\\"if I can impose on Helsing, I may stop those \\n women's tongues? If nothing's done, how long do you suppose it'll be \\n before all Strelsau knows that Fritz von Tarlenheim's wife let the king \\n in at the window at five o'clock in the morning?\\\" \\n \\n \\\"I don't understand,\\\" murmured poor Helga in bewilderment. \\n\",\n \"is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \\n hours with the queen, when the king is at his hunting lodge? A king \\n has died already, and two men besides, to save a word against her. And \\n you--you'll be the man to set every tongue in Strelsau talking, and \\n every finger pointing in suspicion at her?\\\" \\n \\n Rudolf made no answer. When Sapt had first uttered the queen's name, he\",\n \"\\\"No, my dear lady, but for Heaven's sake do what I ask of you. It's the \\n only chance now.\\\" \\n \\n \\\"I'll do it,\\\" she said, and sat down to write. \\n \\n Thus it was that, hard on the marvelous tidings which, as I conjecture, \\n the Baroness von Helsing poured into her husband's drowsy ears, came an \\n imperative summons that the chancellor should wait on the king at the \\n house of Fritz von Tarlenheim. \\n\",\n \"do. If I don't return, Fritz will be here soon, and you and he must make \\n your own plans.\\\" \\n \\n \\\"He sha'n't give me the slip a second time,\\\" said Bernenstein. \\n \\n \\\"We hold ourselves free,\\\" said Rudolf to Rischenheim, \\\"to do what we \\n please with you, my lord. But I have no wish to cause your death, unless \\n it be necessary. You will be wise to wait till your cousin's fate is\",\n \"been wisdom to his mind, and he had been sorely impatient with \\\"that \\n fool Fritz's\\\" yearly pilgrimage. The letter of farewell had been an \\n added folly, pregnant with chances of disaster. Now disaster, or the \\n danger of it, had come. The curt, mysterious telegram from Wintenberg, \\n which told him so little, at least told him that. It ordered him--and he \\n did not know even whose the order was--to delay Rischenheim's audience,\",\n \"bedside of Marshal Strakencz. The old man, already nearing the death \\n that soon after robbed us of his aid and counsel, bowed his head in \\n assent: in the aged and ailing the love of peace breeds hope of it. But \\n Colonel Sapt tugged at his gray moustache, and twisted his black cigar \\n in his mouth, saying, \\\"You're very sanguine, friend Fritz. But is Rupert \\n of Hentzau dead? I had not heard it.\\\" \\n\",\n \"\\\"His word of honor, my lord.\\\" I knew that a rebuke to my presumption lay \\n in her calling me \\\"my lord,\\\" for, save on formal occasions, she always \\n used to call me Fritz. \\n \\n \\\"His word of honor!\\\" I grumbled. \\\"In truth, madam--\\\" \\n \\n \\\"He's right,\\\" said Rischenheim; \\\"he's right.\\\" \\n \\n \\\"No, he's wrong,\\\" said the queen, smiling. \\\"The count will keep his \\n word, given to me.\\\" \\n\",\n \"\\\"I never thought I should see her again,\\\" he said. \\\"I think I shall now, \\n Fritz. To have a turn with that boy and to see her again--it's worth \\n something.\\\" \\n \\n \\\"How will you see her?\\\" \\n \\n Rudolf laughed, and I laughed too. He caught my hand again. I think that \\n he was anxious to infect me with his gayety and confidence. But I could \\n not answer to the appeal of his eyes. There was a motive in him that\",\n \"was; yes, quite still. His face was so pale, and he didn't hear them \\n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \\n Where have you let him go?\\\" \\n \\n She turned from me and her eyes flashed over the rest. \\\"Where is he? Why \\n aren't you with him?\\\" she demanded, with a sudden change of tone; \\\"why \\n aren't you round him? You should be between him and danger, ready to\",\n \"three of them. \\\"Gentlemen,\\\" said she, \\\"my servants and dear friends, \\n with you, and with Fritz who lies wounded in Wintenberg, rest my honor \\n and my life; for I will not live if the letter reaches the king.\\\" \\n \\n \\\"The king shall not have it, madame,\\\" said Colonel Sapt. He took \\n her hand in his and patted it with a clumsy gentleness; smiling, she \\n extended it again to young Bernenstein, in mark of her favor. They two\",\n \"This much she spoke in proud tones and with a disdainful manner, but \\n then came a sudden return to her former bearing. She held out her hands \\n towards me, wailing: \\n \\n \\\"Fritz, where is he? Is he safe? Find him for me, Fritz; find him.\\\" \\n \\n \\\"I'll find him for you if he's above ground, madam,\\\" I cried, for her \\n appeal touched me to the heart. \\n \\n \\\"He's no farther off than the gardens,\\\" grumbled old Sapt, still\",\n \"Rischenheim looked at her and seemed about to address her, but then he \\n turned to me, and said in a low tone: \\n \\n \\\"By Heaven, I will, Tarlenheim. I'll serve her in everything--\\\" \\n \\n \\\"My lord,\\\" said she most graciously, and yet very sadly, \\\"you lighten \\n the burden on me no less by your help than because I no longer feel your \\n honor stained through me. Come, we will go to the palace.\\\" And she went\",\n \" GUTENBERG EBOOK RUPERT OF HENTZAU *** \\n \\n \\n \\n \\n Produced by An Anonymous Volunteer, and David Widger \\n \\n \\n \\n \\n \\n RUPERT OF HENTZAU \\n \\n FROM THE MEMOIRS OF FRITZ VON TARLENHEIM \\n \\n Sequel to The Prisoner of Zenda \\n \\n By Anthony Hope \\n \\n \\n \\n \\n CONTENTS \\n\"\n ],\n [\n \"from Strelsau, and the king's place will be free for him again.\\\" \\n \\n Rischenheim gave a slight start, and a look of triumph spread over his \\n face. They did not know that the king was dead. \\n \\n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \\n face. \\n \\n \\\"I don't know,\\\" he continued, \\\"why you are in this business, my lord. \\n Your cousin's motives I know well. But I wonder that they seemed to you\",\n \"There was a little scream from Helga; Rudolf neither spoke nor moved; \\n the queen continued to gaze at me in motionless wonder and horror. \\n \\n \\\"Rupert killed him,\\\" said I. \\\"The boar-hound attacked Rupert; then \\n Herbert and the king attacked him; and he killed them all. Yes, the king \\n is dead. He's dead.\\\" \\n \\n Now none spoke. The queen's eyes never left my face. \\\"Yes, he's dead.\\\"\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"\\\"I was seeking a friend of mine,\\\" said Rudolf. \\\"I want to see him alone. \\n It's not easy for a king to see people alone.\\\" \\n \\n \\\"You mean--?\\\" \\n \\n \\\"Well, you know whom I mean.\\\" \\n \\n \\\"Yes. No, he's gone; but he's gone to find you.\\\" \\n \\n \\\"To find me! Plague take it! How do you know that, my pretty lady?\\\" \\n \\n \\\"Bauer told me.\\\" \\n\",\n \"before); his face was in deep shadow, but Rischenheim perceived that the \\n beard was indeed gone. The king held out his hand to Rischenheim, and \\n motioned him to sit in a chair just opposite to him and within a foot of \\n the window-curtains. \\n \\n \\\"I'm delighted to see you, my lord,\\\" said the king. \\n \\n Rischenheim looked up. Rudolf's voice had once been so like the king's \\n that no man could tell the difference, but in the last year or two the\",\n \"will set out for Strelsau, bringing with you the body of the king.\\\" And \\n Rudolf, after a pause, whispered, \\\"You must shave his face. And if the \\n doctors want to talk about how long he's been dead, why, they have, as I \\n say, palms.\\\" \\n \\n Sapt sat silent for a while, apparently considering the scheme. It was \\n risky enough in all conscience, but success had made Rudolf bold, and \\n he had learnt how slow suspicion is if a deception be bold enough. It is\",\n \"Helga's description had just passed between them. Rudolf ran to meet me. \\n \\n \\\"Is all well?\\\" he asked eagerly. \\n \\n I forgot the queen's presence and paid no sign of respect to her. I \\n caught Rudolf by the arm and cried to him: \\\"Do they take you for the \\n king?\\\" \\n \\n \\\"Yes,\\\" he said. \\\"Heavens, man, don't look so white! We shall manage it. \\n I can be gone by to-night.\\\" \\n\",\n \"\\\"Yes; you, Bernenstein, and I will be at the lodge.\\\" \\n \\n \\\"That's not impossible, though I have had nearly enough riding.\\\" \\n \\n Rudolf fixed his eyes firmly on Sapt's. \\n \\n \\\"You see,\\\" he said, \\\"the king reaches his hunting-lodge early in the \\n morning.\\\" \\n \\n \\\"I follow you, sire.\\\" \\n \\n \\\"And what happens there, Sapt? Does he shoot himself accidentally?\\\" \\n \\n \\\"Well, that happens sometimes.\\\" \\n\",\n \"The king lay in peace on his bed, his grave was dug; Sapt and James held \\n the secret with solemn faith and ready lives. To Strelsau I must go \\n to tell the queen that she was widowed, and to aim the stroke at young \\n Rupert's heart. \\n \\n At nine in the morning I started from the lodge. I was bound to ride to \\n Hofbau and there wait for a train which would carry me to the capital. \\n From Hofbau I could send a message, but the message must announce only\",\n \"up to the entrance. Helsing was on the steps, and ran down to the \\n carriage, greeting the king with passionate fervor. The shouts of the \\n crowd grew louder still. \\n \\n But suddenly a stillness fell on them; it lasted but an instant, and \\n was the prelude to a deafening roar. I was looking at Rudolf and saw his \\n head turn suddenly and his eyes grow bright. I looked where his eyes \\n had gone. There, on the top step of the broad marble flight, stood\",\n \"\\\"Why not call me king?\\\" asked Rudolf. \\n \\n \\\"They call you that in Strelsau?\\\" \\n \\n \\\"Those that know I'm here.\\\" \\n \\n \\\"And they are--?\\\" \\n \\n \\\"Some few score.\\\" \\n \\n \\\"And thus,\\\" said Rupert, waving an arm towards the window, \\\"the town is \\n quiet and the flags fly?\\\" \\n \\n \\\"You've been waiting to see them lowered?\\\" \\n \\n \\\"A man likes to have some notice taken of what he has done,\\\" Rupert\",\n \"Rudolf nodded to her. \\\"Tell her who I am,\\\" said he. \\n \\n \\\"Why, mother, it's the king,\\\" whispered Rosa, laughing and blushing. \\n \\\"The king, mother.\\\" \\n \\n \\\"Ay, if the king's alive, I'm the king,\\\" said Rudolf. I suppose he \\n wanted to find out how much the old woman knew. \\n \\n She made no answer, but stared up at his face. In her bewilderment she \\n forgot to ask how he had learnt the signal that gained him admission.\",\n \"\\\"But I ought not,\\\" said he, his resolute eyes suddenly softening in a \\n marvelous fashion. \\n \\n \\\"You will?\\\" \\n \\n \\\"Yes, my queen.\\\" \\n \\n Then I sprang up, for a sudden dread laid hold on me. \\n \\n \\\"Heavens, man,\\\" I cried, \\\"what if he kills you--there in the \\n Konigstrasse?\\\" \\n \\n Rudolf turned to me; there was a look of surprise on his face. \\\"He won't \\n kill me,\\\" he answered. \\n\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"\\\"This is all a lie, Sapt,\\\" said he, and his lips curled in contemptuous \\n amusement. \\n \\n \\\"It's no lie that the lodge is burnt, and the bodies in it, and that \\n half a hundred of the peasants know it, and that no man could tell the \\n body for the king's. As for the rest, it is a lie. But I think the truth \\n in it is enough to serve.\\\" \\n \\n The two men stood facing one another with defiant eyes. Rudolf had\",\n \"\\\"Yes,\\\" she said. \\\"We couldn't help it. He showed himself at the door.\\\" \\n \\n It was worse than I dreamt: not two or three people, but all that crowd \\n were victims of the mistake; all of them had heard that the king was in \\n Strelsau--ay, and had seen him. \\n \\n \\\"Where is he? Where is he?\\\" I asked, and followed her hastily to the \\n room. \\n \\n The queen and Rudolf were standing side by side. What I have told from\",\n \"seemed very faint and weary, but at peace. It was enough for her that \\n Rudolf fought and planned for her. \\n \\n \\\"And see this,\\\" Rudolf went on. \\\"'The king will not leave the lodge \\n to-day.' Thank God, then, we have to-day!\\\" \\n \\n \\\"Yes, but where's Rupert?\\\" \\n \\n \\\"We shall know in an hour, if he's in Strelsau,\\\" and Mr. Rassendyll\",\n \"king, that we didn't know, that we weren't accomplices in the tricking \\n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \\n me from a conscience that won't let me be true to the woman I love, or \\n to the friends who love me!\\\" \\n \\n I had never seen the old fellow so moved; he carried me with him, as he \\n carried Bernenstein. I know now that we were too ready to be convinced;\",\n \"caught the meaning of the great and audacious trick which Sapt and his \\n companion had played. It was impossible now to bring the king's body to \\n Strelsau; it seemed no less impossible to declare that the man burnt in \\n the lodge was the king. Thus Sapt had forced Rudolf's hand; he had been \\n inspired by the same vision as we, and endowed with more unshrinking \\n boldness. But when I saw how Rudolf looked at him, I did not know but\",\n \"and that they were on the point of waiting on his Majesty. Then the king \\n walked in, pale and full-bearded. \\n \\n \\\"Ah, Count,\\\" said he, \\\"I'm glad to see you. If they had told me you \\n were here, you shouldn't have waited a minute. You're very dark in here, \\n Sapt. Why don't you draw back the curtains?\\\" and the king moved towards \\n the curtain behind which Rudolf was. \\n\"\n ],\n [\n \"and the vision of the death of Rupert of Hentzau dances often before \\n my eyes. It may be that some day the whole story shall be told, and men \\n shall judge of it for themselves. To me it seems now as though all had \\n ended well. I must not be misunderstood: my heart is still sore for the \\n loss of him. But we saved the queen's fair fame, and to Rudolf himself \\n the fatal stroke came as a relief from a choice too difficult: on the\",\n \"his revolver in his hand--none too soon, for Rupert of Hentzau's barrel \\n faced him, and they stood thus, opposite to one another, with no more \\n than three or four feet between the mouths of their weapons. \\n \\n There is, indeed, much that may be said against Rupert of Hentzau, the \\n truth about him well-nigh forbidding that charity of judgment which we \\n are taught to observe towards all men. But neither I nor any man who\",\n \"stifled sobbing. Rudolf caressed her shining hair and gazed into the \\n night with sad, set eyes. She raised her head and looked into his face. \\n \\n \\\"You'll break my heart,\\\" she said. \\n \\n \\n \\n CHAPTER XIX. FOR OUR LOVE AND HER HONOR \\n \\n RUPERT of Hentzau was dead! That was the thought which, among all our \\n perplexities, came back to me, carrying with it a wonderful relief.\",\n \"THE moment with its shock and tumult of feeling brings one judgment, \\n later reflection another. Among the sins of Rupert of Hentzau I do not \\n assign the first and greatest place to his killing of the king. It was, \\n indeed, the act of a reckless man who stood at nothing and held nothing \\n sacred; but when I consider Herbert's story, and trace how the deed came \\n to be done and the impulsion of circumstances that led to it, it seems \\n to have been in some sort thrust upon him by the same perverse fate that\",\n \"touched his arm with her hand. He started as though surprised, then fell \\n again into his reverie. \\n \\n \\\"What's to be done, Rudolf?\\\" I asked again. \\n \\n \\\"I'm going to kill Rupert of Hentzau,\\\" he said. \\\"The rest we'll talk of \\n afterwards.\\\" \\n \\n He walked rapidly across the room and rang the bell. \\\"Clear those people \\n away,\\\" he ordered. \\\"Tell them that I want to be quiet. Then send a\",\n \" GUTENBERG EBOOK RUPERT OF HENTZAU *** \\n \\n \\n \\n \\n Produced by An Anonymous Volunteer, and David Widger \\n \\n \\n \\n \\n \\n RUPERT OF HENTZAU \\n \\n FROM THE MEMOIRS OF FRITZ VON TARLENHEIM \\n \\n Sequel to The Prisoner of Zenda \\n \\n By Anthony Hope \\n \\n \\n \\n \\n CONTENTS \\n\",\n \"forced, in truth so deliberate, led him. There was the letter, there \\n lay the revolvers. The time to think of risks was gone by; the time to \\n boggle over what honor allowed or forbade had never come to Rupert of \\n Hentzau. If he could not win by force and skill, he would win by guile \\n and by treachery, to the test that he had himself invited. The revolvers \\n lay on the mantelpiece: he meant to possess himself of one, if he could\",\n \"\\\"You expected me, sire?\\\" said Rupert with a bow; but he smiled. I know \\n that the sight of the king's alarm pleased him. To inspire terror was \\n his delight, and it does not come to every man to strike fear into the \\n heart of a king and an Elphberg. It had come more than once to Rupert of \\n Hentzau. \\n \\n \\\"No,\\\" muttered the king. Then, recovering his composure a little, he \\n said angrily, \\\"How dare you come here?\\\" \\n\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"of events had turned into a trap for ourselves and not for Rupert of \\n Hentzau. \\n \\n Suddenly Sapt, turning his head for the first time, pointed in front \\n of him. The lodge was before us; we saw it looming dimly a quarter of \\n a mile off. Sapt reined in his horse, and we followed his example. All \\n dismounted, we tied our horses to trees and went forward at a quick, \\n silent walk. Our idea was that Sapt should enter on pretext of having\",\n \"\\\"There's a chance for you, now Rupert of Hentzau's gone,\\\" said Sapt \\n grimly. \\n \\n As he spoke there was a knock at the door. When it opened James entered. \\n \\n \\\"The Count of Luzau-Rischenheim begs to be allowed to speak with the \\n king,\\\" said James. \\n \\n \\\"We expect his Majesty every moment. Beg the count to enter,\\\" Sapt \\n answered; and, when Rischenheim came in, he went on, motioning the count\",\n \"right hand with which he had just killed Rupert of Hentzau, and took the \\n letter from the mantelpiece. He glanced at the envelope, then he opened \\n the letter. The handwriting banished any last doubt he had; he tore \\n the letter across, and again in four pieces, and yet again in smaller \\n fragments. Then he sprinkled the morsels of paper into the blaze of the \\n fire. I believe that every eye in the room followed them and watched\",\n \"\\\"I won't quit Ruritania a second time leaving Rupert of Hentzau \\n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \\n understand--and that instructions from the king will follow by midday. \\n When I have killed Rupert, I shall visit the lodge on my way to the \\n frontier.\\\" \\n \\n He turned to go, but the queen, following, detained him for a minute. \\n \\n \\\"You'll come and see me before you go?\\\" she pleaded.\",\n \"the lodge? Who found the king alive, Sapt or I? Who left him dead, Sapt \\n or I? Who had most interest in killing him--I, who only sought to make \\n him aware of what touched his honor, or Sapt, who was and is hand and \\n glove with the man that now robs him of his name and usurps his place \\n while his body is still warm? Ah, they haven't done with Rupert of \\n Hentzau yet!\\\" \\n\",\n \"by it, listening to what passed within, catching glimpses of forms and \\n movements through the chinks of the crazy hinge and the crevices where \\n the wood of the panel sprung and left a narrow eye hole for her absorbed \\n gazing. \\n \\n Rupert of Hentzau had no thought of ghosts; the men he killed lay still \\n where they fell, and slept where they were buried. And he had no \\n wonder at the sight of Rudolf Rassendyll. It told him no more than that\",\n \"the Queen, father,\\\" said he. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of Rupert of Hentzau, by Anthony Hope \\n \\n\",\n \"on the ground again, on my back now, and my throat was clutched \\n viciously in strong fingers. At the same moment my arms were again \\n seized and pinned. The face of the man on my chest bent down towards \\n mine, and through the darkness I discerned the features of Rupert of \\n Hentzau. He was panting with the sudden exertion and the intense force \\n with which he held me, but he was smiling also; and when he saw by \\n my eyes that I knew him, he laughed softly in triumph. Then came\",\n \"Rassendyll, and that I played the king only in order to serve the queen \\n and punish Rupert of Hentzau. That will serve, and it will cut this net \\n of Sapt's from about my limbs.\\\" \\n \\n He spoke firmly and coldly; so that when I looked at him I was amazed \\n to see how his lips twitched and that his forehead was moist with sweat. \\n Then I understood what a sudden, swift, and fearful struggle he had\",\n \"I must go and do my work, and then disappear.\\\" \\n \\n The queen stood facing him. Her eyes seemed to devour his face; but she \\n said only: \\\"Yes, it must be so.\\\" \\n \\n \\\"You must return to the palace as soon as I am gone. I shall send out \\n and ask the people to disperse, and then I must be off.\\\" \\n \\n \\\"To seek Rupert of Hentzau?\\\" \\n \\n \\\"Yes.\\\" \\n \\n She struggled for a moment with the contending feelings that filled her\",\n \"pale and his lips were set, but it was his eyes that caught my gaze, for \\n they were glad and merciless. I had never seen him look thus before. I \\n turned from him to young Hentzau's face. Rupert's teeth were biting his \\n under lip, the sweat dropped, and the veins swelled large and blue on \\n his forehead; his eyes were set on Rudolf Rassendyll. Fascinated, I drew \\n nearer. Then I saw what passed. Inch by inch Rupert's arm curved, the\"\n ],\n [\n \"\\\"I should wrong you by straining your kindness so far,\\\" said he; and in \\n wanton insolence, seeking again to show Mr. Rassendyll the mean esteem \\n in which he held him, and the weariness his presence was, he raised his \\n arms and stretched them above his head, as a man does in the fatigue of \\n tedium. \\\"Heigho!\\\" he yawned. \\n \\n But he had overshot the mark this time. With a sudden swift bound Rudolf\",\n \"jealousy of Mr. Rassendyll. Rudolf had played the hero while he lay \\n helpless. Rudolf's were the exploits for which his own people cheered \\n him in his own capital. Rudolf's were the laurels that crowned his \\n impatient brow. He had enough nobility to resent his borrowed credit, \\n without the fortitude to endure it manfully. And the hateful comparison \\n struck him nearer home. Sapt would tell him bluntly that Rudolf did this\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"servant, and, the king being summoned unexpectedly to the capital, had \\n been awaiting his Majesty's return when he met his fate. There was a \\n short history of Rudolf, a glancing reference to his family, a dignified \\n expression of condolence with his relatives, to whom the king was \\n sending messages of deepest regret by the hands of Mr. Rassendyll's \\n servant. At another table young Bernenstein was drawing up, under the\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"hidden at all costs, and which the queen's passionate exclamation had \\n threatened to expose. There was a Rudolf Rassendyll, and he had been \\n king; but, more than all this, the queen loved him and he the queen. \\n That could be told to none, not even to Helsing; for Helsing, though he \\n would not gossip to the town, would yet hold himself bound to carry \\n the matter to the king. So Rudolf chose to take any future difficulties\",\n \"\\\"Isn't it pleasant, mother? I wish I could always be up at five \\n o'clock.\\\" \\n \\n \\\"My dear, you wouldn't like it for long,\\\" answered the elder. \\\"It's very \\n nice for a change, but--\\\" \\n \\n She stopped abruptly. Her eye had fallen on Rudolf Rassendyll. He knew \\n her: she was no less a person than the wife of Helsing the chancellor; \\n his was the house at which the carriage had stopped. The trick that had\",\n \"Rudolf Rassendyll. He sat down on the bed by me, and went on in quick, \\n decisive words: \\\"You can't move for a day or two. Send my message to \\n Sapt. Tell him to keep you informed of what happens. As soon as you can \\n travel, go to Strelsau, and let Sapt know directly you arrive. We shall \\n want your help.\\\" \\n \\n \\\"And what are you going to do?\\\" I cried, staring at him. \\n\",\n \"\\\"Rupert? Rupert? True; I forgot. Of course we must,\\\" said he confusedly. \\n \\n Sapt looked scornful; he knew that his companion's mind had been \\n occupied with the queen. But his remarks--if he had meditated any--were \\n interrupted by the clock striking seven. \\n \\n \\\"He'll be here in an hour,\\\" said he. \\n \\n \\\"We're ready for him,\\\" answered Rudolf Rassendyll. With the thought of\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"Again the other ruffians shrank back, appalled by the sudden ruthless \\n decision of the act. Mr. Rassendyll laughed. A half smothered yet \\n uncontrolled oath broke from one of them. \\\"By God!\\\" he whispered \\n hoarsely, gazing at Rudolf's face and letting his arm fall to his side. \\n \\\"My God!\\\" he said then, and his mouth hung open. Again Rudolf laughed at \\n his terrified stare. \\n\",\n \"\\\"Nobody knows yet,\\\" I said. \\\"We were afraid you might be taken for him \\n by somebody. But, my God, Rudolf, what's to be done now?\\\" \\n \\n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \\n his blue eyes wore a curious entranced expression. He seemed to me to be \\n forgetful of everything, even of us who were with him, in some one idea \\n that possessed him. The queen herself came nearer to him and lightly\",\n \"he went. Rudolf stood still now in the middle of the road, wondering \\n who the man was: whether Rupert, purposely disguising his gait, or \\n a confederate, or, after all, some person innocent of our secret \\n and indifferent to our schemes. On came Bauer, softly, whistling and \\n slushing his feet carelessly through the liquid mud. Now he was nearly \\n opposite where Mr. Rassendyll stood. Rudolf was well-nigh convinced that\",\n \"the hotel in half an hour, but that Mr. Rassendyll would like to see me \\n for a few minutes if I felt equal to business. I begged James to summon \\n his master at once. Whether I were equal or unequal, the business had to \\n be done. \\n \\n Rudolf came, calm and serene. Danger and the need for exertion acted on \\n him like a draught of good wine on a seasoned drinker. He was not only \\n himself, but more than himself: his excellences enhanced, the indolence\",\n \"his hand and pointed to their riding-boots. \\\"Whither away so late at \\n night?\\\" he asked. \\n \\n \\\"First together to the lodge, to find you, then I alone to the \\n frontier,\\\" said Mr. Rassendyll. \\n \\n \\\"One thing at a time. The frontier will wait. What does your Majesty \\n want with me at the lodge?\\\" \\n \\n \\\"I want so to contrive that I shall be no longer your Majesty,\\\" said \\n Rudolf. \\n\",\n \"He is not too young to desire to serve the queen, and not too young to \\n learn to love and reverence him who sleeps there in the vault and was in \\n his life the noblest gentleman I have known. \\n \\n I will take the boy with me and tell him what I may of brave King \\n Rudolf, how he fought and how he loved, and how he held the queen's \\n honor and his own above all things in this world. The boy is not too \\n young to learn such lessons from the life of Mr. Rassendyll. And while\",\n \"He had come to me well recommended, and I had not hesitated to engage \\n him. I chose him for my companion now, chiefly because he was a \\n foreigner and therefore less likely to gossip with the other servants \\n when we returned. I do not pretend to much cleverness, but I confess \\n that it vexes me to remember how that stout, guileless-looking youth \\n made a fool of me. For Rupert knew that I had met Mr. Rassendyll the\",\n \"longing to see Mr. Rassendyll again, and dwelt on the visit that he \\n promised as the horizon of hope. To Rudolf we had dared to disclose \\n nothing of the part our imaginations set him to play: if he were to \\n accept it, the acceptance would be of his own act, because the fate that \\n old Sapt talked of drove him, and on no persuasion of ours. As he \\n had said, he left the rest, and had centered all his efforts on the\",\n \"that made the concealment of another copy, or of any other document, \\n impossible. Then they let him sit down again. His eyes seemed fascinated \\n by Rudolf Rassendyll. \\n \\n \\\"Yet you've seen me before, I think,\\\" smiled Rudolf. \\\"I seem to remember \\n you as a boy in Strelsau when I was there. Now tell us, sir, where \\n did you leave this cousin of yours?\\\" For the plan was to find out from\",\n \"\\\"He helps us, never fear,\\\" said Rudolf Rassendyll. \\\"Where is Count \\n Rupert?\\\" \\n \\n The girl had caught alarm from her mother's agitation. \\\"He's upstairs \\n in the attic at the top of the house, sir,\\\" she whispered in frightened \\n tones, with a glance that fled from her mother's terrified face to \\n Rudolf's set eyes and steady smile. \\n \\n What she said was enough for him. He slipped by the old woman and began \\n to mount the stairs. \\n\"\n ],\n [\n \"There was a little scream from Helga; Rudolf neither spoke nor moved; \\n the queen continued to gaze at me in motionless wonder and horror. \\n \\n \\\"Rupert killed him,\\\" said I. \\\"The boar-hound attacked Rupert; then \\n Herbert and the king attacked him; and he killed them all. Yes, the king \\n is dead. He's dead.\\\" \\n \\n Now none spoke. The queen's eyes never left my face. \\\"Yes, he's dead.\\\"\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"from Strelsau, and the king's place will be free for him again.\\\" \\n \\n Rischenheim gave a slight start, and a look of triumph spread over his \\n face. They did not know that the king was dead. \\n \\n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \\n face. \\n \\n \\\"I don't know,\\\" he continued, \\\"why you are in this business, my lord. \\n Your cousin's motives I know well. But I wonder that they seemed to you\",\n \"Rudolf nodded to her. \\\"Tell her who I am,\\\" said he. \\n \\n \\\"Why, mother, it's the king,\\\" whispered Rosa, laughing and blushing. \\n \\\"The king, mother.\\\" \\n \\n \\\"Ay, if the king's alive, I'm the king,\\\" said Rudolf. I suppose he \\n wanted to find out how much the old woman knew. \\n \\n She made no answer, but stared up at his face. In her bewilderment she \\n forgot to ask how he had learnt the signal that gained him admission.\",\n \"\\\"Yes; you, Bernenstein, and I will be at the lodge.\\\" \\n \\n \\\"That's not impossible, though I have had nearly enough riding.\\\" \\n \\n Rudolf fixed his eyes firmly on Sapt's. \\n \\n \\\"You see,\\\" he said, \\\"the king reaches his hunting-lodge early in the \\n morning.\\\" \\n \\n \\\"I follow you, sire.\\\" \\n \\n \\\"And what happens there, Sapt? Does he shoot himself accidentally?\\\" \\n \\n \\\"Well, that happens sometimes.\\\" \\n\",\n \"Helga's description had just passed between them. Rudolf ran to meet me. \\n \\n \\\"Is all well?\\\" he asked eagerly. \\n \\n I forgot the queen's presence and paid no sign of respect to her. I \\n caught Rudolf by the arm and cried to him: \\\"Do they take you for the \\n king?\\\" \\n \\n \\\"Yes,\\\" he said. \\\"Heavens, man, don't look so white! We shall manage it. \\n I can be gone by to-night.\\\" \\n\",\n \"\\\"I was seeking a friend of mine,\\\" said Rudolf. \\\"I want to see him alone. \\n It's not easy for a king to see people alone.\\\" \\n \\n \\\"You mean--?\\\" \\n \\n \\\"Well, you know whom I mean.\\\" \\n \\n \\\"Yes. No, he's gone; but he's gone to find you.\\\" \\n \\n \\\"To find me! Plague take it! How do you know that, my pretty lady?\\\" \\n \\n \\\"Bauer told me.\\\" \\n\",\n \"up to the entrance. Helsing was on the steps, and ran down to the \\n carriage, greeting the king with passionate fervor. The shouts of the \\n crowd grew louder still. \\n \\n But suddenly a stillness fell on them; it lasted but an instant, and \\n was the prelude to a deafening roar. I was looking at Rudolf and saw his \\n head turn suddenly and his eyes grow bright. I looked where his eyes \\n had gone. There, on the top step of the broad marble flight, stood\",\n \"before); his face was in deep shadow, but Rischenheim perceived that the \\n beard was indeed gone. The king held out his hand to Rischenheim, and \\n motioned him to sit in a chair just opposite to him and within a foot of \\n the window-curtains. \\n \\n \\\"I'm delighted to see you, my lord,\\\" said the king. \\n \\n Rischenheim looked up. Rudolf's voice had once been so like the king's \\n that no man could tell the difference, but in the last year or two the\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"will set out for Strelsau, bringing with you the body of the king.\\\" And \\n Rudolf, after a pause, whispered, \\\"You must shave his face. And if the \\n doctors want to talk about how long he's been dead, why, they have, as I \\n say, palms.\\\" \\n \\n Sapt sat silent for a while, apparently considering the scheme. It was \\n risky enough in all conscience, but success had made Rudolf bold, and \\n he had learnt how slow suspicion is if a deception be bold enough. It is\",\n \"seemed very faint and weary, but at peace. It was enough for her that \\n Rudolf fought and planned for her. \\n \\n \\\"And see this,\\\" Rudolf went on. \\\"'The king will not leave the lodge \\n to-day.' Thank God, then, we have to-day!\\\" \\n \\n \\\"Yes, but where's Rupert?\\\" \\n \\n \\\"We shall know in an hour, if he's in Strelsau,\\\" and Mr. Rassendyll\",\n \"\\\"Why not call me king?\\\" asked Rudolf. \\n \\n \\\"They call you that in Strelsau?\\\" \\n \\n \\\"Those that know I'm here.\\\" \\n \\n \\\"And they are--?\\\" \\n \\n \\\"Some few score.\\\" \\n \\n \\\"And thus,\\\" said Rupert, waving an arm towards the window, \\\"the town is \\n quiet and the flags fly?\\\" \\n \\n \\\"You've been waiting to see them lowered?\\\" \\n \\n \\\"A man likes to have some notice taken of what he has done,\\\" Rupert\",\n \"\\\"But I ought not,\\\" said he, his resolute eyes suddenly softening in a \\n marvelous fashion. \\n \\n \\\"You will?\\\" \\n \\n \\\"Yes, my queen.\\\" \\n \\n Then I sprang up, for a sudden dread laid hold on me. \\n \\n \\\"Heavens, man,\\\" I cried, \\\"what if he kills you--there in the \\n Konigstrasse?\\\" \\n \\n Rudolf turned to me; there was a look of surprise on his face. \\\"He won't \\n kill me,\\\" he answered. \\n\",\n \"served with the sergeant of police would not do now. She knew the king \\n too well to believe that she could be mistaken about him; she was too \\n much of a busybody to be content to pretend that she was mistaken. \\n \\n \\\"Good gracious!\\\" she whispered loudly, and, catching her daughter's arm, \\n she murmured, \\\"Heavens, my dear, it's the king!\\\" \\n \\n Rudolf was caught. Not only the ladies, but their servants were looking \\n at him. \\n\",\n \"caught the meaning of the great and audacious trick which Sapt and his \\n companion had played. It was impossible now to bring the king's body to \\n Strelsau; it seemed no less impossible to declare that the man burnt in \\n the lodge was the king. Thus Sapt had forced Rudolf's hand; he had been \\n inspired by the same vision as we, and endowed with more unshrinking \\n boldness. But when I saw how Rudolf looked at him, I did not know but\",\n \"he was utterly in the dark; where the king was, where Rupert, where we \\n were, he did not know. And he was here in Strelsau, known as the king to \\n half a dozen people or more, protected only by their promises, liable at \\n any moment to be exposed by the coming of the king himself, or even by a \\n message from him. \\n \\n Yet, in face of all perplexities, perhaps even the more because of the \\n darkness in which he was enveloped, Rudolf held firm to his purpose.\",\n \"towards the door, but Rudolf stopped her. \\n \\n \\\"No,\\\" he said; \\\"you must stay with her; you must go to the palace with \\n her.\\\" \\n \\n Even as he spoke they heard the wheels of a carriage driven quickly to \\n the door. By now I had met Anton von Strofzin and heard from him that \\n the king was at my house. As I dashed up the news was confirmed by the \\n comments and jokes of the crowd. \\n\",\n \"The king lay in peace on his bed, his grave was dug; Sapt and James held \\n the secret with solemn faith and ready lives. To Strelsau I must go \\n to tell the queen that she was widowed, and to aim the stroke at young \\n Rupert's heart. \\n \\n At nine in the morning I started from the lodge. I was bound to ride to \\n Hofbau and there wait for a train which would carry me to the capital. \\n From Hofbau I could send a message, but the message must announce only\",\n \"\\\"Gone? How will that help, since they believe you to be the king?\\\" \\n \\n \\\"You can keep it from the king,\\\" he urged. \\\"I couldn't help it. I can \\n settle with Rupert and disappear.\\\" \\n \\n The three were standing round me, surprised at my great and terrible \\n agitation. Looking back now, I wonder that I could speak to them at all. \\n \\n Rudolf tried again to reassure me. He little knew the cause of what he \\n saw. \\n\"\n ],\n [\n \"\\\"And the Count Rupert, is he going out also?\\\" she asked. \\n \\n \\\"You see he's not with me. He'll wait.\\\" Rischenheim broke off and asked \\n angrily: \\\"What business is it of yours, girl? Get out of the way!\\\" \\n \\n She moved aside now, making him no answer. He rushed past; she looked \\n after him with a smile of triumph. Then she fell again to her sweeping. \\n The king had bidden her be ready at eleven. It was half-past ten. Soon\",\n \"\\\"Let nobody in, and don't say a word to anybody,\\\" whispered Sapt, as \\n he entered, leaving Bernenstein outside. The young man was half-dazed \\n still, but he had sense to read the expression in the constable's eyes \\n and to learn from it that he must give his life sooner than let the door \\n be opened. So with drawn sword he stood on guard. \\n \\n It was eleven o'clock when the queen came, and midnight had struck from \\n the great clock of the castle before the door opened again and Sapt came\",\n \"\\\"Yes; and the horse pecked and stumbled, and I fell forward on his neck. \\n I put out my arm to recover myself, and--I jerked my revolver on to the \\n ground.\\\" \\n \\n \\\"And he saw?\\\" \\n \\n \\\"He saw, curse him. For a second he waited; then he smiled, and turned, \\n and dug his spurs in and was off, straight across country towards \\n Strelsau. Well, I was off my horse in a moment, and I fired three times \\n after him.\\\" \\n\",\n \"with a quiet satisfaction gleaming in his eyes. He had made a story for \\n a pastime, and it was being translated into history. He at least would \\n bear his part in it unflinchingly. \\n \\n Before now the queen had left us, persuaded to lie down and try to rest \\n till the matter should be settled. Stilled by Rudolf's gentle rebuke, \\n she had urged him no more in words, but there was an entreaty in her \\n eyes stronger than any spoken prayer, and a piteousness in the lingering\",\n \"were to have five crowns each and go home in peace; if the former, they \\n were to do their work and make ten crowns. Years after, one of them told \\n me the whole story without shame or reserve. What their work was, the \\n heavy bludgeons they carried and the long knife that one of them had \\n lent to Bauer showed pretty clearly. \\n \\n But neither to Bauer nor to them did it occur that their quarry might be \\n crouching near, hunting as well as hunted. Not that the pair of ruffians\",\n \"He raised his hand and gently stroked the gleaming hair. But he did not \\n look at her. He gazed out at the garden, which grew dark and dreary \\n in the gathering gloom. His lips were tight set and his face pale and \\n drawn. \\n \\n I watched him for a moment, then I drew my wife away, and we sat down at \\n a table some way off. From outside still came the cheers and tumult of \\n the joyful, excited crowd. Within there was no sound but the queen's\",\n \"own servant, and thus we had been able to talk freely. The man's calm \\n confidence in his master and his master's fortune also went far to \\n comfort me. \\n \\n \\\"The king should be back soon,\\\" said Sapt at last, with a glance at his \\n big, old-fashioned silver watch. \\\"Thank God, he'll be too tired to sit \\n up long. We shall be free by nine o'clock, Fritz. I wish young Rupert\",\n \"would come to the lodge!\\\" And the colonel's face expressed a lively \\n pleasure at the idea. \\n \\n Six o'clock struck, and the king did not appear. A few moments later, a \\n message came from the queen, requesting our presence on the terrace in \\n front of the chateau. The place commanded a view of the road by which \\n the king would ride back, and we found the queen walking restlessly up \\n and down, considerably disquieted by the lateness of his return. In such\",\n \"watch with my lamp here in the shop till it grew light.\\\" \\n \\n \\\"He's twelve hours gone now, and never a message! Ay, and Count Rupert \\n should be here soon, and he'll be in a fine taking if Bauer's not back.\\\" \\n \\n The girl made no answer; she had finished her task and stood in the \\n doorway, looking out on the street. It was past eight, and many people \\n were about, still for the most part humble folk; the more comfortably\",\n \"\\\"No, no,\\\" cried another. Then, \\\"What's that?\\\" There was a rush of feet, \\n the cries of men who met in anger or excitement, the crack of a shot and \\n of another quickly following, oaths, and scuffling. Then came the sound \\n of feet flying. I could not make it out; I grew weary with the puzzle of \\n it. Would they not be quiet? Quiet was what I wanted. At last they grew \\n quiet; I closed my eyes again. The pain was less now; they were quiet; I\",\n \"The two men's eyes met again in a long glance. \\n \\n \\\"Where do you come from?\\\" asked Sapt, suddenly. \\n \\n \\\"London, sir, originally.\\\" \\n \\n \\\"They make good stories there?\\\" \\n \\n \\\"Yes, sir, and act them sometimes.\\\" \\n \\n The instant he had spoken, James sprang to his feet and pointed out of \\n the window. \\n \\n A man on horseback was cantering towards the lodge. Exchanging one\",\n \"placed would not be moving for an hour or two yet. In the road the \\n traffic consisted chiefly of country carts and wagons, bringing in \\n produce for the day's victualling of the great city. The girl watched \\n the stream, but her thoughts were occupied with the stately gentleman \\n who had come to her by night and asked a service of her. She had heard \\n the revolver shot outside; as it sounded she had blown out her lamp, and \\n there behind the door in the dark had heard the swiftly retreating feet\",\n \"quarter of a mile. Perhaps I ran twenty yards, perhaps fifty; I do not \\n know. I heard the steps behind me, quick as my own. Then I fell headlong \\n on the road--tripped up! I understood. They had stretched a rope across \\n my path; as I fell a man bounded up from either side, and I found the \\n rope slack under my body. There I lay on my face; a man knelt on me, \\n others held either hand; my face was pressed into the mud of the road,\",\n \"\\\"Ah, he's in a hurry,\\\" they said. \\\"He's kept the king waiting. He'll get \\n a wigging.\\\" \\n \\n As may be supposed, I paid little heed to them. I sprang out and ran up \\n the steps to the door. I saw my wife's face at the window: she herself \\n ran to the door and opened it for me. \\n \\n \\\"Good God,\\\" I whispered, \\\"do all these people know he's here, and take \\n him for the king?\\\" \\n\",\n \"hunting-lodge. \\n \\n But I turned once to watch her standing on the terrace, with young \\n Bernenstein's tall figure beside her. \\n \\n \\\"Can we be in time?\\\" said I. It was what I had meant to say before. \\n \\n \\\"I think not, but, by God, we'll try,\\\" said Colonel Sapt. And I knew why \\n he had not let me speak. \\n \\n Suddenly there was a sound behind us of a horse at the gallop. Our heads\",\n \"story were needed. Thus the hours from two to six passed that morning in \\n the castle of Zenda. \\n \\n At six the constable awoke and knocked at the door; Rudolf Rassendyll \\n opened it. \\n \\n \\\"Slept well?\\\" asked Sapt. \\n \\n \\\"Not a wink,\\\" answered Rudolf cheerfully. \\n \\n \\\"I thought you had more nerve.\\\" \\n \\n \\\"It wasn't want of nerve that kept me awake,\\\" said Mr. Rassendyll. \\n\",\n \"her eyes with her hand, and looking along the road to where the dark \\n masses of the forest trees bounded our view. It was already dusk, but \\n not so dark but that we could have seen the king's party as soon as it \\n came into the open. \\n \\n If the king's delay seemed strange at six, it was stranger at seven, and \\n by eight most strange. We had long since ceased to talk lightly; by now \\n we had lapsed into silence. Sapt's scoldings had died away. The queen,\",\n \"It was to be told to the Earl of Burlesdon, Rudolf's brother, under \\n a pledge of secrecy; and to this day the earl is the only man besides \\n ourselves who knows the story. His errand done, James returned in order \\n to enter the queen's service, in which he still is; and he told us that \\n when Lord Burlesdon had heard the story he sat silent for a great while, \\n and then said: \\n \\n \\\"He did well. Some day I will visit his grave. Tell her Majesty that\",\n \"together, Rudolf smoking his cigar. Eleven came and went. It was not \\n yet time. My wife opened the door and looked out. The hall was dark, the \\n door locked and its key in the hands of the butler. She closed the door \\n again and softly locked it. As the clock struck twelve Rudolf rose and \\n turned the lamp very low. Then he unfastened the shutters noiselessly, \\n raised the window and looked out. \\n\",\n \"destination by a circuitous way, hoping to gain it without attracting \\n notice. The queen's carriage was still before my door, for it had been \\n arranged that she was to proceed to the palace and there await tidings. \\n My wife and I were to accompany her; and I went to her now, where she \\n sat alone, and asked if it were her pleasure to start at once. I found \\n her thoughtful but calm. She listened to me; then, rising, she said,\"\n ],\n [\n \"\\\"Yes,\\\" he repeated, \\\"I am king in Strelsau. Keep your hands out of \\n mischief and your tongue quiet.\\\" \\n \\n She made no answer. He passed on. I was following, but as I went by \\n her the old woman clutched my arm. \\\"In God's name, who is he?\\\" she \\n whispered. \\n \\n \\\"Are you mad?\\\" I asked, lifting my brows. \\\"Don't you know the king when \\n he speaks to you? And you'd best remember what he said. He has servants\",\n \"was the king--her king--her dear king, who was in great peril of his \\n life. For an instant she knelt, still watching. Then with a low cry of \\n terror she turned and ran headlong down the steep stairs. Her mind could \\n not tell what to do, but her heart cried out that she must do something \\n for her king. Reaching the ground floor, she ran with wide-open eyes \\n into the kitchen. The stew was on the hob, the old woman still held the\",\n \"the attic by twenty wondering tongues spreads like a forest-fire. It \\n would be through Strelsau in a few minutes, through the kingdom in \\n an hour, through Europe in but little longer. Rupert was dead and \\n the letter was safe, but what were we to tell that great concourse \\n concerning their king? A queer feeling of helpless perplexity came over \\n me and found vent in a foolish laugh. Bernenstein was by my side; he \\n also looked out, and turned again with an eager face. \\n\",\n \"him, and his body never stirring from hour to hour through the long day. \\n \\n A distant faint hum of voices reached us. The queen laid her hand on my \\n arm. \\n \\n \\\"It is the dream, Fritz,\\\" she said. \\\"Hark! They speak of the king; they \\n speak in low voices and with grief, but they call him king. It's what I \\n saw in the dream. But he does not hear nor heed. No, he can't hear nor \\n heed even when I call him my king.\\\" \\n\",\n \"\\\"I had had the same dream before. Now it came again. I saw him so plain. \\n He seemed to me to be king, and to be called king. But he did not answer \\n nor move. He seemed dead; and I could not rest.\\\" So she wrote, ever \\n excusing herself, ever repeating how something drew her to Strelsau, \\n telling her that she must go if she would see \\\"him whom you know,\\\" alive \\n again. \\\"And I must see him--ah, I must see him! If the king has had the\",\n \"enthusiasm and followed his lead. All the people took up the cry with \\n boundless fervor, and thus we all, high and low in Strelsau, that \\n afternoon hailed Mr. Rassendyll for our king. There had been no such \\n zeal since Henry the Lion came back from his wars, a hundred and fifty \\n years ago. \\n \\n \\\"And yet,\\\" observed old Helsing at my elbow, \\\"agitators say that there \\n is no enthusiasm for the house of Elphberg!\\\" He took a pinch of snuff in\",\n \"his face there for his life.\\\" \\n \\n \\\"Ah, but it may be no nonsense. Perhaps that's what took the king to \\n Strelsau.\\\" \\n \\n \\\"It's enough to take him if it's true,\\\" admitted Sapt. \\n \\n \\\"Well, good day, sir.\\\" \\n \\n \\\"Good day, Simon.\\\" \\n \\n The two huntsmen rode off. James watched them for a little while. \\n \\n \\\"The king,\\\" he said then, \\\"is known to be in Strelsau; and now Count\",\n \"charcoal-burners saw it. Then more peasants came round, drawn by the \\n sight of the flames. None could tell who it was; only I and James knew. \\n And we mounted our horses and have ridden here to tell the king.\\\" \\n \\n Sapt finished his lesson or his story. A sob burst from the queen, and \\n she hid her face in her hands. Bernenstein and I, amazed at this strange \\n tale, scarcely understanding whether it were jest or earnest, stood\",\n \"\\\"And the Count Rupert, is he going out also?\\\" she asked. \\n \\n \\\"You see he's not with me. He'll wait.\\\" Rischenheim broke off and asked \\n angrily: \\\"What business is it of yours, girl? Get out of the way!\\\" \\n \\n She moved aside now, making him no answer. He rushed past; she looked \\n after him with a smile of triumph. Then she fell again to her sweeping. \\n The king had bidden her be ready at eleven. It was half-past ten. Soon\",\n \"The old woman seemed to spring to sudden life. She jumped up and caught \\n her daughter by the shoulder. \\n \\n \\\"No, no,\\\" she whispered in quick accents. \\\"You--you don't know. Let them \\n alone, you fool! It's not our business. Let them alone.\\\" \\n \\n \\\"Let me go, mother, let me go! Mother, I must help the king!\\\" \\n \\n \\\"I'll not let you go,\\\" said Mother Holf. \\n \\n But Rosa was young and strong; her heart was fired with terror for the\",\n \"have stabbed me. And--well, the king wanted to shoot me.\\\" \\n \\n \\\"Yes, yes! For God's sake, what happened?\\\" \\n \\n \\\"Well, they none of them did what they wanted. That's what happened, \\n dear cousin.\\\" \\n \\n Rischenheim was staring at him now with wide-opened eyes. Rupert smiled \\n down on him composedly. \\n \\n \\\"Because, you see,\\\" he added, \\\"Heaven helped me. So that, my dear\",\n \"was; yes, quite still. His face was so pale, and he didn't hear them \\n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \\n Where have you let him go?\\\" \\n \\n She turned from me and her eyes flashed over the rest. \\\"Where is he? Why \\n aren't you with him?\\\" she demanded, with a sudden change of tone; \\\"why \\n aren't you round him? You should be between him and danger, ready to\",\n \"God's sake, let's act! Shall I go and seek him?\\\" \\n \\n \\\"A needle in a bundle of hay,\\\" said Sapt with a shrug. \\n \\n But at this instant my ear caught the sound of horses cantering on the \\n road from the forest; at the same moment Bernenstein cried, \\\"Here they \\n come!\\\" The queen paused, and we gathered round her. The horse-hoofs came \\n nearer. Now we made out the figures of three men: they were the king's\",\n \"\\\"My queen!\\\" said he, laughing again. \\n \\n \\\"No, I knew really, Rudolf, I knew really,\\\" and now her hands flew out \\n towards him, imploring his pardon. Then she began to speak quickly: \\n \\\"Rudolf, last night I had a dream about you, a strange dream. I seemed \\n to be in Strelsau, and all the people were talking about the king. It \\n was you they meant; you were the king. At last you were the king, and I\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\",\n \"\\\"Yes, madam, the king was very tired, and as we chanced to kill near the \\n hunting-lodge, the king bade us carry our quarry there, and come back \\n to dress it to-morrow; so we obeyed, and here we are--that is, except \\n Herbert, my brother, who stayed with the king by his majesty's orders. \\n Because, madam, Herbert is a handy fellow, and my good mother taught him \\n to cook a steak and--\\\" \\n\",\n \"Well said, and like old Sapt! Yet the man is little without the \\n opportunity, and Rupert by himself could hardly have troubled our \\n repose. Hampered by his own guilt, he dared not set his foot in the \\n kingdom from which by rare good luck he had escaped, but wandered to and \\n fro over Europe, making a living by his wits, and, as some said, adding \\n to his resources by gallantries for which he did not refuse substantial \\n recompense. But he kept himself constantly before our eyes, and never\",\n \"\\\"Ah, he's in a hurry,\\\" they said. \\\"He's kept the king waiting. He'll get \\n a wigging.\\\" \\n \\n As may be supposed, I paid little heed to them. I sprang out and ran up \\n the steps to the door. I saw my wife's face at the window: she herself \\n ran to the door and opened it for me. \\n \\n \\\"Good God,\\\" I whispered, \\\"do all these people know he's here, and take \\n him for the king?\\\" \\n\",\n \"\\\"Yes, the king was very tired, Simon?\\\" said the queen, at once \\n encouraging him and bringing him back to the point with a woman's skill. \\n \\n \\\"Yes, madam, the king was very tired; and as we chanced to kill near the \\n hunting-lodge--\\\" \\n \\n I do not know whether Simon noticed any change in the manner of his \\n audience. But the queen looked up with parted lips, and I believe that \\n we three all drew a step nearer him. Sapt did not interrupt this time. \\n\",\n \"\\\"But the king is in Strelsau, sir.\\\" \\n \\n \\\"The deuce he is! He said nothing of going to Strelsau. He rose early \\n and rode off with Herbert, merely saying they would be back to-night.\\\" \\n \\n \\\"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \\n known to have been in town with the queen. They were both at Count \\n Fritz's.\\\" \\n\"\n ],\n [\n \"\\\"Yes,\\\" he repeated, \\\"I am king in Strelsau. Keep your hands out of \\n mischief and your tongue quiet.\\\" \\n \\n She made no answer. He passed on. I was following, but as I went by \\n her the old woman clutched my arm. \\\"In God's name, who is he?\\\" she \\n whispered. \\n \\n \\\"Are you mad?\\\" I asked, lifting my brows. \\\"Don't you know the king when \\n he speaks to you? And you'd best remember what he said. He has servants\",\n \"enthusiasm and followed his lead. All the people took up the cry with \\n boundless fervor, and thus we all, high and low in Strelsau, that \\n afternoon hailed Mr. Rassendyll for our king. There had been no such \\n zeal since Henry the Lion came back from his wars, a hundred and fifty \\n years ago. \\n \\n \\\"And yet,\\\" observed old Helsing at my elbow, \\\"agitators say that there \\n is no enthusiasm for the house of Elphberg!\\\" He took a pinch of snuff in\",\n \"\\\"But the king is in Strelsau, sir.\\\" \\n \\n \\\"The deuce he is! He said nothing of going to Strelsau. He rose early \\n and rode off with Herbert, merely saying they would be back to-night.\\\" \\n \\n \\\"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \\n known to have been in town with the queen. They were both at Count \\n Fritz's.\\\" \\n\",\n \"him, and his body never stirring from hour to hour through the long day. \\n \\n A distant faint hum of voices reached us. The queen laid her hand on my \\n arm. \\n \\n \\\"It is the dream, Fritz,\\\" she said. \\\"Hark! They speak of the king; they \\n speak in low voices and with grief, but they call him king. It's what I \\n saw in the dream. But he does not hear nor heed. No, he can't hear nor \\n heed even when I call him my king.\\\" \\n\",\n \"\\\"Read it,\\\" said the king. He had dined and was about to go to bed, it \\n being nearly ten o'clock. \\n \\n \\\"It will keep, sire,\\\" answered Sapt, who did not know but that it might \\n be from Wintenberg. \\n \\n \\\"Read it,\\\" insisted the king testily. \\\"It may be from Rischenheim. \\n Perhaps he can get here sooner. I should like to know about those dogs. \\n Read it, I beg.\\\" \\n\",\n \"you before. He has something important to say; and you perhaps have the \\n same?\\\" \\n \\n \\\"I? Oh, no. A small matter; but--er--of a private nature.\\\" \\n \\n \\\"Quite so, quite so. Oh, I don't ask any questions, my dear Count.\\\" \\n \\n \\\"Shall I find the king alone?\\\" asked Rischenheim nervously. \\n \\n \\\"I don't think you'll find anybody with him; no, nobody, I think,\\\"\",\n \"\\\"Why not call me king?\\\" asked Rudolf. \\n \\n \\\"They call you that in Strelsau?\\\" \\n \\n \\\"Those that know I'm here.\\\" \\n \\n \\\"And they are--?\\\" \\n \\n \\\"Some few score.\\\" \\n \\n \\\"And thus,\\\" said Rupert, waving an arm towards the window, \\\"the town is \\n quiet and the flags fly?\\\" \\n \\n \\\"You've been waiting to see them lowered?\\\" \\n \\n \\\"A man likes to have some notice taken of what he has done,\\\" Rupert\",\n \"declare his errand to the king or betray Mr. Rassendyll's presence. He \\n cleared his throat and opened his mouth as if to speak, but still he \\n remained silent. \\n \\n \\\"Well, my lord, is it the old story or something new,\\\" asked the king \\n impatiently. \\n \\n Again Rischenheim sat silent. \\n \\n \\\"Are you dumb, my lord?\\\" cried the king most impatiently. \\n \\n \\\"It--it is only what you call the old story, sire.\\\" \\n\",\n \"denied, not by the evidence of one only or of two, was the king's \\n presence in the city known. That day, by the witness of a crowd of \\n people, by his own claim and his own voice, ay, and by the assent of \\n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \\n while neither he nor Queen Flavia knew that the king was dead. I must \\n now relate the strange and perverse succession of events which forced\",\n \"of Luzau-Rischenheim has the honor to wait on your Majesty.\\\" With this \\n he shut the door promptly, and stood against it. Nor did he move, save \\n once, and then only to take out his revolver and carefully inspect it. \\n \\n The count advanced, bowing low, and striving to conceal a visible \\n agitation. He saw the king in his arm-chair; the king wore a suit of \\n brown tweeds (none the better for being crushed into a bundle the night\",\n \"spoon, but she had ceased to stir and fallen into a chair. \\n \\n \\\"He's killing the king! He's killing the king!\\\" cried Rosa, seizing her \\n mother by the arm. \\\"Mother, what shall we do? He's killing the king!\\\" \\n \\n The old woman looked up with dull eyes and a stupid, cunning smile. \\n \\n \\\"Let them alone,\\\" she said. \\\"There's no king here.\\\" \\n\",\n \"\\\"You see, the king is not even in Strelsau,\\\" said Rudolf. \\n \\n \\\"Not in Strelsau, sir?\\\" \\n \\n \\\"Why, no, he's at Zenda.\\\" \\n \\n \\\"Ah! At Zenda, sir?\\\" \\n \\n \\\"Certainly. It is therefore impossible--physically impossible--that he \\n should be here.\\\" \\n \\n The fellow was convinced that he understood now. \\n \\n \\\"It's certainly impossible, sir,\\\" said he, smiling more broadly. \\n\",\n \"\\\"Precisely,\\\" said he. \\\"So I thought you'd come, as soon as I heard that \\n the king was here.\\\" \\n \\n It may be that I ought to have preserved my composure. But I am not Sapt \\n nor Rudolf Rassendyll. \\n \\n \\\"The king here?\\\" I gasped, clutching him by the arm. \\n \\n \\\"Of course. You didn't know? Yes, he's in town.\\\" \\n\",\n \"\\\"I had had the same dream before. Now it came again. I saw him so plain. \\n He seemed to me to be king, and to be called king. But he did not answer \\n nor move. He seemed dead; and I could not rest.\\\" So she wrote, ever \\n excusing herself, ever repeating how something drew her to Strelsau, \\n telling her that she must go if she would see \\\"him whom you know,\\\" alive \\n again. \\\"And I must see him--ah, I must see him! If the king has had the\",\n \"stretching out her arms to him. But he lay still and quiet, not hearing \\n and not heeding what she murmured, \\\"My king! my king!\\\" It was even as it \\n had been in the dream. \\n \\n That night James, the servant, took leave of his dead master and of \\n us. He carried to England by word of mouth--for we dared write nothing \\n down--the truth concerning the King of Ruritania and Mr. Rassendyll.\",\n \"played the dutiful wife whose virtue was obedience, whose greatest sin \\n would be an indiscreet prying into what it was not her part to know. \\n \\n \\\"I know no more,\\\" she said, \\\"than that Fritz wrote to me to expect the \\n king and him at about five o'clock, and to be ready to let them in by \\n the window, as the king did not wish the servants to be aware of his \\n presence.\\\" \\n \\n The king came and greeted Helsing most graciously. The tragedy and\",\n \"cousin, the dog will bite no more, and the forester will stab no more. \\n Surely the country is well rid of them?\\\" \\n \\n A silence followed. Then Rischenheim, leaning forward, said in a low \\n whisper, as though afraid to hear his own question: \\n \\n \\\"And the king?\\\" \\n \\n \\\"The king? Well, the king will shoot no more.\\\" \\n \\n For a moment Rischenheim, still leaning forward, gazed at his cousin. \\n Then he sank slowly back into his chair. \\n\",\n \"was; yes, quite still. His face was so pale, and he didn't hear them \\n say 'the king.' Fritz, Fritz, he looked as if he were dead! Where is he? \\n Where have you let him go?\\\" \\n \\n She turned from me and her eyes flashed over the rest. \\\"Where is he? Why \\n aren't you with him?\\\" she demanded, with a sudden change of tone; \\\"why \\n aren't you round him? You should be between him and danger, ready to\",\n \"of the fugitives and, a little later, the arrival of the patrol. Well, \\n the patrol would not dare to touch the king; as for Bauer, let him be \\n alive or dead: what cared she, who was the king's servant, able to help \\n the king against his enemies? If Bauer were the king's enemy, right glad \\n would she be to hear that the rogue was dead. How finely the king had \\n caught him by the neck and thrown him out! She laughed to think how\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\"\n ],\n [\n \"she had not seen the king close at hand since his illness and his beard \\n impaired what had been a perfect likeness. In fine, she could not tell \\n whether it were indeed the king who spoke to her or his counterfeit. \\n \\n \\\"Who are you?\\\" she asked, curt and blunt in her confusion. The girl \\n broke in with an amused laugh. \\n \\n \\\"Why, it's the--\\\" She paused. Perhaps the king's identity was a secret. \\n\",\n \"from Strelsau, and the king's place will be free for him again.\\\" \\n \\n Rischenheim gave a slight start, and a look of triumph spread over his \\n face. They did not know that the king was dead. \\n \\n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \\n face. \\n \\n \\\"I don't know,\\\" he continued, \\\"why you are in this business, my lord. \\n Your cousin's motives I know well. But I wonder that they seemed to you\",\n \"\\\"Yes, it looks well enough,\\\" said Sapt, with an approving nod. \\\"What \\n about the beard?\\\" \\n \\n \\\"Bernenstein is to tell him you've shaved this morning.\\\" \\n \\n \\\"Will he believe that?\\\" \\n \\n \\\"Why not? For his own sake he'd better believe everything.\\\" \\n \\n \\\"And if we have to kill him?\\\" \\n \\n \\\"We must run for it. The king would be furious.\\\" \\n \\n \\\"He's fond of him?\\\" \\n\",\n \"\\\"Why, yes, sir, so far as we know. Since, then, Mr. Rassendyll is alive \\n and the king is dead, I was thinking that it was a great pity, sir, that \\n my master can't take his place and be king.\\\" James looked across at the \\n constable with an air of a man who offers a respectful suggestion. \\n \\n \\\"A remarkable thought, James,\\\" observed the constable with a grin. \\n \\n \\\"You don't agree with me, sir?\\\" asked James deprecatingly. \\n\",\n \"Helga's description had just passed between them. Rudolf ran to meet me. \\n \\n \\\"Is all well?\\\" he asked eagerly. \\n \\n I forgot the queen's presence and paid no sign of respect to her. I \\n caught Rudolf by the arm and cried to him: \\\"Do they take you for the \\n king?\\\" \\n \\n \\\"Yes,\\\" he said. \\\"Heavens, man, don't look so white! We shall manage it. \\n I can be gone by to-night.\\\" \\n\",\n \"before); his face was in deep shadow, but Rischenheim perceived that the \\n beard was indeed gone. The king held out his hand to Rischenheim, and \\n motioned him to sit in a chair just opposite to him and within a foot of \\n the window-curtains. \\n \\n \\\"I'm delighted to see you, my lord,\\\" said the king. \\n \\n Rischenheim looked up. Rudolf's voice had once been so like the king's \\n that no man could tell the difference, but in the last year or two the\",\n \"\\\"Then--when he comes?\\\" asked Bernenstein. \\n \\n \\\"He finds such a king as Rischenheim found, and Sapt, here, at his \\n elbow.\\\" \\n \\n \\\"But he'll know you,\\\" objected Bernenstein. \\n \\n \\\"Ay, I think he'll know me,\\\" said Rudolf with a smile. \\\"Meanwhile we \\n send for Fritz to come here and look after the king.\\\" \\n \\n \\\"And Rischenheim?\\\" \\n\",\n \"that made the concealment of another copy, or of any other document, \\n impossible. Then they let him sit down again. His eyes seemed fascinated \\n by Rudolf Rassendyll. \\n \\n \\\"Yet you've seen me before, I think,\\\" smiled Rudolf. \\\"I seem to remember \\n you as a boy in Strelsau when I was there. Now tell us, sir, where \\n did you leave this cousin of yours?\\\" For the plan was to find out from\",\n \"concerning the letter, he would doubtless tell the king that Rudolf \\n Rassendyll was in the castle. He leant now over the king's shoulder, and \\n said with a sneer: \\n \\n \\\"Messages from Rupert of Hentzau are too exalted matters for my poor \\n ears, it seems.\\\" \\n \\n The king flushed red. \\n \\n \\\"Is that your business, my lord?\\\" he asked Rischenheim sternly. \\n \\n \\\"Your Majesty does not know what my cousin--\\\" \\n\",\n \"Rassendyll himself was confident of his ability to conceal his presence, \\n or, if need were, so to hide his face that no strange tale of the king \\n being seen wandering, alone and beardless, should reach the ears of the \\n castle or the town. \\n \\n While Sapt was making his arrangements, Queen Flavia came to the room \\n where Rudolf Rassendyll was. It was then nearing twelve, and young \\n Bernenstein had been gone half an hour. Sapt attended her to the door,\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"Rassendyll's: a sudden suspicion seized him, for the face, though the \\n king's face in every feature, bore a stern resolution and witnessed a \\n vigor that were not the king's. In that instant the truth, or a hint of \\n it, flashed across his mind. He gave a half-articulate cry; in one hand \\n he crumpled up the paper, the other flew to his revolver. But he was \\n too late. Rudolf's left hand encircled his hand and the paper in an iron\",\n \"denied, not by the evidence of one only or of two, was the king's \\n presence in the city known. That day, by the witness of a crowd of \\n people, by his own claim and his own voice, ay, and by the assent of \\n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \\n while neither he nor Queen Flavia knew that the king was dead. I must \\n now relate the strange and perverse succession of events which forced\",\n \"\\\"This is all a lie, Sapt,\\\" said he, and his lips curled in contemptuous \\n amusement. \\n \\n \\\"It's no lie that the lodge is burnt, and the bodies in it, and that \\n half a hundred of the peasants know it, and that no man could tell the \\n body for the king's. As for the rest, it is a lie. But I think the truth \\n in it is enough to serve.\\\" \\n \\n The two men stood facing one another with defiant eyes. Rudolf had\",\n \"Again James paused for a little while before he remarked: \\\"I am, of \\n course, sir, only discussing the matter by way of passing the time. It \\n would probably be wrong to carry any such plan into effect.\\\" \\n \\n \\\"It might be, but let us discuss it--to pass the time,\\\" said Sapt; and \\n he leant forward, looking into the servant's quiet, shrewd face. \\n \\n \\\"Well, then, sir, since it amuses you, let us say that the king came\",\n \"\\\"My master is in Strelsau, sir,\\\" began James. \\n \\n \\\"Well, most likely.\\\" \\n \\n \\\"I'm sure of it, sir. If he's been there, he will be taken for the \\n king.\\\" \\n \\n \\\"That has happened before, and no doubt may happen again, unless--\\\" \\n \\n \\\"Why, of course, sir, unless the king's body should be discovered.\\\" \\n \\n \\\"That's what I was about to say, James.\\\" \\n\",\n \"\\\"Nobody knows yet,\\\" I said. \\\"We were afraid you might be taken for him \\n by somebody. But, my God, Rudolf, what's to be done now?\\\" \\n \\n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \\n his blue eyes wore a curious entranced expression. He seemed to me to be \\n forgetful of everything, even of us who were with him, in some one idea \\n that possessed him. The queen herself came nearer to him and lightly\",\n \"\\\"A Mr. Rassendyll, a friend of the king's, who with his servant James \\n was awaiting his Majesty's return from Strelsau. His servant here is \\n ready to start for England, to tell Mr. Rassendyll's relatives the \\n news.\\\" \\n \\n The queen had begun to listen before now; her eyes were fixed on Sapt, \\n and she had stretched out one arm to him, as if imploring him to read \\n her his riddle. But a few words had in truth declared his device plainly\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"\\\"Gone? How will that help, since they believe you to be the king?\\\" \\n \\n \\\"You can keep it from the king,\\\" he urged. \\\"I couldn't help it. I can \\n settle with Rupert and disappear.\\\" \\n \\n The three were standing round me, surprised at my great and terrible \\n agitation. Looking back now, I wonder that I could speak to them at all. \\n \\n Rudolf tried again to reassure me. He little knew the cause of what he \\n saw. \\n\"\n ],\n [\n \"set a sentry at the end of the passage with orders that her Majesty \\n should on no pretence be disturbed, promised her very audibly to return \\n as soon as he possibly could, and respectfully closed the door after \\n she had entered. The constable was well aware of the value in a secret \\n business of doing openly all that can safely be done with openness. \\n \\n All of what passed at that interview I do not know, but a part Queen \\n Flavia herself told to me, or rather to Helga, my wife; for although it\",\n \"her memories. There was no child to bridge the gulf between them, and \\n although she was his queen and his wife, she grew almost a stranger to \\n him. So he seemed to will that it should be. \\n \\n Thus, worse than widowed, she lived for three years; and once only in \\n each year she sent three words to the man she loved, and received from \\n him three words in answer. Then her strength failed her. A pitiful scene \\n had occurred in which the king peevishly upbraided her in regard to some\",\n \"in the people's eyes the visible triumph over Black Michael and his \\n fellow-conspirators was now three years old. For three years the \\n Princess Flavia had been queen. I am come by now to the age when a man \\n should look out on life with an eye undimmed by the mists of passion. \\n My love-making days are over; yet there is nothing for which I am more \\n thankful to Almighty God than the gift of my wife's love. In storm it\",\n \"poor, what is to us mean and of no sweetness may appear decked in the \\n robes of pleasure and delight. Well, if it were not so, who could sleep \\n at nights? The burden laid on Queen Flavia I knew, and know, so well as \\n a man can know it. I think it needs a woman to know it fully; for even \\n now my wife's eyes fill with tears when we speak of it. Yet she bore it, \\n and if she failed in anything, I wonder that it was in so little. For\",\n \"officer guarded him; in the cathedral the archbishop said a mass for his \\n soul. He had lain there three days; the evening of the third had come, \\n and early on the morrow he was to be buried. There is a little gallery \\n in the hall, that looks down on the spot where the bier stood; here was \\n I on this evening, and with me Queen Flavia. We were alone together, and \\n together we saw beneath us the calm face of the dead man. He was clad\",\n \"played the dutiful wife whose virtue was obedience, whose greatest sin \\n would be an indiscreet prying into what it was not her part to know. \\n \\n \\\"I know no more,\\\" she said, \\\"than that Fritz wrote to me to expect the \\n king and him at about five o'clock, and to be ready to let them in by \\n the window, as the king did not wish the servants to be aware of his \\n presence.\\\" \\n \\n The king came and greeted Helsing most graciously. The tragedy and\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\",\n \"rather than that present and certain disaster. Sooner than entail it on \\n her he loved, he claimed for himself the place of her husband and the \\n name of king. And she, clutching at the only chance that her act left, \\n was content to have it so. It may be that for an instant her weary, \\n tortured brain found sweet rest in the dim dream that so it was, for \\n she let her head lie there on his breast and her eyes closed, her face \\n looking very peaceful, and a soft little sigh escaping in pleasure from\",\n \"\\\"I had had the same dream before. Now it came again. I saw him so plain. \\n He seemed to me to be king, and to be called king. But he did not answer \\n nor move. He seemed dead; and I could not rest.\\\" So she wrote, ever \\n excusing herself, ever repeating how something drew her to Strelsau, \\n telling her that she must go if she would see \\\"him whom you know,\\\" alive \\n again. \\\"And I must see him--ah, I must see him! If the king has had the\",\n \"in a few days' time. Not even to her did I speak of the new and more \\n dangerous burden that I carried, although I was aware that she enjoyed a \\n full measure of the queen's confidence. \\n \\n \\\"My love to King Rudolf, the real King Rudolf,\\\" said she. \\\"Though you \\n carry what will make him think little of my love.\\\" \\n \\n \\\"I have no desire he should think too much of it, sweet,\\\" said I. She \\n caught me by the hands, and looked up in my face. \\n\",\n \"He opened his eyes a little in languid, elegant surprise. \\\"Oh, I \\n supposed you'd be on duty, or something, and have to come. Aren't you in \\n attendance?\\\" \\n \\n \\\"On the queen? No, not just now.\\\" \\n \\n \\\"But on the king?\\\" \\n \\n \\\"Why, yes,\\\" said I, and I leaned forward. \\\"At least I'm engaged now on \\n the king's business.\\\" \\n\",\n \"A sudden impulse came on me, and I turned to her, asking: \\n \\n \\\"What had he decided, madam? Would he have been king?\\\" She started a \\n little. \\n \\n \\\"He didn't tell me,\\\" she answered, \\\"and I didn't think of it while he \\n spoke to me.\\\" \\n \\n \\\"Of what then did he speak, madam?\\\" \\n \\n \\\"Only of his love--of nothing but his love, Fritz,\\\" she answered. \\n\",\n \"The half then, at least, of Rosa's attachment was justly due to the man \\n who now stood opposite to her, looking at her with surprise by the murky \\n light of the strong-smelling oil-lamp. The lamp shook and almost fell \\n from her hand when she saw him; for the scarf had slid away, and his \\n features were exposed to full view. Fright, delight, and excitement vied \\n with one another in her eyes. \\n \\n \\\"The king!\\\" she whispered in amazement. \\\"No, but--\\\" And she searched his\",\n \"Sapt flung himself into a chair and took off his gloves. \\n \\n \\\"Come, tell me what has happened to-day in Strelsau,\\\" he said. \\n \\n We gave a short and hurried account. He listened with few signs of \\n approval or disapproval, but I thought I saw a gleam in his eyes when I \\n described how all the city had hailed Rudolf as its king and the queen \\n received him as her husband before the eyes of all. Again the hope and\",\n \"trivial matter--the occasion escapes my memory--speaking to her before \\n others words that even alone she could not have listened to with \\n dignity. I was there, and Sapt; the colonel's small eyes had gleamed in \\n anger. \\\"I should like to shut his mouth for him,\\\" I heard him mutter, \\n for the king's waywardness had well-nigh worn out even his devotion. The \\n thing, of which I will say no more, happened a day or two before I\",\n \"king's sovereignty. It seemed to me that by the violence and bloodshed \\n we had passed through, fate, for once penitent, was but righting the \\n mistake made when Rudolf was not born a king. \\n \\n For a long while I stood thus, musing and dreaming; I was roused by the \\n sound of the door opening and closing; turning, I saw the queen. She was \\n alone, and came towards me with timid steps. She looked out for a moment\",\n \"and being himself aflame with the liveliest curiosity, lost no time in \\n obeying the king's commands, and arrived at my house before six o'clock. \\n \\n When the visitor was announced Rudolf was upstairs, having a bath and \\n some breakfast. Helga had learnt her lesson well enough to entertain the \\n visitor until Rudolf appeared. She was full of apologies for my absence, \\n protesting that she could in no way explain it; neither could she so \\n much as conjecture what was the king's business with her husband. She\",\n \"Rassendyll himself was confident of his ability to conceal his presence, \\n or, if need were, so to hide his face that no strange tale of the king \\n being seen wandering, alone and beardless, should reach the ears of the \\n castle or the town. \\n \\n While Sapt was making his arrangements, Queen Flavia came to the room \\n where Rudolf Rassendyll was. It was then nearing twelve, and young \\n Bernenstein had been gone half an hour. Sapt attended her to the door,\",\n \"\\\"Stayed where with the king?\\\" roared Sapt. \\n \\n \\\"Why, at the hunting-lodge, Constable. The king stays there to-night, \\n and will ride back tomorrow morning with Herbert. That, madam, is the \\n king's message.\\\" \\n \\n We had come to it at last, and it was something to come to. Simon gazed \\n from face to face. I saw him, and I understood at once that our feelings \\n must be speaking too plainly. So I took on myself to dismiss him, \\n saying:\",\n \"than to be allowed to serve him all my days. Yet I serve the queen, and \\n in that I do most truly serve her lover. \\n \\n Times change for all of us. The roaring flood of youth goes by, and the \\n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \\n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \\n the memory of Rudolf Rassendyll is fresh to me as on the day he died,\"\n ],\n [\n \"There was a little scream from Helga; Rudolf neither spoke nor moved; \\n the queen continued to gaze at me in motionless wonder and horror. \\n \\n \\\"Rupert killed him,\\\" said I. \\\"The boar-hound attacked Rupert; then \\n Herbert and the king attacked him; and he killed them all. Yes, the king \\n is dead. He's dead.\\\" \\n \\n Now none spoke. The queen's eyes never left my face. \\\"Yes, he's dead.\\\"\",\n \"king's death to his own--a crime perhaps in most men, but hardly \\n deserving a place in Rupert's catalogue. All this I can admit now, but \\n on that night, with the dead body lying there before us, with the story \\n piteously told by Herbert's faltering voice fresh in our ears, it was \\n hard to allow any such extenuation. Our hearts cried out for vengeance, \\n although we ourselves served the king no more. Nay, it may well be that\",\n \"Explanations must wait now: it was life or death; without hesitation \\n Rupert fired at Herbert, bringing him to the ground with a mortal wound. \\n The king's gun was at his shoulder again. \\n \\n \\\"You damned fool!\\\" roared Rupert, \\\"if you must have it, take it,\\\" and \\n gun and revolver rang out at the same moment. But Rupert--never did his \\n nerve fail him--hit, the king missed; Herbert saw the count stand for \\n an instant with his smoking barrel in his hand, looking at the king,\",\n \"forward, but timidly, as though we approached the throne of Death \\n himself. I was the first to kneel by the king and raise his head. Blood \\n had flowed from his lips, but it had ceased to flow now. He was dead. \\n \\n I felt Sapt's hand on my shoulder. Looking up, I saw his other hand \\n stretched out towards the ground. I turned my eyes where he pointed. \\n There, in the king's hand, stained with the king'sblood, was the box\",\n \"thoughts with our eyes. \\\"This is our work,\\\" we said to one another. \\\"It \\n was our trap, these are our victims.\\\" I cannot even now think of that \\n hour, for by our act the king lay dead. \\n \\n But was he dead? I seized Sapt by the arm. His glance questioned me. \\n \\n \\\"The king,\\\" I whispered hoarsely. \\n \\n \\\"Yes, the king,\\\" he returned. \\n \\n Facing round, we walked to the door of the dining-room. Here I turned\",\n \"cousin, the dog will bite no more, and the forester will stab no more. \\n Surely the country is well rid of them?\\\" \\n \\n A silence followed. Then Rischenheim, leaning forward, said in a low \\n whisper, as though afraid to hear his own question: \\n \\n \\\"And the king?\\\" \\n \\n \\\"The king? Well, the king will shoot no more.\\\" \\n \\n For a moment Rischenheim, still leaning forward, gazed at his cousin. \\n Then he sank slowly back into his chair. \\n\",\n \"\\\"Yes, the king was very tired, Simon?\\\" said the queen, at once \\n encouraging him and bringing him back to the point with a woman's skill. \\n \\n \\\"Yes, madam, the king was very tired; and as we chanced to kill near the \\n hunting-lodge--\\\" \\n \\n I do not know whether Simon noticed any change in the manner of his \\n audience. But the queen looked up with parted lips, and I believe that \\n we three all drew a step nearer him. Sapt did not interrupt this time. \\n\",\n \"spoon, but she had ceased to stir and fallen into a chair. \\n \\n \\\"He's killing the king! He's killing the king!\\\" cried Rosa, seizing her \\n mother by the arm. \\\"Mother, what shall we do? He's killing the king!\\\" \\n \\n The old woman looked up with dull eyes and a stupid, cunning smile. \\n \\n \\\"Let them alone,\\\" she said. \\\"There's no king here.\\\" \\n\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\",\n \"of the fugitives and, a little later, the arrival of the patrol. Well, \\n the patrol would not dare to touch the king; as for Bauer, let him be \\n alive or dead: what cared she, who was the king's servant, able to help \\n the king against his enemies? If Bauer were the king's enemy, right glad \\n would she be to hear that the rogue was dead. How finely the king had \\n caught him by the neck and thrown him out! She laughed to think how\",\n \"looked aghast, Rischenheim nervous yet triumphant, Anton amused and \\n gratified. \\n \\n \\\"The king!\\\" he cried, and burst into a laugh. \\\"You've drawn him, \\n Rischenheim!\\\" \\n \\n The crowd heard his boyish exclamation and raised a cheer. Helsing \\n turned, as though to rebuke them. Had not the king himself desired \\n secrecy? Yes, but he who spoke as the king chose any risk sooner than \\n let Rischenheim go back and warn Rupert of his presence. \\n\",\n \"\\\"Yes, madam, the king was very tired, and as we chanced to kill near the \\n hunting-lodge, the king bade us carry our quarry there, and come back \\n to dress it to-morrow; so we obeyed, and here we are--that is, except \\n Herbert, my brother, who stayed with the king by his majesty's orders. \\n Because, madam, Herbert is a handy fellow, and my good mother taught him \\n to cook a steak and--\\\" \\n\",\n \"from Strelsau, and the king's place will be free for him again.\\\" \\n \\n Rischenheim gave a slight start, and a look of triumph spread over his \\n face. They did not know that the king was dead. \\n \\n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \\n face. \\n \\n \\\"I don't know,\\\" he continued, \\\"why you are in this business, my lord. \\n Your cousin's motives I know well. But I wonder that they seemed to you\",\n \"\\\"We must find that out, I think.\\\" \\n \\n Rischenheim turned abruptly on him. \\n \\n \\\"I had no hand in this thing,\\\" he said, \\\"and I'll have no more to do \\n with it. I was not there. What did I know of the king being there? I'm \\n not guilty of it: on my soul, I know nothing of it.\\\" \\n \\n \\\"That's all very true,\\\" nodded Rupert. \\n\",\n \"James kept silence for a few minutes. Then he observed, \\\"It will be very \\n awkward to explain how the king was killed.\\\" \\n \\n \\\"The story will need good telling,\\\" admitted Sapt. \\n \\n \\\"And it will be difficult to make it appear that the king was killed in \\n Strelsau; yet if my master should chance to be killed in Strelsau--\\\" \\n \\n \\\"Heaven forbid, James! On all grounds, Heaven forbid!\\\" \\n\",\n \"\\\"And yet,\\\" she went on, \\\"it is because of me that the king lies dead \\n now; and a faithful humble fellow also, caught in the net of my unhappy \\n fortunes, has given his life for me, though he didn't know it. Even \\n while we speak, it may be that a gentleman, not too old yet to learn \\n nobility, may be killed in my quarrel; while another, whom I alone of \\n all that know him may not praise, carries his life lightly in his hand\",\n \"had outlived the king, and he had gone to his death unknowing. All \\n at once--I cannot tell why--I put my hand over my eyes; I found my \\n eyelashes were wet. \\n \\n \\\"Is it open?\\\" asked Sapt again, for in the dim light he could not see. \\n \\n \\\"No,\\\" I answered. \\n \\n \\\"Thank God!\\\" said he. And, for Sapt's, the voice was soft. \\n \\n \\n \\n CHAPTER IX. THE KING IN THE HUNTING LODGE\",\n \"The king lay in peace on his bed, his grave was dug; Sapt and James held \\n the secret with solemn faith and ready lives. To Strelsau I must go \\n to tell the queen that she was widowed, and to aim the stroke at young \\n Rupert's heart. \\n \\n At nine in the morning I started from the lodge. I was bound to ride to \\n Hofbau and there wait for a train which would carry me to the capital. \\n From Hofbau I could send a message, but the message must announce only\",\n \"Ignorant of the mind and heart of young Rupert, she could not conceive \\n that he tried to kill the king. Yet the words she had caught sounded \\n like the words of men quarreling, and she could not persuade herself \\n that the gentlemen fenced only for pastime. They were not speaking now; \\n but she heard their hard breathing and the movement of their unresting \\n feet on the bare boards of the floor. Then a cry rang out, clear and \\n merry with the fierce hope of triumph: \\\"Nearly! nearly!\\\" \\n\"\n ],\n [\n \"thoughts with our eyes. \\\"This is our work,\\\" we said to one another. \\\"It \\n was our trap, these are our victims.\\\" I cannot even now think of that \\n hour, for by our act the king lay dead. \\n \\n But was he dead? I seized Sapt by the arm. His glance questioned me. \\n \\n \\\"The king,\\\" I whispered hoarsely. \\n \\n \\\"Yes, the king,\\\" he returned. \\n \\n Facing round, we walked to the door of the dining-room. Here I turned\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"James kept silence for a few minutes. Then he observed, \\\"It will be very \\n awkward to explain how the king was killed.\\\" \\n \\n \\\"The story will need good telling,\\\" admitted Sapt. \\n \\n \\\"And it will be difficult to make it appear that the king was killed in \\n Strelsau; yet if my master should chance to be killed in Strelsau--\\\" \\n \\n \\\"Heaven forbid, James! On all grounds, Heaven forbid!\\\" \\n\",\n \"forward, but timidly, as though we approached the throne of Death \\n himself. I was the first to kneel by the king and raise his head. Blood \\n had flowed from his lips, but it had ceased to flow now. He was dead. \\n \\n I felt Sapt's hand on my shoulder. Looking up, I saw his other hand \\n stretched out towards the ground. I turned my eyes where he pointed. \\n There, in the king's hand, stained with the king'sblood, was the box\",\n \"had outlived the king, and he had gone to his death unknowing. All \\n at once--I cannot tell why--I put my hand over my eyes; I found my \\n eyelashes were wet. \\n \\n \\\"Is it open?\\\" asked Sapt again, for in the dim light he could not see. \\n \\n \\\"No,\\\" I answered. \\n \\n \\\"Thank God!\\\" said he. And, for Sapt's, the voice was soft. \\n \\n \\n \\n CHAPTER IX. THE KING IN THE HUNTING LODGE\",\n \"Explanations must wait now: it was life or death; without hesitation \\n Rupert fired at Herbert, bringing him to the ground with a mortal wound. \\n The king's gun was at his shoulder again. \\n \\n \\\"You damned fool!\\\" roared Rupert, \\\"if you must have it, take it,\\\" and \\n gun and revolver rang out at the same moment. But Rupert--never did his \\n nerve fail him--hit, the king missed; Herbert saw the count stand for \\n an instant with his smoking barrel in his hand, looking at the king,\",\n \"king's death to his own--a crime perhaps in most men, but hardly \\n deserving a place in Rupert's catalogue. All this I can admit now, but \\n on that night, with the dead body lying there before us, with the story \\n piteously told by Herbert's faltering voice fresh in our ears, it was \\n hard to allow any such extenuation. Our hearts cried out for vengeance, \\n although we ourselves served the king no more. Nay, it may well be that\",\n \"I saw him, Fritz--I saw him as plainly as I see you. They all called him \\n king, as they did to-day; but they did not cheer. They were quiet, and \\n looked at him with sad faces. I could not hear what they said; they \\n spoke in hushed voices. I heard nothing more than 'the king, the king,' \\n and he seemed to hear not even that. He lay still; he was lying on \\n something, something covered with hanging stuff, I couldn't see what it\",\n \"this unfavorable reception, the audacious criminal had made a sudden \\n attack on the king, with what issue all knew. He had met his own \\n death, while the king, perceiving from a glance at the document that it \\n compromised well-known persons, had, with the nobility which marked him, \\n destroyed it unread before the eyes of those who were rushing in to \\n his rescue. I supplied suggestions and improvements; and, engrossed in \\n contriving how to blind curious eyes, we forgot the real and permanent\",\n \"cousin, the dog will bite no more, and the forester will stab no more. \\n Surely the country is well rid of them?\\\" \\n \\n A silence followed. Then Rischenheim, leaning forward, said in a low \\n whisper, as though afraid to hear his own question: \\n \\n \\\"And the king?\\\" \\n \\n \\\"The king? Well, the king will shoot no more.\\\" \\n \\n For a moment Rischenheim, still leaning forward, gazed at his cousin. \\n Then he sank slowly back into his chair. \\n\",\n \"There was a little scream from Helga; Rudolf neither spoke nor moved; \\n the queen continued to gaze at me in motionless wonder and horror. \\n \\n \\\"Rupert killed him,\\\" said I. \\\"The boar-hound attacked Rupert; then \\n Herbert and the king attacked him; and he killed them all. Yes, the king \\n is dead. He's dead.\\\" \\n \\n Now none spoke. The queen's eyes never left my face. \\\"Yes, he's dead.\\\"\",\n \"\\\"Yes, the king was very tired, Simon?\\\" said the queen, at once \\n encouraging him and bringing him back to the point with a woman's skill. \\n \\n \\\"Yes, madam, the king was very tired; and as we chanced to kill near the \\n hunting-lodge--\\\" \\n \\n I do not know whether Simon noticed any change in the manner of his \\n audience. But the queen looked up with parted lips, and I believe that \\n we three all drew a step nearer him. Sapt did not interrupt this time. \\n\",\n \"\\\"You'll be in time?\\\" asked the queen, with clasped hands and frightened \\n eyes. \\n \\n \\\"Assuredly, madam,\\\" returned Sapt with a bow. \\n \\n \\\"You won't let him reach the king?\\\" \\n \\n \\\"Why, no, madam,\\\" said Sapt with a smile. \\n \\n \\\"From my heart, gentlemen,\\\" she said in a trembling voice, \\\"from my \\n heart--\\\" \\n \\n \\\"Here are the horses,\\\" cried Sapt. He snatched her hand, brushed it\",\n \"safe?\\\" he asked. \\n \\n \\\"Ay, it's safe enough!\\\" \\n \\n \\\"Nobody has seen what you had to hide?\\\" \\n \\n \\\"No; and nobody knows that the king is dead,\\\" answered Sapt. \\n \\n \\\"Then what brings you here?\\\" \\n \\n \\\"Why, the same thing that was about to bring you to the lodge: the need \\n of a meeting between yourself and me, sire.\\\" \\n \\n \\\"But the lodge--is it left unguarded?\\\" \\n\",\n \"kill Rupert and to convince the king that the letter was a forgery--a \\n desperate hope, so desperate that we turned our eyes away from the \\n possibility which would make it our only resource. \\n \\n We were now very near the hunting-lodge, being about forty yards from \\n the front of it. All at once Sapt threw himself on his stomach on the \\n ground. \\n \\n \\\"Give me a match,\\\" he whispered. \\n \\n James struck a light, and, the night being still, the flame burnt\",\n \"The king lay in peace on his bed, his grave was dug; Sapt and James held \\n the secret with solemn faith and ready lives. To Strelsau I must go \\n to tell the queen that she was widowed, and to aim the stroke at young \\n Rupert's heart. \\n \\n At nine in the morning I started from the lodge. I was bound to ride to \\n Hofbau and there wait for a train which would carry me to the capital. \\n From Hofbau I could send a message, but the message must announce only\",\n \"up to the entrance. Helsing was on the steps, and ran down to the \\n carriage, greeting the king with passionate fervor. The shouts of the \\n crowd grew louder still. \\n \\n But suddenly a stillness fell on them; it lasted but an instant, and \\n was the prelude to a deafening roar. I was looking at Rudolf and saw his \\n head turn suddenly and his eyes grow bright. I looked where his eyes \\n had gone. There, on the top step of the broad marble flight, stood\",\n \"\\\"Yes; you, Bernenstein, and I will be at the lodge.\\\" \\n \\n \\\"That's not impossible, though I have had nearly enough riding.\\\" \\n \\n Rudolf fixed his eyes firmly on Sapt's. \\n \\n \\\"You see,\\\" he said, \\\"the king reaches his hunting-lodge early in the \\n morning.\\\" \\n \\n \\\"I follow you, sire.\\\" \\n \\n \\\"And what happens there, Sapt? Does he shoot himself accidentally?\\\" \\n \\n \\\"Well, that happens sometimes.\\\" \\n\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\",\n \"Again James paused for a little while before he remarked: \\\"I am, of \\n course, sir, only discussing the matter by way of passing the time. It \\n would probably be wrong to carry any such plan into effect.\\\" \\n \\n \\\"It might be, but let us discuss it--to pass the time,\\\" said Sapt; and \\n he leant forward, looking into the servant's quiet, shrewd face. \\n \\n \\\"Well, then, sir, since it amuses you, let us say that the king came\"\n ],\n [\n \"I understood his feeling, and knew that he held life a light thing \\n compared with the recovery of Queen Flavia's letter. I ceased to urge \\n him. When I assented to his wishes, every shadow vanished from his \\n face, and he began to discuss the details of the plan with business-like \\n brevity. \\n \\n \\\"I shall leave James with you,\\\" said Rudolf. \\\"He'll be very useful, and \\n you can rely on him absolutely. Any message that you dare trust to no\",\n \"letter, she stooped suddenly and kissed him off the brow. Then she \\n looked straight across at Helga, almost defiantly; but Helga ran to her \\n and caught her in her arms. \\n \\n Rudolf Rassendyll sat with his head resting on his hand. He looked up \\n once at the two women; then he caught my eye, and beckoned me to come to \\n him. I approached him, but for several moments he did not speak. Again\",\n \"\\\"Yes, a letter, too; she wrote a letter, and I carried that as well as \\n the box. I've lost them both, Rudolf. God help me, I've lost them both! \\n Rupert has the letter too!\\\" I think I must have been weak and unmanned \\n from the blow I had received, for my composure broke down here. Rudolf \\n stepped up to me and wrung me by the hand. I mastered myself again and \\n looked in his face as he stood in thought, his hand caressing the strong\",\n \"Rudolf tore it further open, and his hand dashed in. \\n \\n \\\"God's curse on you!\\\" snarled Rupert of Hentzau. \\n \\n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \\n at it showed him the queen's seal. As he glanced Rupert made another \\n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \\n more than time to spring away, holding his prize. The next moment he had\",\n \"her letter. At this he took from his pocket the copy that Rischenheim \\n had carried. He had found time to read it, and now before her eyes he \\n kissed it. \\n \\n \\\"Had I as many lives as there are words, my queen,\\\" he said softly, \\\"for \\n each word I would gladly give a life.\\\" \\n \\n \\\"Ah, Rudolf, but you've only one life, and that more mine than yours. \\n Did you think we should ever meet again?\\\" \\n\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"\\\"True,\\\" said Rudolf. \\\"Bauer knows. Well, we'll see about Bauer.\\\" \\n \\n As he spoke he turned towards the door. Suddenly the girl bent, snatched \\n at his hand and kissed it. \\n \\n \\\"I would die for you,\\\" she murmured. \\n \\n \\\"Poor child!\\\" said he gently. I believe he was loath to make profit, \\n even in the queen's service, of her poor foolish love. He laid his hand \\n on the door, but paused a moment to say: \\n\",\n \"heart. Then she came to him and seized hold of his hand. \\n \\n \\\"Don't go,\\\" she said in low trembling tones. \\\"Don't go, Rudolf. He'll \\n kill you. Never mind the letter. Don't go: I had rather a thousand times \\n that the king had it than that you should.... Oh, my dear, don't go!\\\" \\n \\n \\\"I must go,\\\" he said softly. \\n \\n Again she began to implore him, but he would not yield. Helga moved\",\n \"\\\"Yes, but give me some brandy,\\\" said I. \\n \\n Rudolf gave me a little brandy mixed in a great deal of water, and then \\n I made shift to tell him. Though faint, I was not confused, and I gave \\n my story in brief, hurried, yet sufficient words. He made no sign till I \\n mentioned the letter. Then his face changed. \\n \\n \\\"A letter, too?\\\" he exclaimed, in a strange mixture of increased \\n apprehension and unlooked-for joy. \\n\",\n \"deliberately he settled himself to read, regarding neither Rischenheim's \\n nervous hurry nor my desperate, angry glance that glared up at him. He \\n read leisurely, as though he had been in an armchair in his own house; \\n the lips smiled and curled as he read the last words that the queen had \\n written to her lover. He had indeed come on more than he thought. \\n \\n Rischenheim laid a hand on his shoulder. \\n \\n \\\"Quick, Rupert, quick,\\\" he urged again, in a voice full of agitation. \\n\",\n \"Rudolf drew back and let him pass, then he entered quickly, to find \\n himself alone with Helga in the hall. With a finger on her lips, she led \\n him swiftly into a small sitting-room on the ground floor, which I used \\n as a sort of office or place of business. It looked out on the street, \\n and the rain could be heard driving against the broad panes of the \\n window. Rudolf turned to her with a smile, and, bowing, kissed her hand. \\n\",\n \"passed from the queen to her lover, carrying in it grief, remorse, and \\n most unwilling joy. He did not speak to her, but put out his hand and \\n took hers. She drew it away almost sharply, and covered her face with \\n both hands. \\n \\n Rudolf turned to me. \\\"When was it?\\\" \\n \\n \\\"Last night.\\\" \\n \\n \\\"And the.... He's at the lodge?\\\" \\n \\n \\\"Yes, with Sapt and James.\\\" \\n \\n I was recovering my senses and my coolness. \\n\",\n \"concerning the letter, he would doubtless tell the king that Rudolf \\n Rassendyll was in the castle. He leant now over the king's shoulder, and \\n said with a sneer: \\n \\n \\\"Messages from Rupert of Hentzau are too exalted matters for my poor \\n ears, it seems.\\\" \\n \\n The king flushed red. \\n \\n \\\"Is that your business, my lord?\\\" he asked Rischenheim sternly. \\n \\n \\\"Your Majesty does not know what my cousin--\\\" \\n\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"great enough to justify the ruin of an unhappy lady who is your queen. \\n Be assured that I will die sooner than let that letter reach the king's \\n hand.\\\" \\n \\n Rischenheim made him no answer. \\n \\n \\\"Are you armed?\\\" asked Rudolf. \\n \\n Rischenheim sullenly flung his revolver on the table. Bernenstein came \\n forward and took it. \\n \\n \\\"Keep him here, Bernenstein. When I return I'll tell you what more to\",\n \"\\\"Yes. Sapt, he's got a copy of the queen's letter.\\\" \\n \\n Sapt twirled his moustache. \\n \\n \\\"I've always said as much,\\\" he remarked in tones of satisfaction. He \\n need not have said it; he would have been more than human not to think \\n it. \\n \\n \\\"Where can you take me to?\\\" asked Rudolf impatiently. \\n \\n \\\"Any room with a door and a lock to it,\\\" answered old Sapt. \\\"I command\",\n \"audience sooner than was arranged, I shall be in time.\\\" \\n \\n \\\"How will you get hold of Sapt?\\\" \\n \\n \\\"We must leave something to the minute.\\\" \\n \\n \\\"God bless you, Rudolf.\\\" \\n \\n \\\"The king sha'n't have the letter, Fritz.\\\" \\n \\n There was a moment's silence as we shook hands. Then that soft yet \\n bright look came in his eyes again. He looked down at me, and caught me \\n regarding him with a smile that I know was not unkind. \\n\",\n \"me, see if he--if he looks as if he still loved me.\\\" But then she broke \\n off, crying, \\\"But don't tell him I said that. He'd be grieved if I \\n doubted his love. I don't doubt it; I don't, indeed; but still tell me \\n how he looks when you speak of me, won't you, Fritz? See, here's the \\n letter.\\\" \\n \\n Taking it from her bosom, she kissed it before she gave it to me. Then\",\n \"\\\"All right,\\\" said Rudolf Rassendyll. \\\"I can read my letter there.\\\" \\n \\n \\\"Burn it, you fool.\\\" \\n \\n \\\"When I've read it I'll eat it, if you like, but not before.\\\" \\n \\n Bernenstein looked in again. \\\"Quick, quick! The man will be back,\\\" he \\n whispered. \\n \\n \\\"Bernenstein, did you hear what I said to the count?\\\" \\n \\n \\\"Yes, I heard.\\\" \\n\",\n \"have suspected that I carried some such token as the box, but he could \\n not know of the letter. Would he listen to Rischenheim? No. The Count of \\n Hentzau did things thoroughly. \\n \\n \\\"We may as well overhaul him a bit more,\\\" said he, and resumed his \\n search. My hope vanished, for now he was bound to come upon the letter. \\n \\n Another instant brought him to it. He snatched the pocketbook, and,\"\n ],\n [\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"was dead. Who would ask if it were in truth the king who lay in state in \\n the great hall of the palace, or whether the humble grave at Zenda held \\n the bones of the last male Elphberg? In the silence of the grave all \\n murmurs and questionings were hushed. \\n \\n Throughout the day people had been passing and repassing through the \\n great hall. There, on a stately bier surmounted by a crown and the \\n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest\",\n \"denied, not by the evidence of one only or of two, was the king's \\n presence in the city known. That day, by the witness of a crowd of \\n people, by his own claim and his own voice, ay, and by the assent of \\n the queen herself, Mr. Rassendyll was taken to be the king in Strelsau, \\n while neither he nor Queen Flavia knew that the king was dead. I must \\n now relate the strange and perverse succession of events which forced\",\n \"All this rushed to my mind at Sapt's words, and I saw what the constable \\n and James had never forgotten. But what to do I could not see. For the \\n King of Ruritania lay dead. \\n \\n An hour or more had passed since our discovery, and it was now close on \\n midnight. Had all gone well we ought by this time to have been far on \\n our road back to the castle; by this time Rupert must be miles away from \\n where he had killed the king; already Mr. Rassendyll would be seeking\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"suspected when the charred body which was called Rudolf Rassendyll's was \\n laid to quiet rest in the graveyard of the town of Zenda, hard by the \\n tomb of Herbert the forester. For we had from the first rejected any \\n idea of bringing the king's body to Strelsau and setting it in the place \\n of Mr. Rassendyll's. The difficulties of such an undertaking were almost \\n insuperable; in our hearts we did not desire to conquer them. As a king\",\n \"the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \\n few who knew him, her only hope that she may some day be with him again. \\n \\n In great pomp we laid him to his rest in the vault of the kings of \\n Ruritania in the Cathedral of Strelsau. There he lies among the \\n princes of the House of Elphberg. I think that if there be indeed any \\n consciousness among the dead, or any knowledge of what passes in the\",\n \"enough in all its simplicity. Rudolf Rassendyll was dead, his body \\n burnt to a cinder, and the king was alive, whole, and on his throne in \\n Strelsau. Thus had Sapt caught from James, the servant, the infection of \\n his madness, and had fulfilled in action the strange imagination which \\n the little man had unfolded to him in order to pass their idle hours at \\n the lodge. \\n \\n Suddenly Mr. Rassendyll spoke in clear, short tones. \\n\",\n \"comfort. Rudolf Rassendyll was in Strelsau. He had been seen by somebody \\n and taken for the king. But comfort? What comfort was there, now that \\n the king was dead and could never come to the rescue of his counterfeit? \\n \\n In fact, the truth was worse than I conceived. Had I known it all, I \\n might well have yielded to despair. For not by the chance, uncertain \\n sight of a passer-by, not by mere rumor which might have been sturdily\",\n \"before); his face was in deep shadow, but Rischenheim perceived that the \\n beard was indeed gone. The king held out his hand to Rischenheim, and \\n motioned him to sit in a chair just opposite to him and within a foot of \\n the window-curtains. \\n \\n \\\"I'm delighted to see you, my lord,\\\" said the king. \\n \\n Rischenheim looked up. Rudolf's voice had once been so like the king's \\n that no man could tell the difference, but in the last year or two the\",\n \"\\\"I won't quit Ruritania a second time leaving Rupert of Hentzau \\n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \\n understand--and that instructions from the king will follow by midday. \\n When I have killed Rupert, I shall visit the lodge on my way to the \\n frontier.\\\" \\n \\n He turned to go, but the queen, following, detained him for a minute. \\n \\n \\\"You'll come and see me before you go?\\\" she pleaded.\",\n \"servant, and, the king being summoned unexpectedly to the capital, had \\n been awaiting his Majesty's return when he met his fate. There was a \\n short history of Rudolf, a glancing reference to his family, a dignified \\n expression of condolence with his relatives, to whom the king was \\n sending messages of deepest regret by the hands of Mr. Rassendyll's \\n servant. At another table young Bernenstein was drawing up, under the\",\n \"excitement. \\\"Don't you know me?\\\" asked Rudolf, standing opposite the old \\n woman and smiling down on her. \\n \\n There, in the dim light of the low-roofed passage, Mother Holf was \\n fairly puzzled. She knew the story of Mr. Rassendyll; she knew that he \\n was again in Ruritania, it was no surprise to her that he should be in \\n Strelsau; but she did not know that Rupert had killed the king, and\",\n \"from Strelsau, and the king's place will be free for him again.\\\" \\n \\n Rischenheim gave a slight start, and a look of triumph spread over his \\n face. They did not know that the king was dead. \\n \\n Rudolf came nearer to him, fixing his eyes steadily on his prisoner's \\n face. \\n \\n \\\"I don't know,\\\" he continued, \\\"why you are in this business, my lord. \\n Your cousin's motives I know well. But I wonder that they seemed to you\",\n \"from their case and put them on the table. With a slight bow Rudolf took \\n one, and the two assumed their positions. Suddenly Rupert lowered his \\n point. The frown vanished from his face, and he spoke in his usual \\n bantering tone. \\n \\n \\\"By the way,\\\" said he, \\\"perhaps we're letting our feelings run away \\n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \\n ready to be the most faithful of your subjects.\\\" \\n\",\n \"nay, who would listen to such a tale from such a man? Rischenheim was \\n ours; the old woman would keep her doubts between her teeth for her own \\n sake. To his own land and his own people Rudolf must be dead while \\n the King of Ruritania would stand before all Europe recognized, \\n unquestioned, unassailed. True, he must marry the queen again; Sapt was \\n ready with the means, and would hear nothing of the difficulty and risk \\n in finding a hand to perform the necessary ceremony. If we quailed in\",\n \"the other hand, the Count of Luzau-Rischenheim found a king in Strelsau, \\n if the royal standards continued to wave at the summit of their flag \\n staffs, and Strelsau knew nothing of the dead man in the lodge, then \\n Rupert had laid his hand on another secret; for he knew who the king in \\n Strelsau must be. Starting from this point, his audacious mind darted \\n forward to new and bolder schemes. He could offer again to Rudolf\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"not resheathe) in the other, he stepped over the body of the boar-hound, \\n and I followed him. \\n \\n We were now in front of the door of the room where Rudolf Rassendyll had \\n supped with us on the day of his first coming to Ruritania, and whence \\n he had set out to be crowned in Strelsau. On the right of it was the \\n room where the king slept, and farther along in the same direction the\",\n \"\\\"What part to-day? Isn't it the old one, the king with a pasteboard \\n crown?\\\" asked Rupert, sitting down on the table. \\\"Faith, we shall do \\n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \\n though I am) have given the other one a heavenly crown. What a brave \\n show! But perhaps I tell you news?\\\" \\n \\n \\\"No, I know what you've done.\\\" \\n\"\n ],\n [\n \"in Ruritania. Rischenheim is to try first; but if he fails, Rupert will \\n risk everything and break through to the king's presence. Give him five \\n minutes with the king, and the mischief's done! Very well, then; Sapt \\n must keep Rupert at bay while I tackle Rischenheim. As soon as you can \\n move, go to Strelsau, and let Sapt know where you are.\\\" \\n \\n \\\"But if you're seen, if you're found out?\\\" \\n\",\n \"\\\"But the king is in Strelsau, sir.\\\" \\n \\n \\\"The deuce he is! He said nothing of going to Strelsau. He rose early \\n and rode off with Herbert, merely saying they would be back to-night.\\\" \\n \\n \\\"He went to Strelsau, sir. I am just from Zenda, and his Majesty is \\n known to have been in town with the queen. They were both at Count \\n Fritz's.\\\" \\n\",\n \"\\\"I won't quit Ruritania a second time leaving Rupert of Hentzau \\n alive. Fritz, send word to Sapt that the king is in Strelsau--he will \\n understand--and that instructions from the king will follow by midday. \\n When I have killed Rupert, I shall visit the lodge on my way to the \\n frontier.\\\" \\n \\n He turned to go, but the queen, following, detained him for a minute. \\n \\n \\\"You'll come and see me before you go?\\\" she pleaded.\",\n \"from their case and put them on the table. With a slight bow Rudolf took \\n one, and the two assumed their positions. Suddenly Rupert lowered his \\n point. The frown vanished from his face, and he spoke in his usual \\n bantering tone. \\n \\n \\\"By the way,\\\" said he, \\\"perhaps we're letting our feelings run away \\n with us. Have you more of a mind now to be King of Ruritania? If so, I'm \\n ready to be the most faithful of your subjects.\\\" \\n\",\n \"\\\"You see, the king is not even in Strelsau,\\\" said Rudolf. \\n \\n \\\"Not in Strelsau, sir?\\\" \\n \\n \\\"Why, no, he's at Zenda.\\\" \\n \\n \\\"Ah! At Zenda, sir?\\\" \\n \\n \\\"Certainly. It is therefore impossible--physically impossible--that he \\n should be here.\\\" \\n \\n The fellow was convinced that he understood now. \\n \\n \\\"It's certainly impossible, sir,\\\" said he, smiling more broadly. \\n\",\n \"\\\"What part to-day? Isn't it the old one, the king with a pasteboard \\n crown?\\\" asked Rupert, sitting down on the table. \\\"Faith, we shall do \\n handsomely in Ruritania: you have a pasteboard crown, and I (humble man \\n though I am) have given the other one a heavenly crown. What a brave \\n show! But perhaps I tell you news?\\\" \\n \\n \\\"No, I know what you've done.\\\" \\n\",\n \"stretching out her arms to him. But he lay still and quiet, not hearing \\n and not heeding what she murmured, \\\"My king! my king!\\\" It was even as it \\n had been in the dream. \\n \\n That night James, the servant, took leave of his dead master and of \\n us. He carried to England by word of mouth--for we dared write nothing \\n down--the truth concerning the King of Ruritania and Mr. Rassendyll.\",\n \"the Elphbergs; and her only joy is to talk of Mr. Rassendyll with those \\n few who knew him, her only hope that she may some day be with him again. \\n \\n In great pomp we laid him to his rest in the vault of the kings of \\n Ruritania in the Cathedral of Strelsau. There he lies among the \\n princes of the House of Elphberg. I think that if there be indeed any \\n consciousness among the dead, or any knowledge of what passes in the\",\n \"Ruritania. To save her from that, no chance was too desperate, no scheme \\n too perilous; yes, if, as Sapt said, we ourselves were held to answer \\n for the king's death, still we must go on. I, through whose negligence \\n the whole train of disaster had been laid, was the last man to hesitate. \\n In all honesty, I held my life due and forfeit, should it be demanded of \\n me--my life and, before the world, my honor. \\n\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"not resheathe) in the other, he stepped over the body of the boar-hound, \\n and I followed him. \\n \\n We were now in front of the door of the room where Rudolf Rassendyll had \\n supped with us on the day of his first coming to Ruritania, and whence \\n he had set out to be crowned in Strelsau. On the right of it was the \\n room where the king slept, and farther along in the same direction the\",\n \"enthusiasm and followed his lead. All the people took up the cry with \\n boundless fervor, and thus we all, high and low in Strelsau, that \\n afternoon hailed Mr. Rassendyll for our king. There had been no such \\n zeal since Henry the Lion came back from his wars, a hundred and fifty \\n years ago. \\n \\n \\\"And yet,\\\" observed old Helsing at my elbow, \\\"agitators say that there \\n is no enthusiasm for the house of Elphberg!\\\" He took a pinch of snuff in\",\n \"man in Ruritania should quit his work, his pleasure, or his bed, and \\n make it his concern to take the Count of Hentzau, alive or dead. I \\n remember that I walked over to where Sapt was sitting, and caught him by \\n the arm, saying: \\n \\n \\\"We must raise the alarm. If you'll go to Zenda, I'll start for \\n Strelsau.\\\" \\n \\n \\\"The alarm?\\\" said he, looking up at me and tugging his moustache. \\n\",\n \"there is still a Rassendyll, if she has need of one.\\\" \\n \\n The offer was such as should come from a man of Rudolf's name, yet I \\n trust that the queen needs no further service than such as it is our \\n humble duty and dear delight to render her. It is our part to strive \\n to lighten the burden that she bears, and by our love to assuage her \\n undying grief. For she reigns now in Ruritania alone, the last of all\",\n \"\\\"With the king?\\\" said Helsing. \\\"Ah, yes, but the king--\\\" \\n \\n \\\"I'm on my way to the palace to find out where he is. If I can't see \\n him, I must write at once. My business is very urgent.\\\" \\n \\n \\\"Indeed, my dear count, indeed! Dear me! Urgent, you say?\\\" \\n \\n \\\"But perhaps you can help me. Is he at Zenda?\\\" \\n \\n The chancellor was becoming very embarrassed; Anton had disappeared into\",\n \"that all our efforts had secured no better ruler for Ruritania. Sapt \\n could serve, but he liked his master to be a man. \\n \\n \\\"Ay, I'm afraid the lad's work here is done,\\\" he said, as I shook him \\n by the hand. Then a sudden light came in his eyes. \\\"Perhaps not,\\\" he \\n muttered. \\\"Who knows?\\\" \\n \\n A man need not, I hope, be deemed uxorious for liking a quiet dinner\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"knew my errand; and, sitting down beside him, I told him of the letter \\n I carried, and arranged how to apprise him of my fortune surely and \\n quickly. He was not in a good humor that day: the king had ruffled him \\n also, and Colonel Sapt had no great reserve of patience. \\n \\n \\\"If we haven't cut one another's throats before then, we shall all be at \\n Zenda by the time you arrive at Wintenberg,\\\" he said. \\\"The court moves\",\n \"his hand and pointed to their riding-boots. \\\"Whither away so late at \\n night?\\\" he asked. \\n \\n \\\"First together to the lodge, to find you, then I alone to the \\n frontier,\\\" said Mr. Rassendyll. \\n \\n \\\"One thing at a time. The frontier will wait. What does your Majesty \\n want with me at the lodge?\\\" \\n \\n \\\"I want so to contrive that I shall be no longer your Majesty,\\\" said \\n Rudolf. \\n\",\n \"was dead. Who would ask if it were in truth the king who lay in state in \\n the great hall of the palace, or whether the humble grave at Zenda held \\n the bones of the last male Elphberg? In the silence of the grave all \\n murmurs and questionings were hushed. \\n \\n Throughout the day people had been passing and repassing through the \\n great hall. There, on a stately bier surmounted by a crown and the \\n drooping folds of the royal banner, lay Rudolf Rassendyll. The highest\"\n ],\n [\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"\\\"By God, Rudolf Rassendyll,\\\" said he, \\\"I'll kill you here and now.\\\" \\n \\n \\\"I ask no better than that you should try.\\\" \\n \\n \\\"And then I'll proclaim that woman for what she is in all Strelsau.\\\" A \\n smile came on his lips as he watched Rudolf's face. \\n \\n \\\"Guard yourself, my lord,\\\" said Mr. Rassendyll. \\n\",\n \"enough in all its simplicity. Rudolf Rassendyll was dead, his body \\n burnt to a cinder, and the king was alive, whole, and on his throne in \\n Strelsau. Thus had Sapt caught from James, the servant, the infection of \\n his madness, and had fulfilled in action the strange imagination which \\n the little man had unfolded to him in order to pass their idle hours at \\n the lodge. \\n \\n Suddenly Mr. Rassendyll spoke in clear, short tones. \\n\",\n \"king, that we didn't know, that we weren't accomplices in the tricking \\n of the king--maybe, in his murder? Ah, Rudolf Rassendyll, God preserve \\n me from a conscience that won't let me be true to the woman I love, or \\n to the friends who love me!\\\" \\n \\n I had never seen the old fellow so moved; he carried me with him, as he \\n carried Bernenstein. I know now that we were too ready to be convinced;\",\n \"Rassendyll's: a sudden suspicion seized him, for the face, though the \\n king's face in every feature, bore a stern resolution and witnessed a \\n vigor that were not the king's. In that instant the truth, or a hint of \\n it, flashed across his mind. He gave a half-articulate cry; in one hand \\n he crumpled up the paper, the other flew to his revolver. But he was \\n too late. Rudolf's left hand encircled his hand and the paper in an iron\",\n \"Bernenstein's head and heard it whistle through the air. It crashed on \\n the crown of Bauer's head, and he fell like a log to the ground with his \\n skull split. The queen's hold on me relaxed; she sank into Rischenheim's \\n arms. I ran forward and knelt by Mr. Rassendyll. He still held Sapt's \\n hands, and by their help buoyed himself up. But when he saw me he let go \\n of them and sank back against me, his head resting on my chest. He moved\",\n \"said I; and I watched her eyes still. For a long while (or long \\n it seemed) they were on my face; at last, as though drawn by some \\n irresistible force, they turned away. I followed the new line they took. \\n She looked at Rudolf Rassendyll, and he at her. Helga had taken out her \\n handkerchief, and, utterly upset by the horror and shock, was lying back \\n in a low chair, sobbing half-hysterically; I saw the swift look that\",\n \"that he meant to strangle him, but the anger, long stored in his heart, \\n found vent in the fierce grip of his fingers. It is certain that \\n Bauer thought his time was come, unless he struck a blow for himself. \\n Instantly he raised his hand and thrust fiercely at Rudolf with his long \\n knife. Mr. Rassendyll would have been a dead man, had he not loosed his \\n hold and sprung lightly away. But Bauer sprang at him again, thrusting \\n with the knife, and crying to his associates,\",\n \"Rassendyll, and that I played the king only in order to serve the queen \\n and punish Rupert of Hentzau. That will serve, and it will cut this net \\n of Sapt's from about my limbs.\\\" \\n \\n He spoke firmly and coldly; so that when I looked at him I was amazed \\n to see how his lips twitched and that his forehead was moist with sweat. \\n Then I understood what a sudden, swift, and fearful struggle he had\",\n \"\\\"I should wrong you by straining your kindness so far,\\\" said he; and in \\n wanton insolence, seeking again to show Mr. Rassendyll the mean esteem \\n in which he held him, and the weariness his presence was, he raised his \\n arms and stretched them above his head, as a man does in the fatigue of \\n tedium. \\\"Heigho!\\\" he yawned. \\n \\n But he had overshot the mark this time. With a sudden swift bound Rudolf\",\n \"is it? And how comes Mr. Rassendyll to be at Fritz von Tarlenheim's for \\n hours with the queen, when the king is at his hunting lodge? A king \\n has died already, and two men besides, to save a word against her. And \\n you--you'll be the man to set every tongue in Strelsau talking, and \\n every finger pointing in suspicion at her?\\\" \\n \\n Rudolf made no answer. When Sapt had first uttered the queen's name, he\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"comfort. Rudolf Rassendyll was in Strelsau. He had been seen by somebody \\n and taken for the king. But comfort? What comfort was there, now that \\n the king was dead and could never come to the rescue of his counterfeit? \\n \\n In fact, the truth was worse than I conceived. Had I known it all, I \\n might well have yielded to despair. For not by the chance, uncertain \\n sight of a passer-by, not by mere rumor which might have been sturdily\",\n \"\\\"They saw you?\\\" she gasped. \\n \\n \\\"Undoubtedly,\\\" said he. Then his sense of amusement conquered everything \\n else, and he sat down in a chair, laughing. \\n \\n \\\"I'd give my life,\\\" said he, \\\"to hear the story that the chancellor will \\n be waked up to hear in a minute or two from now!\\\" \\n \\n But a moment's thought made him grave again. For whether he were the \\n king or Rudolf Rassendyll, he knew that my wife's name was in equal\",\n \"I went straight back to Rudolf Rassendyll. His eyes greeted me and \\n questioned me. He was a man, and I played no silly tricks with him. I \\n bent down and said: \\\"An hour, they think, Rudolf.\\\" \\n \\n He made one restless movement, whether of pain or protest I do not know. \\n Then he spoke, very low, slowly, and with difficulty. \\n \\n \\\"Then they can go,\\\" he said; and when I spoke of a priest he shook his \\n head. \\n\",\n \"Rassendyll what he had offered once before, three years ago--a \\n partnership in crime and the profits of crime--or if this advance were \\n refused, then he declared that he would himself descend openly into the \\n streets of Strelsau and proclaim the death of the king from the steps of \\n the cathedral. \\n \\n \\\"Who can tell,\\\" he cried, springing up, enraptured and merry with the \\n inspiration of his plan, \\\"who can tell whether Sapt or I came first to\",\n \"\\\"Nobody knows yet,\\\" I said. \\\"We were afraid you might be taken for him \\n by somebody. But, my God, Rudolf, what's to be done now?\\\" \\n \\n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \\n his blue eyes wore a curious entranced expression. He seemed to me to be \\n forgetful of everything, even of us who were with him, in some one idea \\n that possessed him. The queen herself came nearer to him and lightly\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"There were two things that seemed plain. If Rupert had escaped the trap \\n and was still alive with the letter on him, Rupert must be found; here \\n was the first task. That accomplished, there remained for Rudolf himself \\n nothing save to disappear as quietly and secretly as he had come, \\n trusting that his presence could be concealed from the man whose name \\n he had usurped. Nay, if need were, the king must be told that Rudolf \\n Rassendyll had played a trick on the chancellor, and, having enjoyed his\"\n ],\n [\n \"\\\"True,\\\" said Rudolf. \\\"Bauer knows. Well, we'll see about Bauer.\\\" \\n \\n As he spoke he turned towards the door. Suddenly the girl bent, snatched \\n at his hand and kissed it. \\n \\n \\\"I would die for you,\\\" she murmured. \\n \\n \\\"Poor child!\\\" said he gently. I believe he was loath to make profit, \\n even in the queen's service, of her poor foolish love. He laid his hand \\n on the door, but paused a moment to say: \\n\",\n \"and stretched out her hands towards me, her eyes filled with tears. \\n \\n \\\"Yet,\\\" said she, \\\"your wife knows, and still loves me, Fritz.\\\" \\n \\n \\\"She should be no wife of mine, if she didn't,\\\" I cried. \\\"For I and all \\n of mine ask no better than to die for your Majesty.\\\" \\n \\n \\\"She knows, and yet she loves me,\\\" repeated the queen. I loved to see \\n that she seemed to find comfort in Helga's love. It is women to whom\",\n \"and her honor! While he was alive I'd have killed you sooner than let \\n you take it. He's dead. Now--for our love and her honor, lad!\\\" \\n \\n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \\n was set and rigid. He made no sign when Sapt finished, but stood as \\n he was, motionless, for a long while. Then he slowly bent his head and \\n looked down into the queen's eyes. For a while she sat looking back into\",\n \"\\\"No, but what could it mean?\\\" she asked again. \\n \\n \\\"What does it mean when I dream always of you, except that I always love \\n you?\\\" \\n \\n \\\"Was it only that?\\\" she said, still unconvinced. \\n \\n What more passed between them I do not know. I think that the queen told \\n my wife more, but women will sometimes keep women's secrets even from \\n their husbands; though they love us, yet we are always in some sort the\",\n \"Well, I take it that when a man comes to die, love is more to him than \\n a kingdom: it may be, if we could see truly, that it is more to him even \\n while he lives. \\n \\n \\\"Of nothing but his great love for me, Fritz,\\\" she said again. \\\"And my \\n love brought him to his death.\\\" \\n \\n \\\"He wouldn't have had it otherwise,\\\" said I. \\n \\n \\\"No,\\\" she whispered; and she leant over the parapet of the gallery,\",\n \"her head round young Bernenstein's broad shoulders. Thus she saw \\n what happened. The queen, forgetting the servants, and not observing \\n Helsing--seeming indeed to stay for nothing, and to think of nothing, \\n but to have her thoughts and heart filled with the sight of the man she \\n loved and the knowledge of his safety--met him as he ran towards her, \\n and, before Helga, or Bernenstein, or Rudolf himself, could stay her or\",\n \"He is not too young to desire to serve the queen, and not too young to \\n learn to love and reverence him who sleeps there in the vault and was in \\n his life the noblest gentleman I have known. \\n \\n I will take the boy with me and tell him what I may of brave King \\n Rudolf, how he fought and how he loved, and how he held the queen's \\n honor and his own above all things in this world. The boy is not too \\n young to learn such lessons from the life of Mr. Rassendyll. And while\",\n \"passed from the queen to her lover, carrying in it grief, remorse, and \\n most unwilling joy. He did not speak to her, but put out his hand and \\n took hers. She drew it away almost sharply, and covered her face with \\n both hands. \\n \\n Rudolf turned to me. \\\"When was it?\\\" \\n \\n \\\"Last night.\\\" \\n \\n \\\"And the.... He's at the lodge?\\\" \\n \\n \\\"Yes, with Sapt and James.\\\" \\n \\n I was recovering my senses and my coolness. \\n\",\n \"than to be allowed to serve him all my days. Yet I serve the queen, and \\n in that I do most truly serve her lover. \\n \\n Times change for all of us. The roaring flood of youth goes by, and the \\n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \\n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \\n the memory of Rudolf Rassendyll is fresh to me as on the day he died,\",\n \"the queen, pale as the marble itself, stretching out her hands towards \\n Rudolf. The people had seen her: she it was whom this last rapturous \\n cheer greeted. My wife stood close behind her, and farther back others \\n of her ladies. Bernenstein and I sprang out. With a last salute to the \\n people Rudolf followed us. He walked up to the highest step but one, and \\n there fell on one knee and kissed the queen's hand. I was by him, and \\n when he looked up in her face I heard him say:\",\n \"Yet there was in truth nothing strange in the queen seeking to see old \\n Sapt that night, nor in her guessing where he would most probably be \\n found. For she had asked him three times whether news had come from \\n Wintenberg and each time he had put her off with excuses. Quick to \\n forbode evil, and conscious of the pledge to fortune that she had given \\n in her letter, she had determined to know from him whether there were \\n really cause for alarm, and had stolen, undetected, from her apartments\",\n \"The queen, looking still in Rudolf's face, and forgetful now, as it \\n seemed, of the dream that had so terrified her, took no notice of what I \\n said, but urged again: \\\"You'll come, Rudolf?\\\" \\n \\n \\\"Yes, once, my queen,\\\" and with a last kiss of her hand he was gone. \\n \\n The queen stood for yet another moment where she was, still and almost \\n rigid. Then suddenly she walked or stumbled to where my wife sat, and,\",\n \"Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \\n the door and the queen appeared on the threshold. She was very pale, \\n and she had been crying, but her eyes were happy and her air firm. The \\n moment he saw her, young Bernenstein fell on his knee and raised her \\n hand to his lips. \\n \\n \\\"To the death, madame,\\\" said he, in a trembling voice. \\n \\n \\\"I knew it, sir,\\\" she answered graciously. Then she looked round on the\",\n \"kiss it. We've done with pretence now.\\\" \\n \\n We shook his hand as he bade us. Then he took the queen's hand. Again \\n she knew his mind, and moved it to his lips. \\\"In life and in death, my \\n sweet queen,\\\" he murmured. And thus he fell asleep. \\n \\n \\n \\n CHAPTER XXI. THE COMING OF THE DREAM \\n \\n THERE IS little need, and I have little heart, to dwell on what followed\",\n \"And I must endure more still. For he will go now, and the time will be \\n very long. But, at last, we shall be together. There is pity in God; we \\n shall be together at last.\\\" \\n \\n \\\"If he goes now, how can he come back?\\\" \\n \\n \\\"He will not come back; I shall go to him. I shall give up the throne \\n and go to him, some day, when I can be spared from here, when I've done \\n my--my work.\\\" \\n\",\n \"her memories. There was no child to bridge the gulf between them, and \\n although she was his queen and his wife, she grew almost a stranger to \\n him. So he seemed to will that it should be. \\n \\n Thus, worse than widowed, she lived for three years; and once only in \\n each year she sent three words to the man she loved, and received from \\n him three words in answer. Then her strength failed her. A pitiful scene \\n had occurred in which the king peevishly upbraided her in regard to some\",\n \"resentful of the queen's reproof and scornful of the woman's agitation. \\n He was also out of temper with Rudolf himself, because the moon took so \\n long in deciding whether she would make or unmake a king. \\n \\n \\\"The gardens!\\\" she cried. \\\"Then let us look for him. Oh, you've let him \\n walk in the gardens alone?\\\" \\n \\n \\\"What should harm the fellow?\\\" muttered Sapt. \\n \\n She did not hear him, for she had swept out of the room. Helga went with\",\n \"\\\"I gave my honor to the queen, and even in that I will serve her if she \\n commands me.\\\" \\n \\n Bernenstein sprang forward and caught him by the hand. \\\"That's what I \\n like,\\\" said he, \\\"and damn the moon, colonel!\\\" His sentence was hardly \\n out of his mouth when the door opened, and to our astonishment the queen \\n entered. Helga was just behind her; her clasped hands and frightened \\n eyes seemed to protest that their coming was against her will. The queen\",\n \"\\\"I make a rogue of you?\\\" he exclaimed. \\\"And what do you make of our \\n queen, whom we all serve? What does this truth that you'll tell make \\n of her? Haven't I heard how she greeted you before all Strelsau as \\n her husband and her love? Will they believe that she didn't know her \\n husband? Ay, you may show yourself, you may say they didn't know you. \\n Will they believe she didn't? Was the king's ring on your finger? Where\",\n \"\\\"My queen!\\\" said he, laughing again. \\n \\n \\\"No, I knew really, Rudolf, I knew really,\\\" and now her hands flew out \\n towards him, imploring his pardon. Then she began to speak quickly: \\n \\\"Rudolf, last night I had a dream about you, a strange dream. I seemed \\n to be in Strelsau, and all the people were talking about the king. It \\n was you they meant; you were the king. At last you were the king, and I\"\n ],\n [\n \"The queen, looking still in Rudolf's face, and forgetful now, as it \\n seemed, of the dream that had so terrified her, took no notice of what I \\n said, but urged again: \\\"You'll come, Rudolf?\\\" \\n \\n \\\"Yes, once, my queen,\\\" and with a last kiss of her hand he was gone. \\n \\n The queen stood for yet another moment where she was, still and almost \\n rigid. Then suddenly she walked or stumbled to where my wife sat, and,\",\n \"the queen, pale as the marble itself, stretching out her hands towards \\n Rudolf. The people had seen her: she it was whom this last rapturous \\n cheer greeted. My wife stood close behind her, and farther back others \\n of her ladies. Bernenstein and I sprang out. With a last salute to the \\n people Rudolf followed us. He walked up to the highest step but one, and \\n there fell on one knee and kissed the queen's hand. I was by him, and \\n when he looked up in her face I heard him say:\",\n \"He opened his eyes a little in languid, elegant surprise. \\\"Oh, I \\n supposed you'd be on duty, or something, and have to come. Aren't you in \\n attendance?\\\" \\n \\n \\\"On the queen? No, not just now.\\\" \\n \\n \\\"But on the king?\\\" \\n \\n \\\"Why, yes,\\\" said I, and I leaned forward. \\\"At least I'm engaged now on \\n the king's business.\\\" \\n\",\n \"resentful of the queen's reproof and scornful of the woman's agitation. \\n He was also out of temper with Rudolf himself, because the moon took so \\n long in deciding whether she would make or unmake a king. \\n \\n \\\"The gardens!\\\" she cried. \\\"Then let us look for him. Oh, you've let him \\n walk in the gardens alone?\\\" \\n \\n \\\"What should harm the fellow?\\\" muttered Sapt. \\n \\n She did not hear him, for she had swept out of the room. Helga went with\",\n \"his feet. A second later he jerked his head--it was bare, and I saw \\n the dark red hair stir with the movement--like a man who has settled \\n something which caused him a puzzle. In an instant we knew, by the quick \\n intuition of contagious emotion, that the question had found its answer. \\n He was by now king or a fugitive. The Lady of the Skies had given her \\n decision. The thrill ran through us; I felt the queen draw herself\",\n \"set a sentry at the end of the passage with orders that her Majesty \\n should on no pretence be disturbed, promised her very audibly to return \\n as soon as he possibly could, and respectfully closed the door after \\n she had entered. The constable was well aware of the value in a secret \\n business of doing openly all that can safely be done with openness. \\n \\n All of what passed at that interview I do not know, but a part Queen \\n Flavia herself told to me, or rather to Helga, my wife; for although it\",\n \"her memories. There was no child to bridge the gulf between them, and \\n although she was his queen and his wife, she grew almost a stranger to \\n him. So he seemed to will that it should be. \\n \\n Thus, worse than widowed, she lived for three years; and once only in \\n each year she sent three words to the man she loved, and received from \\n him three words in answer. Then her strength failed her. A pitiful scene \\n had occurred in which the king peevishly upbraided her in regard to some\",\n \"\\\"My queen!\\\" said he, laughing again. \\n \\n \\\"No, I knew really, Rudolf, I knew really,\\\" and now her hands flew out \\n towards him, imploring his pardon. Then she began to speak quickly: \\n \\\"Rudolf, last night I had a dream about you, a strange dream. I seemed \\n to be in Strelsau, and all the people were talking about the king. It \\n was you they meant; you were the king. At last you were the king, and I\",\n \"destination by a circuitous way, hoping to gain it without attracting \\n notice. The queen's carriage was still before my door, for it had been \\n arranged that she was to proceed to the palace and there await tidings. \\n My wife and I were to accompany her; and I went to her now, where she \\n sat alone, and asked if it were her pleasure to start at once. I found \\n her thoughtful but calm. She listened to me; then, rising, she said,\",\n \"king's sovereignty. It seemed to me that by the violence and bloodshed \\n we had passed through, fate, for once penitent, was but righting the \\n mistake made when Rudolf was not born a king. \\n \\n For a long while I stood thus, musing and dreaming; I was roused by the \\n sound of the door opening and closing; turning, I saw the queen. She was \\n alone, and came towards me with timid steps. She looked out for a moment\",\n \"\\\"I gave my honor to the queen, and even in that I will serve her if she \\n commands me.\\\" \\n \\n Bernenstein sprang forward and caught him by the hand. \\\"That's what I \\n like,\\\" said he, \\\"and damn the moon, colonel!\\\" His sentence was hardly \\n out of his mouth when the door opened, and to our astonishment the queen \\n entered. Helga was just behind her; her clasped hands and frightened \\n eyes seemed to protest that their coming was against her will. The queen\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"and stretched out her hands towards me, her eyes filled with tears. \\n \\n \\\"Yet,\\\" said she, \\\"your wife knows, and still loves me, Fritz.\\\" \\n \\n \\\"She should be no wife of mine, if she didn't,\\\" I cried. \\\"For I and all \\n of mine ask no better than to die for your Majesty.\\\" \\n \\n \\\"She knows, and yet she loves me,\\\" repeated the queen. I loved to see \\n that she seemed to find comfort in Helga's love. It is women to whom\",\n \"Yet there was in truth nothing strange in the queen seeking to see old \\n Sapt that night, nor in her guessing where he would most probably be \\n found. For she had asked him three times whether news had come from \\n Wintenberg and each time he had put her off with excuses. Quick to \\n forbode evil, and conscious of the pledge to fortune that she had given \\n in her letter, she had determined to know from him whether there were \\n really cause for alarm, and had stolen, undetected, from her apartments\",\n \"for eager talk and for conjectures unrestrained by respect or charity. \\n Therefore, alive as we were to its difficulties and its unending risks, \\n we yet conceived of the thing as possible, had it in our hearts, and \\n hinted it to one another--my wife to me, I to Bernenstein, and he \\n to me--in quick glances and half uttered sentences that declared its \\n presence while shunning the open confession of it. For the queen herself \\n I cannot speak. Her thoughts, as I judged them, were bounded by the\",\n \"I did not understand what plan he had in his head, or what scheme he \\n could contrive. But at the moment my mind was not directed to such \\n matters; it was set on the sight before my eyes. \\n \\n \\\"And the queen?\\\" I whispered in answer to him. \\n \\n Low as my voice was, she heard it. She turned to us with a sudden, \\n startled movement, still holding Helga's hand. Her eyes searched our \\n faces, and she knew in an instant of what we had been speaking. A little\",\n \"Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \\n the door and the queen appeared on the threshold. She was very pale, \\n and she had been crying, but her eyes were happy and her air firm. The \\n moment he saw her, young Bernenstein fell on his knee and raised her \\n hand to his lips. \\n \\n \\\"To the death, madame,\\\" said he, in a trembling voice. \\n \\n \\\"I knew it, sir,\\\" she answered graciously. Then she looked round on the\",\n \"\\\"You'll be in time?\\\" asked the queen, with clasped hands and frightened \\n eyes. \\n \\n \\\"Assuredly, madam,\\\" returned Sapt with a bow. \\n \\n \\\"You won't let him reach the king?\\\" \\n \\n \\\"Why, no, madam,\\\" said Sapt with a smile. \\n \\n \\\"From my heart, gentlemen,\\\" she said in a trembling voice, \\\"from my \\n heart--\\\" \\n \\n \\\"Here are the horses,\\\" cried Sapt. He snatched her hand, brushed it\",\n \"him, and his body never stirring from hour to hour through the long day. \\n \\n A distant faint hum of voices reached us. The queen laid her hand on my \\n arm. \\n \\n \\\"It is the dream, Fritz,\\\" she said. \\\"Hark! They speak of the king; they \\n speak in low voices and with grief, but they call him king. It's what I \\n saw in the dream. But he does not hear nor heed. No, he can't hear nor \\n heed even when I call him my king.\\\" \\n\",\n \"\\\"The queen changed her mind suddenly,\\\" said I, smiling. \\\"Ladies do, as \\n you know well, you who know all about them.\\\" \\n \\n My compliment, or insinuation, produced a pleased smile and a gallant \\n twirling of his moustache. \\n \\n \\\"Well, I thought you'd be here soon,\\\" he said, \\\"but I didn't know that \\n the queen had come.\\\" \\n \\n \\\"You didn't? Then why did you look for me?\\\" \\n\"\n ],\n [\n \"prince whom Michael's villains had caught in the shooting lodge. There \\n was worse than this. As time went on, the first impulse of gratitude and \\n admiration that he had felt towards Mr. Rassendyll died away. He came to \\n brood more and more on what had passed while he was a prisoner; he was \\n possessed not only by a haunting dread of Rupert of Hentzau, at whose \\n hands he had suffered so greatly, but also by a morbid, half mad\",\n \"\\\"Not I, sire!\\\" he repeated, in a half-merry, half-sad mockery. Then he \\n came between Bernenstein and me and passed his arms through ours. \\\"You \\n two villains!\\\" he said. \\\"You two unscrupulous villains! Here you are, \\n as rough as bears, because I won't be a thief! Why have I killed young \\n Rupert and left you rogues alive?\\\" \\n \\n I felt the friendly pressure of his hand on my arm. I could not answer\",\n \"\\\"The Count of Hentzau, my lord, has incurred my heaviest displeasure.\\\" \\n \\n \\\"Sire, it is in the hopes of atoning for his offences that he has sent \\n me here to-day. There is a conspiracy against your Majesty's honor.\\\" \\n \\n \\\"By whom, my lord?\\\" asked Rudolf, in cold and doubting tones. \\n \\n \\\"By those who are very near your Majesty's person and very high in your \\n Majesty's love.\\\" \\n \\n \\\"Name them.\\\"\",\n \"Rischenheim's errand had fallen out ill, at which he was not surprised, \\n and that his old enemy was again in his path, at which (as I verily \\n believe) he was more glad than sorry. As Rudolf entered, he had been \\n half-way between window and table; he came forward to the table now, and \\n stood leaning the points of two fingers on the unpolished dirty-white \\n deal. \\n \\n \\\"Ah, the play-actor!\\\" said he, with a gleam of his teeth and a toss of\",\n \"were to have five crowns each and go home in peace; if the former, they \\n were to do their work and make ten crowns. Years after, one of them told \\n me the whole story without shame or reserve. What their work was, the \\n heavy bludgeons they carried and the long knife that one of them had \\n lent to Bauer showed pretty clearly. \\n \\n But neither to Bauer nor to them did it occur that their quarry might be \\n crouching near, hunting as well as hunted. Not that the pair of ruffians\",\n \"who lay on the ground. Then Rupert walked towards the door. I wish I \\n had seen his face then! Did he frown or smile? Was triumph or chagrin \\n uppermost? Remorse? Not he! \\n \\n He reached the door and passed through. That was the last Herbert saw of \\n him; but the fourth actor in the drama, the wordless player whose part \\n had been so momentous, took the stage. Limping along, now whining in \\n sharp agony, now growling in fierce anger, with blood flowing but hair\",\n \"\\\"Let me alone, man. I haven't read anything so amusing for a long \\n while,\\\" answered Rupert. Then he burst into a laugh, crying, \\\"Look, \\n look!\\\" and pointing to the foot of the last page of the letter. I was \\n mad with anger; my fury gave me new strength. In his enjoyment of what \\n he read Rupert had grown careless; his knee pressed more lightly on me, \\n and as he showed Rischenheim the passage in the letter that caused him\",\n \"his revolver in his hand--none too soon, for Rupert of Hentzau's barrel \\n faced him, and they stood thus, opposite to one another, with no more \\n than three or four feet between the mouths of their weapons. \\n \\n There is, indeed, much that may be said against Rupert of Hentzau, the \\n truth about him well-nigh forbidding that charity of judgment which we \\n are taught to observe towards all men. But neither I nor any man who\",\n \"motioning impatiently to the man to hold the lantern nearer, he began to \\n examine the contents. I remember well the look of his face as the fierce \\n white light threw it up against the darkness in its clear pallor and \\n high-bred comeliness, with its curling lips and scornful eyes. He had \\n the letter now, and a gleam of joy danced in his eyes as he tore it \\n open. A hasty glance showed him what his prize was; then, coolly and\",\n \"that he meant to strangle him, but the anger, long stored in his heart, \\n found vent in the fierce grip of his fingers. It is certain that \\n Bauer thought his time was come, unless he struck a blow for himself. \\n Instantly he raised his hand and thrust fiercely at Rudolf with his long \\n knife. Mr. Rassendyll would have been a dead man, had he not loosed his \\n hold and sprung lightly away. But Bauer sprang at him again, thrusting \\n with the knife, and crying to his associates,\",\n \"\\\"Yes; and the horse pecked and stumbled, and I fell forward on his neck. \\n I put out my arm to recover myself, and--I jerked my revolver on to the \\n ground.\\\" \\n \\n \\\"And he saw?\\\" \\n \\n \\\"He saw, curse him. For a second he waited; then he smiled, and turned, \\n and dug his spurs in and was off, straight across country towards \\n Strelsau. Well, I was off my horse in a moment, and I fired three times \\n after him.\\\" \\n\",\n \"\\\"Yes, pray do,\\\" said he. \\\"I want somebody to look after me. Who knows \\n what that villain Rupert may attempt against me? And I can't defend \\n myself can I? I'm not Rudolf Rassendyll, am I?\\\" \\n \\n Thus, with a mixture of plaintiveness and malice, he scolded me. At last \\n I stood silent, waiting till he should be pleased to dismiss me. At any \\n rate I was thankful that he entertained no suspicion as to my errand.\",\n \"\\\"My lord, you're alone in this matter now. Rischenheim is a prisoner; \\n your rogue Bauer I encountered last night and broke his head.\\\" \\n \\n \\\"Ah, you did?\\\" \\n \\n \\\"You have what you know of in your hands. If you yield, on my honor I \\n will save your life.\\\" \\n \\n \\\"You don't desire my blood, then, most forgiving play-actor?\\\" \\n \\n \\\"So much, that I daren't fail to offer you life,\\\" answered Rudolf\",\n \"The servant bowed and shut the door. \\n \\n \\\"Open it,\\\" commanded Sapt. \\n \\n \\\"God's curse on you!\\\" cried Rischenheim in a voice that choked with \\n passion. \\n \\n \\\"Eh? Oh, you can have no secrets from so good a friend as I am, my lord. \\n Be quick and open it.\\\" \\n \\n The count began to open it. \\n \\n \\\"If you tear it up, or crumple it, I'll shoot you,\\\" said Sapt quietly.\",\n \"and most persistent eye-shutting, in which occupations an hour wore its \\n life away. Rudolf had not passed out of the porch, and we supposed that \\n he had betaken himself to the gardens, there to fight his battle. Old \\n Sapt, having done his work, suddenly turned talkative. \\n \\n \\\"That moon there,\\\" he said, pointing his square, thick forefinger at the \\n window, \\\"is a mighty untrustworthy lady. I've known her wake a villain's \\n conscience before now.\\\" \\n\",\n \"Rassendyll, and that I played the king only in order to serve the queen \\n and punish Rupert of Hentzau. That will serve, and it will cut this net \\n of Sapt's from about my limbs.\\\" \\n \\n He spoke firmly and coldly; so that when I looked at him I was amazed \\n to see how his lips twitched and that his forehead was moist with sweat. \\n Then I understood what a sudden, swift, and fearful struggle he had\",\n \"\\\"You'll be in time?\\\" asked the queen, with clasped hands and frightened \\n eyes. \\n \\n \\\"Assuredly, madam,\\\" returned Sapt with a bow. \\n \\n \\\"You won't let him reach the king?\\\" \\n \\n \\\"Why, no, madam,\\\" said Sapt with a smile. \\n \\n \\\"From my heart, gentlemen,\\\" she said in a trembling voice, \\\"from my \\n heart--\\\" \\n \\n \\\"Here are the horses,\\\" cried Sapt. He snatched her hand, brushed it\",\n \"suffered, and how the great temptation had wrung and tortured him before \\n he, victorious, had set the thing behind him. I went to him and clasped \\n his hand: this action of mine seemed to soften him. \\n \\n \\\"Sapt, Sapt,\\\" he said, \\\"you almost made a rogue of me.\\\" \\n \\n Sapt did not respond to his gentler mood. He had been pacing angrily up \\n and down the room. Now he stopped abruptly before Rudolf, and pointed \\n with his finger at the queen. \\n\",\n \"For, plan cautiously and skillfully as he might, Rudolf fought with an \\n antagonist who lost no chances, and who had found an apt and useful tool \\n in that same Bauer, a rascal, and a cunning rascal, if ever one were \\n bred in the world. From the beginning even to the end our error lay in \\n taking too little count of this fellow, and dear was the price we paid. \\n \\n Both to my wife and to Rudolf himself the street had seemed empty of\",\n \"\\\"This is all a lie, Sapt,\\\" said he, and his lips curled in contemptuous \\n amusement. \\n \\n \\\"It's no lie that the lodge is burnt, and the bodies in it, and that \\n half a hundred of the peasants know it, and that no man could tell the \\n body for the king's. As for the rest, it is a lie. But I think the truth \\n in it is enough to serve.\\\" \\n \\n The two men stood facing one another with defiant eyes. Rudolf had\"\n ],\n [\n \"Rudolf tore it further open, and his hand dashed in. \\n \\n \\\"God's curse on you!\\\" snarled Rupert of Hentzau. \\n \\n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \\n at it showed him the queen's seal. As he glanced Rupert made another \\n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \\n more than time to spring away, holding his prize. The next moment he had\",\n \"\\\"Yes, sire. It is addressed to--\\\" Rischenheim paused. \\n \\n \\\"Well, my lord, to whom?\\\" \\n \\n \\\"To a Mr. Rudolf Rassendyll.\\\" \\n \\n Now Rudolf played his part well. He did not feign indifference, but \\n allowed his voice to tremble with emotion as he stretched out his hand \\n and said in a hoarse whisper, \\\"Give it me, give it me.\\\" \\n \\n Rischenheim's eyes sparkled. His shot had told: the king's attention was\",\n \"have suspected that I carried some such token as the box, but he could \\n not know of the letter. Would he listen to Rischenheim? No. The Count of \\n Hentzau did things thoroughly. \\n \\n \\\"We may as well overhaul him a bit more,\\\" said he, and resumed his \\n search. My hope vanished, for now he was bound to come upon the letter. \\n \\n Another instant brought him to it. He snatched the pocketbook, and,\",\n \"letter, she stooped suddenly and kissed him off the brow. Then she \\n looked straight across at Helga, almost defiantly; but Helga ran to her \\n and caught her in her arms. \\n \\n Rudolf Rassendyll sat with his head resting on his hand. He looked up \\n once at the two women; then he caught my eye, and beckoned me to come to \\n him. I approached him, but for several moments he did not speak. Again\",\n \"There were two things that seemed plain. If Rupert had escaped the trap \\n and was still alive with the letter on him, Rupert must be found; here \\n was the first task. That accomplished, there remained for Rudolf himself \\n nothing save to disappear as quietly and secretly as he had come, \\n trusting that his presence could be concealed from the man whose name \\n he had usurped. Nay, if need were, the king must be told that Rudolf \\n Rassendyll had played a trick on the chancellor, and, having enjoyed his\",\n \"might be the business he professed as his errand. On the other hand, \\n nothing was known against Rischenheim, while his rank would secure, and \\n indeed entitle, him to an early audience. Therefore I concluded that \\n Rischenheim would go with the letter, or, if Rupert would not let that \\n out of his possession, with the news of the letter. \\n \\n \\\"Or a copy,\\\" suggested Rassendyll. \\\"Well, Rischenheim or Rupert will be\",\n \"close on his heels, was in no better plight. Evidently they had ridden \\n hard and furiously; indeed they were still panting. Sapt, with a most \\n perfunctory bow to the queen, came straight to where Rudolf stood. \\n \\n \\\"Is he dead?\\\" he asked, without preface. \\n \\n \\\"Yes, Rupert is dead,\\\" answered Mr. Rassendyll: \\\"I killed him.\\\" \\n \\n \\\"And the letter?\\\" \\n \\n \\\"I burnt it.\\\" \\n \\n \\\"And Rischenheim?\\\"\",\n \"concerning the letter, he would doubtless tell the king that Rudolf \\n Rassendyll was in the castle. He leant now over the king's shoulder, and \\n said with a sneer: \\n \\n \\\"Messages from Rupert of Hentzau are too exalted matters for my poor \\n ears, it seems.\\\" \\n \\n The king flushed red. \\n \\n \\\"Is that your business, my lord?\\\" he asked Rischenheim sternly. \\n \\n \\\"Your Majesty does not know what my cousin--\\\" \\n\",\n \"that made the concealment of another copy, or of any other document, \\n impossible. Then they let him sit down again. His eyes seemed fascinated \\n by Rudolf Rassendyll. \\n \\n \\\"Yet you've seen me before, I think,\\\" smiled Rudolf. \\\"I seem to remember \\n you as a boy in Strelsau when I was there. Now tell us, sir, where \\n did you leave this cousin of yours?\\\" For the plan was to find out from\",\n \"Rudolf Rassendyll. He sat down on the bed by me, and went on in quick, \\n decisive words: \\\"You can't move for a day or two. Send my message to \\n Sapt. Tell him to keep you informed of what happens. As soon as you can \\n travel, go to Strelsau, and let Sapt know directly you arrive. We shall \\n want your help.\\\" \\n \\n \\\"And what are you going to do?\\\" I cried, staring at him. \\n\",\n \"\\\"All right,\\\" said Rudolf Rassendyll. \\\"I can read my letter there.\\\" \\n \\n \\\"Burn it, you fool.\\\" \\n \\n \\\"When I've read it I'll eat it, if you like, but not before.\\\" \\n \\n Bernenstein looked in again. \\\"Quick, quick! The man will be back,\\\" he \\n whispered. \\n \\n \\\"Bernenstein, did you hear what I said to the count?\\\" \\n \\n \\\"Yes, I heard.\\\" \\n\",\n \"Rassendyll. \\\"Come, sir, your plan has failed: give up the letter.\\\" \\n \\n Rupert looked at him thoughtfully. \\n \\n \\\"You'll see me safe off if I give it you?\\\" he asked. \\n \\n \\\"I'll prevent your death. Yes, and I'll see you safe.\\\" \\n \\n \\\"Where to?\\\" \\n \\n \\\"To a fortress, where a trustworthy gentleman will guard you.\\\" \\n \\n \\\"For how long, my dear friend?\\\" \\n\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"said I; and I watched her eyes still. For a long while (or long \\n it seemed) they were on my face; at last, as though drawn by some \\n irresistible force, they turned away. I followed the new line they took. \\n She looked at Rudolf Rassendyll, and he at her. Helga had taken out her \\n handkerchief, and, utterly upset by the horror and shock, was lying back \\n in a low chair, sobbing half-hysterically; I saw the swift look that\",\n \"standing still!\\\" \\n \\n The carrying of arms in Strelsau was forbidden. Bauer had no wish to get \\n into trouble with the police, and, moreover, he had intended nothing \\n but a reconnaissance; he was therefore without any weapon, and he was a \\n child in Rudolf's grasp. He had no alternative but to obey the \\n suasion of Mr. Rassendyll's arm, and they two began to walk down the \\n Konigstrasse. Bauer's whistle had died away, not to return; but from\",\n \"seemed very faint and weary, but at peace. It was enough for her that \\n Rudolf fought and planned for her. \\n \\n \\\"And see this,\\\" Rudolf went on. \\\"'The king will not leave the lodge \\n to-day.' Thank God, then, we have to-day!\\\" \\n \\n \\\"Yes, but where's Rupert?\\\" \\n \\n \\\"We shall know in an hour, if he's in Strelsau,\\\" and Mr. Rassendyll\",\n \"I could not persuade myself into security. I carried the queen's letter, \\n and--well, I would have given much to have old Sapt or Rudolf Rassendyll \\n by my side. \\n \\n Now, when a man suspects danger, let him not spend his time in asking \\n whether there be really danger or in upbraiding himself for timidity, \\n but let him face his cowardice, and act as though the danger were real. \\n If I had followed that rule and kept my eyes about me, scanning the\",\n \"tongue set wagging with gossip and guesses concerning Rudolf Rassendyll \\n and his relations with the queen. Who that knows what men and women are \\n would not have shrunk from that alternative? To adopt it was to expose \\n the queen to all or nearly all the peril she had run by the loss of \\n the letter. We indeed assumed, influenced by Rudolf's unhesitating \\n self-confidence, that the letter would be won back, and the mouth of \\n Rupert of Hentzau shut; but enough would remain to furnish material\",\n \"hidden at all costs, and which the queen's passionate exclamation had \\n threatened to expose. There was a Rudolf Rassendyll, and he had been \\n king; but, more than all this, the queen loved him and he the queen. \\n That could be told to none, not even to Helsing; for Helsing, though he \\n would not gossip to the town, would yet hold himself bound to carry \\n the matter to the king. So Rudolf chose to take any future difficulties\",\n \"\\\"Yes, a letter, too; she wrote a letter, and I carried that as well as \\n the box. I've lost them both, Rudolf. God help me, I've lost them both! \\n Rupert has the letter too!\\\" I think I must have been weak and unmanned \\n from the blow I had received, for my composure broke down here. Rudolf \\n stepped up to me and wrung me by the hand. I mastered myself again and \\n looked in his face as he stood in thought, his hand caressing the strong\"\n ],\n [\n \"\\\"Yes, a letter, too; she wrote a letter, and I carried that as well as \\n the box. I've lost them both, Rudolf. God help me, I've lost them both! \\n Rupert has the letter too!\\\" I think I must have been weak and unmanned \\n from the blow I had received, for my composure broke down here. Rudolf \\n stepped up to me and wrung me by the hand. I mastered myself again and \\n looked in his face as he stood in thought, his hand caressing the strong\",\n \"have suspected that I carried some such token as the box, but he could \\n not know of the letter. Would he listen to Rischenheim? No. The Count of \\n Hentzau did things thoroughly. \\n \\n \\\"We may as well overhaul him a bit more,\\\" said he, and resumed his \\n search. My hope vanished, for now he was bound to come upon the letter. \\n \\n Another instant brought him to it. He snatched the pocketbook, and,\",\n \"found no place in me--a great longing, the prospect or hope of whose \\n sudden fulfilment dwarfed danger and banished despair. He saw that I \\n detected its presence in him and perceived how it filled his mind. \\n \\n \\\"But the letter comes before all,\\\" said he. \\\"I expected to die without \\n seeing her; I will die without seeing her, if I must, to save the \\n letter.\\\" \\n \\n \\\"I know you will,\\\" said I. \\n \\n He pressed my hand again. As he turned away, James came with his\",\n \"\\\"Why not, man; why not?\\\" he asked in urgent low tones. Again I looked \\n at them, but somehow this time my eyes were attracted and held by the \\n queen's face. I believe that she was the first to catch a hint of the \\n tidings I brought. Her lips were parted, and her gaze eagerly strained \\n upon me. I rubbed my hand across my forehead, and, looking up stupidly \\n at her, I said: \\n \\n \\\"He never can see the letter. He's dead.\\\" \\n\",\n \"\\\"But surely Sapt, or Bernenstein, or some one was with him?\\\" \\n \\n \\\"As I tell you, his forester and his boar-hound. No other man or beast, \\n on my honor.\\\" \\n \\n \\\"Then you gave him the letter?\\\" cried Rischenheim, trembling with \\n excitement. \\n \\n \\\"Alas, no, my dear cousin. I threw the box at him, but I don't think he \\n had time to open it. We didn't get to that stage of the conversation at\",\n \"\\\"Then let's do it!\\\" I cried. \\n \\n \\\"With the queen's letter on him,\\\" said Colonel Sapt. \\n \\n I had forgotten. \\n \\n \\\"We have the box, he has the letter still,\\\" said Sapt. \\n \\n I could have laughed even at that moment. He had left the box (whether \\n from haste or heedlessness or malice, we could not tell), but the letter \\n was on him. Taken alive, he would use that powerful weapon to save his\",\n \"with a mattock when I rode up; Sapt was standing by, smoking his pipe. \\n The boots of both were stained and sticky with mud. I flung myself from \\n my saddle and blurted out my news. The constable snatched at his letter \\n with an oath; James leveled the ground with careful accuracy; I do \\n not remember doing anything except wiping my forehead and feeling very \\n hungry. \\n \\n \\\"Good Lord, she's gone after him!\\\" said Sapt, as he read. Then he handed \\n me the letter.\",\n \"Rudolf tore it further open, and his hand dashed in. \\n \\n \\\"God's curse on you!\\\" snarled Rupert of Hentzau. \\n \\n But Mr. Rassendyll still smiled. Then he drew out a letter. A glance \\n at it showed him the queen's seal. As he glanced Rupert made another \\n effort. The one hand, wearied out, gave way, and Mr. Rassendyll had no \\n more than time to spring away, holding his prize. The next moment he had\",\n \"I was a poor fellow to have lost her letter and yet to be alive. But she \\n would hear nothing of such talk, choosing rather to praise the little I \\n had done than to blame the great thing in which I had failed. Dismissed \\n from her presence, I flew open-mouthed to Sapt. I found him in his room \\n with Bernenstein, and had the satisfaction of learning that my news of \\n Rupert's whereabouts was confirmed by his information. I was also made\",\n \"also were shot and left dead, or so helpless that he could not destroy \\n the letter; and while Rupert's revolver was at his heart he could not \\n tear it up nor reach the fire that burnt on the other side of the \\n room. Nor did he fear the result of a trial with steel, for he had kept \\n himself in practice and improved his skill since the days when he came \\n first to Strelsau. \\n \\n \\\"As you will,\\\" said he. \\\"Provided we settle the matter here and now, the\",\n \"dark-lantern, whose glow he turned on the box. Rupert opened it, and \\n when he saw what was inside, he laughed again, and stowed it away in his \\n pocket. \\n \\n \\\"Quick, quick!\\\" urged Rischenheim. \\\"We've got what we wanted, and \\n somebody may come at any moment.\\\" \\n \\n A brief hope comforted me. The loss of the box was a calamity, but I \\n would pardon fortune if only the letter escaped capture. Rupert might\",\n \"\\\"None, my lord. She left with me a letter to the constable, which she \\n ordered me to give to his own hands as soon as he arrived at the castle. \\n She said it contained a message of importance, which the constable was \\n to convey to the king, and that it must be intrusted to nobody except \\n Colonel Sapt himself. I wonder, my lord, that you didn't notice that the \\n flag was hauled down.\\\" \\n \\n \\\"Tut, man, I wasn't staring at the keep. Give me the letter.\\\" For I saw\",\n \"there to-morrow, and I shall be there as long as the king is.\\\" \\n \\n He paused, and then added: \\\"Destroy the letter if there's any danger.\\\" \\n \\n I nodded my head. \\n \\n \\\"And destroy yourself with it, if there's the only way,\\\" he went on with \\n a surly smile. \\\"Heaven knows why she must send such a silly message at \\n all; but since she must, she'd better have sent me with it.\\\" \\n\",\n \"\\\"I don't know about that, my lord: her orders were plain, and she \\n doesn't like being disobeyed.\\\" \\n \\n The stableman had led the horse away, the footman had disappeared, \\n Hermann and I were alone. \\\"Give me the letter,\\\" I said; and I know that \\n my self-control failed, and eagerness was plain in my voice. Plain it \\n was, and Hermann took alarm. He started back, clapping his hand to the\",\n \"me, see if he--if he looks as if he still loved me.\\\" But then she broke \\n off, crying, \\\"But don't tell him I said that. He'd be grieved if I \\n doubted his love. I don't doubt it; I don't, indeed; but still tell me \\n how he looks when you speak of me, won't you, Fritz? See, here's the \\n letter.\\\" \\n \\n Taking it from her bosom, she kissed it before she gave it to me. Then\",\n \"\\\"Yes, but give me some brandy,\\\" said I. \\n \\n Rudolf gave me a little brandy mixed in a great deal of water, and then \\n I made shift to tell him. Though faint, I was not confused, and I gave \\n my story in brief, hurried, yet sufficient words. He made no sign till I \\n mentioned the letter. Then his face changed. \\n \\n \\\"A letter, too?\\\" he exclaimed, in a strange mixture of increased \\n apprehension and unlooked-for joy. \\n\",\n \"it, I could make nothing. \\n \\n \\\"The king will never see the letter,\\\" I repeated. \\\"Rupert himself has \\n insured that.\\\" \\n \\n \\\"What do you mean? You've not met Rupert? You've not got the letter?\\\" \\n \\n \\\"No, no; but the king can never read it.\\\" \\n \\n Then Rudolf seized me by the shoulder and fairly shook me; indeed I must \\n have seemed like a man in a dream or a torpor. \\n\",\n \"to bind him to secrecy, and make him impose the same obligation on his \\n wife, daughter, and servants. The chancellor was to be quieted with the \\n excuse of urgent business, and conciliated by a promise that he should \\n know its nature in the course of a few hours; meanwhile an appeal to his \\n loyalty must suffice to insure obedience. If all went well in the day \\n that had now dawned, by the evening of it the letter would be destroyed,\",\n \"\\\"Ay, but though you won't fire, you'll destroy the letter,\\\" he sneered. \\n \\\"I know your fine distinctions.\\\" \\n \\n \\\"Again I beg your pardon. You know very well that, although all Strelsau \\n were at the door, I wouldn't touch the letter.\\\" \\n \\n With an angry muttered oath Rupert flung his revolver on the table. \\n Rudolf came forward and laid his by it. Then he took up both, and,\",\n \"motioning impatiently to the man to hold the lantern nearer, he began to \\n examine the contents. I remember well the look of his face as the fierce \\n white light threw it up against the darkness in its clear pallor and \\n high-bred comeliness, with its curling lips and scornful eyes. He had \\n the letter now, and a gleam of joy danced in his eyes as he tore it \\n open. A hasty glance showed him what his prize was; then, coolly and\"\n ],\n [\n \"Ignorant of the mind and heart of young Rupert, she could not conceive \\n that he tried to kill the king. Yet the words she had caught sounded \\n like the words of men quarreling, and she could not persuade herself \\n that the gentlemen fenced only for pastime. They were not speaking now; \\n but she heard their hard breathing and the movement of their unresting \\n feet on the bare boards of the floor. Then a cry rang out, clear and \\n merry with the fierce hope of triumph: \\\"Nearly! nearly!\\\" \\n\",\n \"\\\"You expected me, sire?\\\" said Rupert with a bow; but he smiled. I know \\n that the sight of the king's alarm pleased him. To inspire terror was \\n his delight, and it does not come to every man to strike fear into the \\n heart of a king and an Elphberg. It had come more than once to Rupert of \\n Hentzau. \\n \\n \\\"No,\\\" muttered the king. Then, recovering his composure a little, he \\n said angrily, \\\"How dare you come here?\\\" \\n\",\n \"\\\"You didn't expect me?\\\" cried Rupert, and in an instant the thought of a \\n trap seemed to flash across his alert mind. He drew the revolver halfway \\n from his belt, probably in a scarcely conscious movement, born of the \\n desire to assure himself of its presence. With a cry of alarm Herbert \\n flung himself before the king, who sank back on the bed. Rupert, \\n puzzled, vexed, yet half-amused (for he smiled still, the man said),\",\n \"looked as though it would please him well to find Rupert in Strelsau. \\n \\\"Yes, I must seek him. I shall stand at nothing to find him. If I can \\n only get to him as the king, then I'll be the king. We have to-day!\\\" \\n \\n My message put them in heart again, although it left so much still \\n unexplained. Rudolf turned to the queen. \\n \\n \\\"Courage, my queen,\\\" said he. \\\"A few hours now will see an end of all \\n our dangers.\\\"\",\n \"guiltily conscious of having left the door unbolted, drew back. He was \\n unarmed, but, being a stout fellow, was prepared to defend his master \\n as best he could. Rupert--beyond doubt it was Rupert--laughed lightly, \\n saying again, \\\"Man, he expects me. Go and tell him,\\\" and sat himself on \\n the table, swinging his leg. Herbert, influenced by the visitor's air of \\n command, began to retreat towards the bedroom, keeping his face towards \\n Rupert. \\n\",\n \"\\\"Gone? How will that help, since they believe you to be the king?\\\" \\n \\n \\\"You can keep it from the king,\\\" he urged. \\\"I couldn't help it. I can \\n settle with Rupert and disappear.\\\" \\n \\n The three were standing round me, surprised at my great and terrible \\n agitation. Looking back now, I wonder that I could speak to them at all. \\n \\n Rudolf tried again to reassure me. He little knew the cause of what he \\n saw. \\n\",\n \"deliberately he settled himself to read, regarding neither Rischenheim's \\n nervous hurry nor my desperate, angry glance that glared up at him. He \\n read leisurely, as though he had been in an armchair in his own house; \\n the lips smiled and curled as he read the last words that the queen had \\n written to her lover. He had indeed come on more than he thought. \\n \\n Rischenheim laid a hand on his shoulder. \\n \\n \\\"Quick, Rupert, quick,\\\" he urged again, in a voice full of agitation. \\n\",\n \"own servant, and thus we had been able to talk freely. The man's calm \\n confidence in his master and his master's fortune also went far to \\n comfort me. \\n \\n \\\"The king should be back soon,\\\" said Sapt at last, with a glance at his \\n big, old-fashioned silver watch. \\\"Thank God, he'll be too tired to sit \\n up long. We shall be free by nine o'clock, Fritz. I wish young Rupert\",\n \"\\\"Yes, pray do,\\\" said he. \\\"I want somebody to look after me. Who knows \\n what that villain Rupert may attempt against me? And I can't defend \\n myself can I? I'm not Rudolf Rassendyll, am I?\\\" \\n \\n Thus, with a mixture of plaintiveness and malice, he scolded me. At last \\n I stood silent, waiting till he should be pleased to dismiss me. At any \\n rate I was thankful that he entertained no suspicion as to my errand.\",\n \"\\\"A lucky thing I met him,\\\" said Rupert cheerily. \\\"The wagon hid me very \\n well; and handsome as my face is, I can't let Strelsau enjoy too much of \\n it just now. Well, mother, what cheer? And you, my pretty, how goes it \\n with you?\\\" He carelessly brushed the girl's cheek with the glove that \\n he had drawn off. \\\"Faith, though, I beg your pardon.\\\" he added a moment\",\n \"heard or felt me, and turned his eyes for an instant. I do not know \\n what my face said, but he shook his head and turned back to Rupert. The \\n revolver, held still in the man's own hand, was at his heart. The motion \\n ceased, the point was reached. \\n \\n I looked again at Rupert. Now his face was easier; there was a slight \\n smile on his lips; he flung back his comely head and rested thus against\",\n \"\\\"We must find that out, I think.\\\" \\n \\n Rischenheim turned abruptly on him. \\n \\n \\\"I had no hand in this thing,\\\" he said, \\\"and I'll have no more to do \\n with it. I was not there. What did I know of the king being there? I'm \\n not guilty of it: on my soul, I know nothing of it.\\\" \\n \\n \\\"That's all very true,\\\" nodded Rupert. \\n\",\n \"year before at Dresden; Rupert was keeping a watchful eye on all that \\n passed in Strelsau; Rupert had procured the fellow his fine testimonials \\n and sent him to me, in the hope that he would chance on something of \\n advantage to his employer. My resolve to take him to Wintenberg may \\n have been hoped for, but could scarcely have been counted on; it was the \\n added luck that waits so often on the plans of a clever schemer. \\n\",\n \"\\\"Let me alone, man. I haven't read anything so amusing for a long \\n while,\\\" answered Rupert. Then he burst into a laugh, crying, \\\"Look, \\n look!\\\" and pointing to the foot of the last page of the letter. I was \\n mad with anger; my fury gave me new strength. In his enjoyment of what \\n he read Rupert had grown careless; his knee pressed more lightly on me, \\n and as he showed Rischenheim the passage in the letter that caused him\",\n \"tree must have what they call a fair trial; and we feared that, if \\n Rupert were handed over to our police and arraigned before the courts \\n at Strelsau, the secret which we guarded so sedulously would become the \\n gossip of all the city, ay, and of all Europe. So Rupert went unpunished \\n except by banishment and the impounding of his rents. \\n \\n Yet Sapt was in the right about him. Helpless as he seemed, he did\",\n \"Rupert began to pace up and down the room, smoking another cigarette at \\n a great pace. Rischenheim sat down by the table, resting his head on \\n his hand. He was wearied out by strain and excitement, his wounded arm \\n pained him greatly, and he was full of horror and remorse at the event \\n which happened unknown to him the night before. \\n \\n \\\"I wish I was quit of it,\\\" he moaned at last. Rupert stopped before him. \\n\",\n \"ceased to contrive how he might gain permission to return and enjoy the \\n estates to which his uncle's death had entitled him. The chief agent \\n through whom he had the effrontery to approach the king was his \\n relative, the Count of Luzau-Rischenheim, a young man of high rank and \\n great wealth who was devoted to Rupert. The count fulfilled his mission \\n well: acknowledging Rupert's heavy offences, he put forward in his \\n behalf the pleas of youth and of the predominant influence which Duke\",\n \"kill Rupert and to convince the king that the letter was a forgery--a \\n desperate hope, so desperate that we turned our eyes away from the \\n possibility which would make it our only resource. \\n \\n We were now very near the hunting-lodge, being about forty yards from \\n the front of it. All at once Sapt threw himself on his stomach on the \\n ground. \\n \\n \\\"Give me a match,\\\" he whispered. \\n \\n James struck a light, and, the night being still, the flame burnt\",\n \"Michael had exercised over his adherent, and promised, in words so \\n significant as to betray Rupert's own dictation, a future fidelity no \\n less discreet than hearty. \\\"Give me my price and I'll hold my tongue,\\\" \\n seemed to come in Rupert's off-hand accents through his cousin's \\n deferential lips. As may be supposed, however, the king and those who \\n advised him in the matter, knowing too well the manner of man the\",\n \"\\\"I hope for many years, my dear Count.\\\" \\n \\n \\\"In fact, I suppose, as long as--?\\\" \\n \\n \\\"Heaven leaves you to the world, Count. It's impossible to set you \\n free.\\\" \\n \\n \\\"That's the offer, then?\\\" \\n \\n \\\"The extreme limit of indulgence,\\\" answered Rudolf. Rupert burst into \\n a laugh, half of defiance, yet touched with the ring of true amusement. \\n Then he lit a cigarette and sat puffing and smiling. \\n\"\n ],\n [\n \"hidden at all costs, and which the queen's passionate exclamation had \\n threatened to expose. There was a Rudolf Rassendyll, and he had been \\n king; but, more than all this, the queen loved him and he the queen. \\n That could be told to none, not even to Helsing; for Helsing, though he \\n would not gossip to the town, would yet hold himself bound to carry \\n the matter to the king. So Rudolf chose to take any future difficulties\",\n \"\\\"A Mr. Rassendyll, a friend of the king's, who with his servant James \\n was awaiting his Majesty's return from Strelsau. His servant here is \\n ready to start for England, to tell Mr. Rassendyll's relatives the \\n news.\\\" \\n \\n The queen had begun to listen before now; her eyes were fixed on Sapt, \\n and she had stretched out one arm to him, as if imploring him to read \\n her his riddle. But a few words had in truth declared his device plainly\",\n \"again wrapped up. She watched his tall figure stride quickly along \\n till a turn of the road hid it. Then, having closed the window and the \\n shutters again, she sat down to keep her watch, praying for him, for me, \\n and for her dear mistress the queen. For she knew that perilous work \\n was afoot that night, and did not know whom it might threaten or whom \\n destroy. \\n \\n From the moment that Mr. Rassendyll thus left my house at midnight on\",\n \"between the queen and Rudolf Rassendyll, set his spies to work, and \\n was rewarded by discovering the object of my yearly meetings with Mr. \\n Rassendyll. At least he conjectured the nature of my errand; this was \\n enough for him. Head and hand were soon busy in turning the knowledge to \\n account; scruples of the heart never stood in Rupert's way. \\n \\n The marriage which had set all Ruritania on fire with joy and formed\",\n \"and she held out her hand. \\n \\n Well, he was young; I do not laugh at the sob that escaped his lips as \\n he turned his head. \\n \\n \\\"Let me try something else!\\\" he implored. \\n \\n \\\"Mr. Rassendyll,\\\" said the queen, \\\"you'll do my pleasure by employing \\n this gentleman in my further service. I am already deep in his debt, and \\n would be deeper.\\\" There was a moment's silence. \\n\",\n \"\\\"Nobody knows yet,\\\" I said. \\\"We were afraid you might be taken for him \\n by somebody. But, my God, Rudolf, what's to be done now?\\\" \\n \\n Mr. Rassendyll's lips were set firm and tight. He frowned slightly, and \\n his blue eyes wore a curious entranced expression. He seemed to me to be \\n forgetful of everything, even of us who were with him, in some one idea \\n that possessed him. The queen herself came nearer to him and lightly\",\n \"It was now well on in the morning, and the risk of Rudolf's sojourn in \\n the castle grew greater with every moment. Yet he was resolved to \\n see the queen before he went. This interview presented no great \\n difficulties, since her Majesty was in the habit of coming to the \\n constable's room to take his advice or to consult with him. The hardest \\n task was to contrive afterwards a free and unnoticed escape for Mr. \\n Rassendyll. To meet this necessity, the constable issued orders that\",\n \"the death of Mr. Rassendyll. The plans we had laid to secure his tenure \\n of the throne, in case he had accepted it, served well in the event \\n of his death. Bauer's lips were for ever sealed; the old woman was too \\n scared and appalled to hint even to her gossips of the suspicions she \\n entertained. Rischenheim was loyal to the pledge he had given to the \\n queen. The ashes of the hunting-lodge held their secret fast, and none\",\n \"Rassendyll, the man who bore a face that he dared not show in open day, \\n must be under cover; else men would say that the king was in Strelsau, \\n and the news would flash in a few hours through the kingdom and (so \\n Rudolf feared) reach even those ears which we knew to be shut to all \\n earthly sounds. But there was still some time at Mr. Rassendyll's \\n disposal, and he could not spend it better than in pursuing his fight\",\n \"Rassendyll himself was confident of his ability to conceal his presence, \\n or, if need were, so to hide his face that no strange tale of the king \\n being seen wandering, alone and beardless, should reach the ears of the \\n castle or the town. \\n \\n While Sapt was making his arrangements, Queen Flavia came to the room \\n where Rudolf Rassendyll was. It was then nearing twelve, and young \\n Bernenstein had been gone half an hour. Sapt attended her to the door,\",\n \"and her honor! While he was alive I'd have killed you sooner than let \\n you take it. He's dead. Now--for our love and her honor, lad!\\\" \\n \\n I do not know what thoughts passed in Mr. Rassendyll's mind. His face \\n was set and rigid. He made no sign when Sapt finished, but stood as \\n he was, motionless, for a long while. Then he slowly bent his head and \\n looked down into the queen's eyes. For a while she sat looking back into\",\n \"the queen's peril past, and Rudolf once more far away from Strelsau. \\n Then enough of the truth--no more--must be disclosed. Helsing would be \\n told the story of Rudolf Rassendyll and persuaded to hold his tongue \\n about the harum-scarum Englishman (we are ready to believe much of \\n an Englishman) having been audacious enough again to play the king in \\n Strelsau. The old chancellor was a very good fellow, and I do not think\",\n \"Rudolf Rassendyll had died, as a king let him lie. As a king he lay in \\n his palace at Strelsau, while the news of his murder at the hands of a \\n confederate of Rupert of Hentzau went forth to startle and appall the \\n world. At a mighty price our task had been made easy; many might have \\n doubted the living, none questioned the dead; suspicions which might \\n have gathered round a throne died away at the gate of a vault. The king\",\n \"\\\"You'll have a royal progress to your palace,\\\" said he to Rudolf \\n Rassendyll. \\n \\n Mr. Rassendyll made no answer, but, coming to me, took my arm. We \\n went out, leaving Rischenheim by the body. I did not think of him; \\n Bernenstein probably thought that he would keep his pledge given to \\n the queen, for he followed us immediately and without demur. There was \\n nobody outside the door. The house was very quiet, and the tumult from\",\n \"Nevertheless it was a quarter of an hour before Rudolf Rassendyll opened \\n the door and the queen appeared on the threshold. She was very pale, \\n and she had been crying, but her eyes were happy and her air firm. The \\n moment he saw her, young Bernenstein fell on his knee and raised her \\n hand to his lips. \\n \\n \\\"To the death, madame,\\\" said he, in a trembling voice. \\n \\n \\\"I knew it, sir,\\\" she answered graciously. Then she looked round on the\",\n \"his side. In the doorway stood Queen Flavia, all in white; and now \\n her face turned white as her dress. For her eyes had fallen on Rudolf \\n Rassendyll. For a moment the four stood thus; then Rudolf passed Sapt, \\n thrust Bernenstein's brawny shoulders (the young man had not looked \\n round) out of the way, and, falling on his knee before the queen, seized \\n her hand and kissed it. Bernenstein could see now without looking round,\",\n \"that they would go from the queen's presence set on a deadly quarrel. \\n Mr. Rassendyll, however, mastered his temper. \\n \\n \\\"You're all bent on having me a rascal,\\\" he said coldly. \\\"Fritz and \\n Bernenstein here urge me; you, Sapt, try to force me. James, there, is \\n in the plot, for all I know.\\\" \\n \\n \\\"I suggested it, sir,\\\" said James, not defiantly or with disrespect, but\",\n \"He is not too young to desire to serve the queen, and not too young to \\n learn to love and reverence him who sleeps there in the vault and was in \\n his life the noblest gentleman I have known. \\n \\n I will take the boy with me and tell him what I may of brave King \\n Rudolf, how he fought and how he loved, and how he held the queen's \\n honor and his own above all things in this world. The boy is not too \\n young to learn such lessons from the life of Mr. Rassendyll. And while\",\n \"than to be allowed to serve him all my days. Yet I serve the queen, and \\n in that I do most truly serve her lover. \\n \\n Times change for all of us. The roaring flood of youth goes by, and the \\n stream of life sinks to a quiet flow. Sapt is an old man now; soon my \\n sons will be grown up, men enough themselves to serve Queen Flavia. Yet \\n the memory of Rudolf Rassendyll is fresh to me as on the day he died,\",\n \"Rassendyll, and that I played the king only in order to serve the queen \\n and punish Rupert of Hentzau. That will serve, and it will cut this net \\n of Sapt's from about my limbs.\\\" \\n \\n He spoke firmly and coldly; so that when I looked at him I was amazed \\n to see how his lips twitched and that his forehead was moist with sweat. \\n Then I understood what a sudden, swift, and fearful struggle he had\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Who is the king of Ruritania?","Who is the Queen of Ruritania?","Who is Flavia in love with?","How are King Rudolf Elphberg related to Rudolf Rassendyl?","Who is Fritz von Tarlenheim?","Who murders King Rudolf?","Who kills Rupert of Hentzau?","Of what nationality was Rudolf Rassendyl?","How was King Rudolf killed?","In what century did the events in the story take place?","What kingdom in Europe did the story take place?","Who was the King of the fictional country in the story?","Who was the king's look alike cousin?","What was the pre marriage relationship of Flavia and the king?","Who killed the king?","How was the king assassinated?","Who delivered the love letter from Flavia to Rudolf R?","Who ruled Ruritania after the fake King Rufolf was killed?","Where is the kingdom of Ruritania?","Who did Rudolf Rassendyll kill?","Who is the Queens true love?","Who is the Queen married to and why?","Who is the villain of this story?","Who carried the letter intended for Rudolph Rassendyll?","What happened to the letter?","Who was Rupert trying to please?","What did Rasendyll do for the Queen?"],"string":"[\n \"Who is the king of Ruritania?\",\n \"Who is the Queen of Ruritania?\",\n \"Who is Flavia in love with?\",\n \"How are King Rudolf Elphberg related to Rudolf Rassendyl?\",\n \"Who is Fritz von Tarlenheim?\",\n \"Who murders King Rudolf?\",\n \"Who kills Rupert of Hentzau?\",\n \"Of what nationality was Rudolf Rassendyl?\",\n \"How was King Rudolf killed?\",\n \"In what century did the events in the story take place?\",\n \"What kingdom in Europe did the story take place?\",\n \"Who was the King of the fictional country in the story?\",\n \"Who was the king's look alike cousin?\",\n \"What was the pre marriage relationship of Flavia and the king?\",\n \"Who killed the king?\",\n \"How was the king assassinated?\",\n \"Who delivered the love letter from Flavia to Rudolf R?\",\n \"Who ruled Ruritania after the fake King Rufolf was killed?\",\n \"Where is the kingdom of Ruritania?\",\n \"Who did Rudolf Rassendyll kill?\",\n \"Who is the Queens true love?\",\n \"Who is the Queen married to and why?\",\n \"Who is the villain of this story?\",\n \"Who carried the letter intended for Rudolph Rassendyll?\",\n \"What happened to the letter?\",\n \"Who was Rupert trying to please?\",\n \"What did Rasendyll do for the Queen?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Rudolf Elphberg","rudolph elphberg"],["Flavia","flavia"],["Rudolf Rassendyl.","Rudolf Rassendyl"],["they are cousins.","Distant cousins"],["a loyal courtier","The loyal courtier."],["Rupert of Hentzau.","rupert of hentzau"],["Rudolf Rassendyl","rudolf rassendyll."],["English","english"],["He was shot","He was shot."],["19th century","18th"],["Ruritania","Ruritania"],["Rudolf Elphberg","Rudolf Elphberg"],["Rudolf Rassendyll","rudolph"],["cousins","They are cousins. "],["Rupert (Rupert of Hentzau)","rupert of hentzau."],["He was shot","By a henchman."],["Fritz von Tarlenheim, the loyal courtier","Tarlenheim."],["Flavia","Queen Flavia"],["It is in Germanic Middle Europe.","In Germanic Middle Europe"],["He killed Rupert od Hentzau.","rupert"],["The queens true love is Rudolph Rassendyll.","Rudolph Rassendyll"],["She is married to Rudolph her cousin out of duty.","To her cousin Rudolf V because he is impersonating Rassendyll"],["The villain is Queen Flavia.","Rupert of Hentzau"],["The letter was carried by von Tarlenheim.","fritz von tarlenheim."],["It was stolen by the exiled Rupert of Hentzau.","The letter is stolen by Rupert of Hentzau."],["The jealous King.","King Rudolf V"],["He returned to Ruritania to aid the Queen.","Kills the King"]],"string":"[\n [\n \"Rudolf Elphberg\",\n \"rudolph elphberg\"\n ],\n [\n \"Flavia\",\n \"flavia\"\n ],\n [\n \"Rudolf Rassendyl.\",\n \"Rudolf Rassendyl\"\n ],\n [\n \"they are cousins.\",\n \"Distant cousins\"\n ],\n [\n \"a loyal courtier\",\n \"The loyal courtier.\"\n ],\n [\n \"Rupert of Hentzau.\",\n \"rupert of hentzau\"\n ],\n [\n \"Rudolf Rassendyl\",\n \"rudolf rassendyll.\"\n ],\n [\n \"English\",\n \"english\"\n ],\n [\n \"He was shot\",\n \"He was shot.\"\n ],\n [\n \"19th century\",\n \"18th\"\n ],\n [\n \"Ruritania\",\n \"Ruritania\"\n ],\n [\n \"Rudolf Elphberg\",\n \"Rudolf Elphberg\"\n ],\n [\n \"Rudolf Rassendyll\",\n \"rudolph\"\n ],\n [\n \"cousins\",\n \"They are cousins. \"\n ],\n [\n \"Rupert (Rupert of Hentzau)\",\n \"rupert of hentzau.\"\n ],\n [\n \"He was shot\",\n \"By a henchman.\"\n ],\n [\n \"Fritz von Tarlenheim, the loyal courtier\",\n \"Tarlenheim.\"\n ],\n [\n \"Flavia\",\n \"Queen Flavia\"\n ],\n [\n \"It is in Germanic Middle Europe.\",\n \"In Germanic Middle Europe\"\n ],\n [\n \"He killed Rupert od Hentzau.\",\n \"rupert\"\n ],\n [\n \"The queens true love is Rudolph Rassendyll.\",\n \"Rudolph Rassendyll\"\n ],\n [\n \"She is married to Rudolph her cousin out of duty.\",\n \"To her cousin Rudolf V because he is impersonating Rassendyll\"\n ],\n [\n \"The villain is Queen Flavia.\",\n \"Rupert of Hentzau\"\n ],\n [\n \"The letter was carried by von Tarlenheim.\",\n \"fritz von tarlenheim.\"\n ],\n [\n \"It was stolen by the exiled Rupert of Hentzau.\",\n \"The letter is stolen by Rupert of Hentzau.\"\n ],\n [\n \"The jealous King.\",\n \"King Rudolf V\"\n ],\n [\n \"He returned to Ruritania to aid the Queen.\",\n \"Kills the King\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"e37b89959b8a08a31c7623074f65877668b47d26"},"split":{"kind":"string","value":"train"}}},{"rowIdx":40,"cells":{"text":{"kind":"list like","value":[["wife's constant devotion, to struggle along and to give their daughter \n an education. Then, however, Celia's mother broke down under the strain \n and died. Captain Harland, a couple of years later, went out of the \n service with discredit, passed through the bankruptcy court, and turned \n showman. His line was thought-reading; he enlisted the services of his \n daughter, taught her the tricks of his trade, and became \"The Great \n Fortinbras\" of the music-halls. Captain Harland would move amongst the","any question. I was not troubled about it until I came to Aix.\" \n \n A startling exposure, however, at Cambridge discredited the craze for \n spiritualism, and Captain Harland's fortunes declined. He crossed with \n his daughter to France and made a disastrous tour in that country, \n wasted the last of his resources in the Casino at Dieppe, and died in \n that town, leaving Celia just enough money to bury him and to pay her \n third-class fare to Paris. \n","Dauvray. \n \n Celia's father was a Captain Harland, of a marching regiment, who had \n little beyond good looks and excellent manners wherewith to support his \n position. He was extravagant in his tastes, and of an easy mind in the \n presence of embarrassments. To his other disadvantages he added that of \n falling in love with a pretty girl no better off than himself. They \n married, and Celia was born. For nine years they managed, through the","(4) It was Celia Harland who arranged that Servettaz, the chauffeur, \n should be absent at Chambery on the Tuesday night--the night of the \n murder. \n \n (5) It was Celia Harland who bought the cord with which Mme. Dauvray \n was strangled and Helene Vauquier bound. \n \n (6) The footsteps outside the salon show that Celia Harland ran from \n the salon to the motor-car. \n","members. But Celia Harland is not one of them.\" \n \n \"Ah!\" said Fleuriot; and there was something of disappointment, \n something, too, of incredulity, in his voice. \"Well, you will come and \n report to me when you have made your investigation.\" And he passed on \n without another question or remark. \n \n The group of men watched him go, and it was not until he was out of \n earshot that Besnard turned with a deprecating gesture to Hanaud. \n","(1) Celia Harland made her entrance into Mme. Dauvray's household under \n very doubtful circumstances. \n \n (2) By methods still more doubtful she acquired an extraordinary \n ascendency over Mme. Dauvray's mind. \n \n (3) If proof were needed how complete that ascendency was, a glance at \n Celia Harland's wardrobe would suffice; for she wore the most expensive \n clothes. \n","the question which had so perplexed him: how a girl of so much \n distinction as Celia Harland came to be living with a woman of so \n common a type as Mme. Dauvray. \n \n \"Well, one night in June,\" said Helene Vauquier, \"madame went with a \n party to supper at the Abbaye Restaurant in Montmartre. And she brought \n home for the first time Mlle. Celie. But you should have seen her! She","must guess at once that she saw Celie Harland enter their house, that \n she is travelling to Aix with the information of her whereabouts. At \n all costs she must be prevented from giving that information. At all \n risks, therefore, the warning telegram must be sent to Harry \n Wethermill.\" \n \n Ricardo recognised the force of the argument. \n \n \"If only you had heard of the telegram yesterday in time!\" he cried. \n","Then Ricardo's thoughts turned as he tossed upon his bed to Celia \n Harland, a tragic and a lonely figure. He recalled the look of \n tenderness upon her face when her eyes had met Harry Wethermill's \n across the baccarat-table in the Villa des Fleurs. He gained some \n insight into the reason why she had clung so desperately to Hanaud's \n coat-sleeve yesterday. Not merely had he saved her life. She was lying \n with all her world of trust and illusion broken about her, and Hanaud","Wethermill put his arm through hers. \n \n \"You'll have to take yourself away before you can do that,\" he \n answered, and the couple walked together out of Ricardo's hearing. \n \n Ricardo was left to wonder about Celia. She was just one of those \n problems which made Aix-les-Bains so unfailingly attractive to him. She \n dwelt in some street of Bohemia; so much was clear. The frankness of \n her pleasure, of her excitement, and even of her distress proved it.","Celia's room. While she brushed Celia's hair she told her that \n Servettaz's parents lived at Chambery, and that he would like to see \n them. \n \n \"But the poor man is afraid to ask for a day,\" she said. \"He has been \n so short a time with madame.\" \n \n \"Of course madame will give him a holiday if he asks,\" replied Celia \n with a smile. \"I will speak to her myself to-morrow.\" \n","\"You will stay here to-night to arrange for their transfer to Aix?\" \n \n \"I will leave Durette behind,\" said Hanaud. \"I am needed at Aix. We \n will make a formal application for the prisoners.\" He was kneeling by \n Celia's side and awkwardly dabbing her forehead with a wet \n handkerchief. He raised a warning hand. Celia Harland moved and opened \n her eyes. She sat up on the sofa, shivering, and looked with dazed and","There she lived honestly but miserably. The slimness of her figure and \n a grace of movement which was particularly hers obtained her at last a \n situation as a mannequin in the show-rooms of a modiste. She took a \n room on the top floor of a house in the Rue St. Honore and settled down \n to a hard and penurious life. \n \n \"I was not happy or contented--no,\" said Celia frankly and decisively. \n \"The long hours in the close rooms gave me headaches and made me","And, indeed, how should she notice anything if the salon were dark, and \n Mme. Dauvray's body lay under the windows at the side?\" \n \n Ricardo leaned forward eagerly. \n \n \"That must be the truth,\" he cried; and Wethermill's voice broke \n hastily in: \n \n \"It is not the truth and I will tell you why. Celia Harland was to have \n married me this week.\" \n \n There was so much pain and misery in his voice that Ricardo was moved","Ricardo remembered. For by the light of it Marthe Gobin had seen Celia \n Harland run so nimbly into this house. \n \n For a moment the men in the passage held their breath. Some one strode \n heavily by on the pavement outside--to Mr. Ricardo's ear a most \n companionable sound. Then a clock upon a church struck the half-hour \n musically, distantly. It was half-past eight. And a second afterwards a","Hanaud turned back to Lemerre and pointed silently to the \n morphia-needle and the phial. Lemerre nodded his head, and going into \n the room took them away. They went out again into the garden. Celia \n Harland threw back her head to the stars and drew in a deep breath of \n the cool night air. \n \n \"I did not think,\" she said in a low voice, \"to see the stars again.\" \n \n They walked slowly down the length of the garden, and Hanaud lifted her","Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","Celia blushed. \n \n \"I suppose there will,\" she said regretfully. There were, indeed, \n moments when she was frightened of Harry Wethermill, but frightened \n with a delicious thrill of knowledge that he was only stern because he \n cared so much. \n \n But in a day or two there began to intrude upon her happiness a \n stinging dissatisfaction with her past life. At times she fell into \n melancholy, comparing her career with that of the man who loved her. At","rose from the music-halls to the assembly rooms of provincial towns. \n The performance became genteel, and ladies flocked to the matinees. \n \n The Great Fortinbras dropped his pseudonym and became once more Captain \n Harland. \n \n As Celia grew up, he tried a yet higher flight--he became a \n spiritualist, with Celia for his medium. The thought-reading \n entertainments became thrilling seances, and the beautiful child, now \n grown into a beautiful girl of seventeen, created a greater sensation","IN THE HOUSE AT GENEVA \n \n \n It was well, Mr. Ricardo thought, that some one understood. For \n himself, he frankly admitted that he did not. Indeed, in his view the \n first principles of reasoning seemed to be set at naught. It was \n obvious from the solicitude with which Celia Harland was surrounded \n that every one except himself was convinced of her innocence. Yet it \n was equally obvious that any one who bore in mind the eight points he"],["often never played at all. If she won a few louis, she was as delighted \n with her gains and as afraid to lose them again at the tables as if she \n were of the poorest, and she stopped at once. No, monsieur; twenty or \n thirty louis--there was never more than that in the house.\" \n \n \"Then it was certainly for her famous collection of jewellery that \n Madame Dauvray was murdered?\" \n \n \"Certainly, monsieur.\" \n","\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","would excite Mme. Dauvray to a terrible suspicion. She drew on her \n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \n them. To free her hands with her fingers and wrists already hampered in \n gloves would not be so easy a task. But there was no escape. Adele \n Rossignol was watching her with a satiric smile. Mme. Dauvray was \n urging her to be quick. Obeying a second order the girl raised her","remember all the names, and very likely I do not pronounce them \n properly. Then the voices would cease and the lights be turned up, and \n Mlle. Celie would be found in a trance just in the same place and \n attitude as she had been when the lights were turned out. Imagine, \n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \n She was made for them. She believed in them implicitly. The words of \n the great ladies from the past--she would remember and repeat them, and","to her, I became terrified. I had aroused a passion which I had not \n suspected. I tried to stop the seances, but I was not allowed. I had \n aroused a passion which I could not control. I was afraid that Mme. \n Dauvray's whole life--it seems absurd to those who did not know her, \n but those who did will understand--yes, her whole life and happiness \n would be spoilt if she discovered that what she believed in was all a \n trick.\" \n","seances, and at once, to add fuel to her hatred, she found herself \n stripped of those gifts and commissions which she had exacted from the \n herd of common tricksters who had been wont to make their harvest out \n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \n grew into a very delirium. But it was a delirium she had the cunning to","Within a fortnight Mme. Dauvray confided to Celia that there was a new \n fortune-teller come to Paris, who, by looking into a crystal, could \n tell the most wonderful things about the future. The old woman's eyes \n kindled as she spoke. She took Celia to the fortune-teller's rooms next \n day, and the girl quickly understood the ruling passion of the woman \n who had befriended her. It took very little time then for Celia to","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","amusements. She had kept her eyes open. She had seen that it was from \n the denizens of the dull streets in these towns that the quack \n religions won their recruits. Mme. Dauvray's life had been a \n featureless sort of affair until these experiments had come to colour \n it. Madame Dauvray must at any rate preserve the memory of that colour. \n \n \"No,\" she said boldly; \"I am not afraid,\" and after that she moved no \n more. \n","\"Oh, monsieur,\" Vauquier answered, \"it was not difficult to begin them. \n Mme. Dauvray had a passion for fortune-tellers and rogues of that kind. \n Any one with a pack of cards and some nonsense about a dangerous woman \n with black hair or a man with a limp--Monsieur knows the stories they \n string together in dimly lighted rooms to deceive the credulous--any \n one could make a harvest out of madame's superstitions. But monsieur \n knows the type.\"","like a ragged petticoat under a satin dress. That was never the case \n with Madame Dauvray.\" \n \n \"So that she was under no necessity to have ready money always in her \n pocket,\" said Hanaud. \"I understand that. But at times perhaps she won \n at the Villa des Fleurs?\" \n \n Helene Vauquier shook her head. \n \n \"She loved the Villa des Fleurs, but she never played for high sums and","and the curtains drawn, whilst we--madame and madame's friend and \n I--can sit round this table under the side windows.\" \n \n \"Yes,\" said Celia, \"that will do very well.\" \n \n It was Madame Dauvray's habit when she was particularly pleased with \n Celia to dismiss her maid quickly, and to send her to brush the girl's \n hair at night; and in a little while on this night Helene went to","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","able she was to concentrate her mind upon them, to will them to favour \n her. Mme. Dauvray's suspicions, she was sure, were still awake. She \n could not quell them. There was a stronger personality than hers at \n work in the room. The cord bit through her thin stockings into her \n ankles. She dared not complain. It was savagely tied. She made no \n remonstrance. And then Helene Vauquier raised her up from the chair and","had had the courage to tell him yesterday, he would have forgiven, \n surely he would! The tears gathered in her eyes and rolled down her \n cheeks. What would become of her now? She was in pain besides. The \n cords about her arms and ankles tortured her. And she feared--yes, \n desperately she feared the effect of the exposure upon Mme. Dauvray. \n She had been treated as a daughter; now she was in return to rob Mme. \n Dauvray of the belief which had become the passion of her life.","apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \n at stake too. \n \n \"It must be from my lips that Harry learns what I have been,\" she said \n to herself, and with the resolve she strengthened herself. \n \n \"I will wear what you please,\" she said, with a smile. \"I only wish \n Mme. Rossignol to be satisfied.\" \n \n \"And I shall be,\" said Adele, \"if--\" She leaned forward in anxiety. She","\"I believe it would break my heart, my dear, if I were to think that; \n if I were to know that you had tricked me,\" she said, with a trembling \n voice. \n \n Celia covered her face with her hands. It would be true. She had \n no doubt of it. Mme. Dauvray would never forgive herself--would never \n forgive Celia. Her infatuation had grown so to engross her that the \n rest of her life would surely be embittered. It was not merely a"],["\"And yet more kind to me,\" said Wethermill in a low voice which brought \n the blood into Celia's cheeks. \n \n But even while he spoke he soon caught sight of Mme. Dauvray standing \n by one of the tables; and near to her was Adele Tace. Adele had not yet \n made Mme. Dauvray's acquaintance; that was evident. She was apparently \n unaware of her; but she was gradually edging towards her. Wethermill","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","Wethermill stayed by the girl's side throughout the evening. Once again \n he saw Mme. Dauvray and Adele Tace. But now they were together; now \n they were talking. The first step had been taken. Adele Tace had \n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \n same moment. \n \n \"Oh, there is Mme. Dauvray,\" she cried, taking a step towards her. \n \n Wethermill detained the girl. \n","and on her knees, with the tears streaming down her face, besought him \n to confess the truth. For a long while he held out. And then there came \n a strange and human turn to the affair. Adele Rossignol--or, to give \n her real name, Adele Tace, the wife of Hippolyte--had conceived a \n veritable passion for Harry Wethermill. He was of a not uncommon type, \n cold and callous in himself, yet with the power to provoke passion in","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","stout, and Celia keeping pace with her. Thus it seemed natural that \n Adele Tace should walk ahead, though a passer-by would not have thought \n she was of their company. At the corner of the Rue du Casino Adele \n waited for them and said quickly: \n \n \"Mademoiselle, you can get some cord, I think, at the shop there,\" and \n she pointed to the shop of M. Corval. \"Madame and I will go slowly on;","\"Are you ready to go, dear?\" she asked, and she turned to Adele Tace. \n \"This is Celie, Mme. Rossignol,\" she said, and she spoke with a marked \n significance and a note of actual exultation in her voice. \n \n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \n her companion, and had a habit of showing her off, to the girl's \n discomfort. The three women spoke a few words, and then Mme. Dauvray","he had to say to me--\" and her voice broke upon the words. She \n recovered herself with an effort. \"Then I went home with Mme. Dauvray.\" \n \n On the morning of Tuesday, however, there came a letter from Adele \n Tace, of which no trace was afterwards discovered. The letter invited \n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \n hotel there. They could then return together to Aix. The proposal","\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking \n volubly and with the utmost interest, the jewels sparkling about her \n neck. She raised her head, saw Celia, nodded to her affectionately, and \n then pointed her out to her companion. Adele Tace looked the girl over \n with interest and smiled contentedly. There was nothing to be feared \n from her. Her youth, her very daintiness, seemed to offer her as the \n easiest of victims. \n","her lips with her tongue. But Helene Vauquier kept her mouth sealed. \n \n \n \n \n CHAPTER XVII \n \n THE AFTERNOON OF TUESDAY \n \n \n Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the \n name which she assumed, waiting for them impatiently in the garden of \n an hotel at Annecy, on the Promenade du Paquier. She was a tall, lithe","mademoiselle's big hats,\" she said. \"We will have mademoiselle as \n modern as possible, so that, when the great ladies of the past appear \n in the coiffure of their day, we may be sure it is not Mlle. Celie who \n represents them.\" \n \n \"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content. \n \n There was a particular new dress of which she knew, and it was very","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","next day in that very room--\"There is something here which I do not \n understand.\" The touch of Adele Tace's hands communicated something to \n her--something which filled her with a vague alarm. She could not have \n formulated it if she would; she dared not if she could. She had but to \n stand and submit. \n \n \"Now,\" said Adele. \n \n She took the girl by the shoulders and set her in a clear space in the","He travelled, accordingly, the next day to Geneva, and was there \n presented to Adele Tace and Hippolyte. \n \n \"They are trusted friends of mine,\" said Helene Vauquier to Wethermill, \n who was not inspired to confidence by the sight of the young man with \n the big ears and the plastered hair. As a matter of fact, she had never \n met them before they came this year to Aix. \n \n The Tace family, which consisted of Adele and her husband and Jeanne,","word--to tell what she did not know. Meanwhile her name would be \n execrated through Aix as the murderess of the woman who had saved her. \n Then suddenly the car stopped. There were lights outside. Celia heard \n voices. A man was speaking to Wethermill. She started and saw Adele \n Tace's arm flash upwards. She sank back in terror; and the car rolled \n on into the darkness. Adele Tace drew a breath of relief. The one point","Celia sat with a face which WOULD grow red. She did not look, but none \n the less she was aware that Mme. Dauvray was gazing at her with a \n perplexed frown and some return of her suspicion showing in her eyes. \n Adele Tace was not content to leave the subject there. \n \n \"Perhaps,\" she said, with a smile, \"Mlle. Celie dresses in that way for \n a seance?\" \n","\"But she said Adele's hair was black,\" interposed Mr. Ricardo. \n \n \"Yes, there she didn't,\" said Hanaud drily, and his eyes dropped again \n to the paper. \n \n \"I knew her name was Adele, for often I have heard her servant calling \n her so, and without any 'Madame' in front of the name. That is strange, \n is it not, to hear an elderly servant-woman calling after her mistress,","subjecting Celia to the severest tests. The rain ceased, and they took \n their coffee on the terrace of the hotel. Mme. Dauvray had been really \n pained by the conversation of Adele Tace. She had all the missionary \n zeal of a fanatic. \n \n \"I do hope, Adele, that we shall make you believe. But we shall. Oh, I \n am confident we shall.\" And her voice was feverish. \n \n Adele dropped for the moment her tone of raillery.","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to","called her Adele, just simply Adele. That interested me, for Helene \n Vauquier had called her Adele too when she was describing to us the \n unknown visitor. 'Adele' was what Mme. Dauvray called her.\" \n \n \"Yes,\" said Ricardo. \"Helene Vauquier made a slip there. She should \n have given her a false name.\" \n \n Hanaud nodded. \n \n \"It is the one slip she made in the whole of the business. Nor did she"],["remember all the names, and very likely I do not pronounce them \n properly. Then the voices would cease and the lights be turned up, and \n Mlle. Celie would be found in a trance just in the same place and \n attitude as she had been when the lights were turned out. Imagine, \n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \n She was made for them. She believed in them implicitly. The words of \n the great ladies from the past--she would remember and repeat them, and","the colours of her belief, she would hold a seance at the Villa Rose. \n \n Mme. Dauvray told the news to Helene Vauquier when they reached the \n villa. \n \n \"You will be present, Helene,\" she cried excitedly. \"It will be \n Tuesday. There will be the three of us.\" \n \n \"Certainly, if madame wishes,\" said Helene submissively. She looked \n round the room. \"Mlle. Celie can be placed on a chair in that recess","It appeared that at five o'clock in the afternoon Mme. Dauvray and \n Mlle. Celie prepared to leave the house on foot. It was their custom to \n walk down at this hour to the Villa des Fleurs, pass an hour or so \n there, dine in a restaurant, and return to the Rooms to spend the \n evening. On this occasion, however, Mme. Dauvray informed Helene that \n they should be back early and bring with them a friend who was \n interested in, but entirely sceptical of, spiritualistic","be very proud that such great ladies had come back to the world merely \n to tell her--Mme. Dauvray--about their lives. She would have had \n seances all day, but Mlle. Celie pleaded that she was left exhausted at \n the end of them. But Mlle. Celie was of an address! For instance--it \n will seem very absurd and ridiculous to you, gentlemen, but you must \n remember what Mme. Dauvray was--for instance, madame was particularly","Dauvray's voice rang shrill and irritable up the stairs. \n \n \"Celie! Celie!\" \n \n \"Quick, Helene,\" said Celia. For she herself was now anxious to have \n the seance over and done with. \n \n But Helene did not hurry. The more irritable Mme. Dauvray became, the \n more impatient with Mlle. Celie, the less would Mlle. Celie dare to","and the curtains drawn, whilst we--madame and madame's friend and \n I--can sit round this table under the side windows.\" \n \n \"Yes,\" said Celia, \"that will do very well.\" \n \n It was Madame Dauvray's habit when she was particularly pleased with \n Celia to dismiss her maid quickly, and to send her to brush the girl's \n hair at night; and in a little while on this night Helene went to","her she saw mysteries beyond. She took up her part at once. Since for \n the last time it had got to be played, there must be no fault in the \n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \n she must carry it off to-night with success. The suspicions of Adele \n Rossignol must obtain no verification. She spoke in a quiet and most \n serious voice. \"Under spirit-control no one is clever. One does the \n bidding of the spirit which controls.\" \n","short and about forty-five years old, though it is difficult to judge \n of these things. I noticed her hands, for she was taking her gloves \n off, and they seemed to me to be unusually muscular for a woman.\" \n \n \"Ah!\" cried Louis Besnard. \"That is important.\" \n \n \"Mme. Dauvray was, as she always was before a seance, in a feverish \n flutter. 'You will help Mlle. Celie to dress, Helene, and be very","seances, and at once, to add fuel to her hatred, she found herself \n stripped of those gifts and commissions which she had exacted from the \n herd of common tricksters who had been wont to make their harvest out \n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \n grew into a very delirium. But it was a delirium she had the cunning to","Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \n her generosity, her desire to converse with Mme. de Montespan and the \n great ladies of the past, and her love of a young, fresh face about \n her; Helene Vauquier, the maid with her six years of confidential \n service, who finds herself suddenly supplanted and made to tend and \n dress in dainty frocks the girl who has supplanted her; the young girl","was no seance as yet held in the Villa Rose. And there would have been \n none but for Helene Vauquier. \n \n One evening, however, as Harry Wethermill walked down from the Cercle \n to the Villa des Fleurs, a woman's voice spoke to him from behind. \n \n \"Monsieur!\" \n \n He turned and saw Mme. Dauvray's maid. He stopped under a street lamp, \n and said: \n \n \"Well, what can I do for you?\" \n","platform; the audience was in the hall; or, if it was at a house, my \n father made the arrangements. I only came in at the last moment, played \n my part, and went away. It was never brought home to me that some \n amongst these people really and truly believed. I did not think about \n it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so \n firmly convinced that great ladies from the spirit world came and spoke","of soft-soled slippers without heels, which she wore so that she might \n not be heard, and tambourines would rattle as you say, and fingers \n touch the forehead and the neck, and strange voices would sound from \n corners of the room, and dim apparitions would appear--the spirits of \n great ladies of the past, who would talk with Mme. Dauvray. Such ladies \n as Mme. de Castiglione, Marie Antoinette, Mme. de Medici--I do not","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","Within a fortnight Mme. Dauvray confided to Celia that there was a new \n fortune-teller come to Paris, who, by looking into a crystal, could \n tell the most wonderful things about the future. The old woman's eyes \n kindled as she spoke. She took Celia to the fortune-teller's rooms next \n day, and the girl quickly understood the ruling passion of the woman \n who had befriended her. It took very little time then for Celia to","recognised them both, and--smiled to himself with some amusement. What \n was Wethermill doing in company with Mme. Dauvray's maid? Ruel had no \n doubt. Ruel had seen Wethermill often enough these recent days with \n Mme. Dauvray's pretty companion. Ruel had all a Frenchman's sympathy \n with lovers. He wished them well, those two young and attractive \n people, and hoped that the maid would help their plans. \n","with a satirical smile. But Mme. Dauvray came to the girl's help. \n \n \"She is right, Adele. Light is the great barrier between us and the \n spirit-world,\" she said solemnly. \n \n Meanwhile, in the hall Helene Vauquier locked and bolted the front \n door. Then she stood motionless, with a smile upon her face and a heart \n beating high. All through that afternoon she had been afraid that some","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","That was her explanation of Helene Vauquier's treachery; and believing \n that error, she believed yet another--that she had reached the terrible \n climax of her troubles. She was only at the beginning of them. \n \n \"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\" \n \n The maid instantly slid back into the room. \n \n \"Mademoiselle has not moved,\" she said. \n \n Celia heard the women settle in their chairs about the table. \n","\"I found Mme. Dauvray, Mlle. Celie, and another woman in the salon,\" \n continued Helene Vauquier. \n \n \"Madame had let them in with her latchkey.\" \n \n \"Ah, the other woman!\" cried Besnard. \"Had you seen her before?\" \n \n \"No, monsieur.\" \n \n \"What was she like?\" \n \n \"She was sallow, with black hair and bright eyes like beads. She was"],["of the car is explained. It was a bold step to bring that car \n back--yes, a bold and desperate step. But a clever one. For, if it had \n succeeded, we should have known nothing of their movements--oh, but \n nothing--nothing. Ah! I tell you this is no ordinary blundering affair. \n They are clever people who devised this crime--clever, and of an \n audacity which is surprising.\" \n \n Then Hanaud lit another cigarette. \n","of the gang. It did not help us very much to lay our hands upon them. \n No; the little accident which happened was the entrance of our friend \n Perrichet into the garden while the murderers were still in the room. \n Imagine that scene, M. Ricardo. The rage of the murderers at their \n inability to discover the plunder for which they had risked their \n necks, the old woman crumpled up on the floor against the wall, the \n girl writing laboriously with fettered arms 'I do not know' under","not the work of a moment. It was planned with great care and cunning, \n and carried out to the letter of the plan. There must be no noise, no \n violence. On each side of the Villa Rose there are other villas; a few \n yards away the road runs past. A scream, a cry, the noise of a \n struggle--these sounds, or any one of them, might be fatal to success. \n Thus the crime was planned; and there WAS no scream, there WAS no","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","\"That you shall know in good time. I am the captain of the ship.\" His \n voice took on a deeper note. \"But I prepare you. Listen! Daring and \n brains, those were the property of Harry Wethermill--yes. But it is not \n he who is the chief actor in the crime. Of that I am sure. He was no \n more than one of the instruments.\" \n \n \"One of the instruments? Used, then, by whom?\" asked Ricardo. \n","not frighten her. He would be gentle, he would be cunning. Softly and \n delicately he would turn this good woman inside out, like a glove. \n Every artistic fibre in his body vibrated to the dramatic situation. \n \n Suddenly Hanaud leaned out of the window. \n \n \"It comes! it comes!\" he said in a quick, feverish whisper. \"I can see \n the cab between the shrubs of the drive.\" \n \n \"Let it come!\" said Mr. Ricardo superbly. \n","of the gang. We might have suspected Wethermill; we should hardly have \n secured him, and we should very likely never have known of the Tace \n family. That mistake was, as you no doubt are fully aware--\" \n \n \"The failure of Wethermill to discover Mme. Dauvray's jewels,\" said \n Ricardo at once. \n \n \"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie \n alive. It enabled us to save her when we had discovered the whereabouts","upon yachts in the Solent or on grouse-moors in Scotland, or on \n golf-links at North Berwick. He alone of them all was tracking \n malefactors to their doom by Leman's Lake. \n \n From these agreeable reflections Ricardo was shaken. Lemerre stopped. \n The raiders had reached the angle made by the side wall of the garden \n and the house. A whisper was exchanged, and the party turned and moved \n along the house wall towards the lighted window on the ground floor. As","qualities he had stipulated in the criminal. Ricardo now for the first \n time understood the trend of all Hanaud's talk at that luncheon. He was \n putting Harry Wethermill upon his guard, he was immobilising him, he \n was fettering him in precautions; with a subtle skill he was forcing \n him to isolate himself. And he was doing it deliberately to save the \n life of Celia Harland in Geneva. Once Ricardo lifted himself up with","instances she proclaimed herself a dupe. She threw down a challenge to \n every criminal to come and rob her. For seven years Helene Vauquier \n stands at her elbow and protects her from serious trouble. Suddenly \n there is added to her--your young friend, and she is robbed and \n murdered. And, follow this, M. Wethermill, our thieves are, I think, \n more brutal to their victims than is the case with you.\" \n","\"Would he have dared?\" asked Harry Wethermill. \n \n Hanaud leaned across and tapped his fingers on the table to emphasise \n his answer. \n \n \"All through this crime there are two things visible--brains and \n daring; clever brains and extraordinary daring. Would he have dared? He \n dared to be at the corner close to the Villa Rose at daylight. Why else \n should he have returned except to put back the car? Consider! The","\"It is not surprising,\" said Hanaud. \"Some one within the house was an \n accomplice--we start with that fact. The house had not been broken \n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \n and a record obviously true. There was the fact that she had got rid of \n Servettaz. There was the maid upstairs very ill from the chloroform. \n What more likely than that Mlle. Celie had arranged a seance, and then","\"It is terrible,\" he said. \"The poor woman! It was I who brought her to \n Aix. It was through my carelessness. But who would have thought--?\" He \n snatched his hands from his face and stood up. \"I should have thought,\" \n he said solemnly. \"Extraordinary daring--that was one of the qualities \n of my criminal. I knew it, and I disregarded it. Now we have a second \n crime.\" \n \n \"The skewer may lead you to the criminal,\" said Mr. Ricardo.","into the recess and see him. And then the real truth flashed in upon \n her blindingly. He had jerked the cord, but he had jerked it \n deliberately. He was already winding it up in a coil as it slid \n noiselessly across the polished floor beneath the curtains towards him. \n He had given a signal to Adele Rossignol. All that woman's scepticism \n and precaution against trickery had been a mere blind, under cover of","confusion. It was as though a tornado raged in the room overhead. \n Furniture was tossed about and over the room, feet stamped and ran, \n locks were smashed in with heavy blows. For many minutes the storm \n raged. Then it ceased, and she heard the accomplices clattering down \n the stairs without a thought of the noise they made. They burst into \n the room. Harry Wethermill was laughing hysterically, like a man off \n his head. He had been wearing a long dark overcoat when he entered the","For it was Ricardo's best effort in the whole of this business. \n \n The three men went straight to Harry Wethermill's apartment, which \n consisted of a sitting-room and a bedroom on the first floor. A balcony \n ran along outside. Hanaud stepped out on to it, looked about him, and \n returned. \n \n \"It is as well to know that we cannot be overheard,\" he said. \n \n Harry Wethermill meanwhile had thrown himself into a chair. The mask he","and do his dreadful work upon that night before twelve, if all had been \n arranged beforehand, if all went as it had been arranged. And as he \n thought upon the careful planning of that crime, and remembered \n Wethermill's easy chatter as they had strolled from table to table in \n the Villa des Fleurs, Ricardo shuddered. Though he encouraged a taste \n for the bizarre, it was with an effort. He was naturally of an orderly \n mind, and to touch the eerie or inhuman caused him a physical","saw her again with me, and he heard what she said. I asked her to come \n to the rooms on the next evening--yesterday, the night of the \n crime--and her face changed, and she said, 'No, we have other plans for \n to-morrow. But the night after I shall want you.'\" \n \n Hanaud sprang up from his chair. \n \n \"And YOU tell me these two things!\" he cried. \n \n \"Yes,\" said Wethermill. \"You were kind enough to say to me I was not a","with his finger to his lips. Something gleamed darkly in his hand. It \n was the barrel of his revolver. Cautiously the men disembarked and \n crept up the bank. First came Lemerre, then Hanaud; Ricardo followed \n him, and the fourth man, who had struck the match under the trees, \n brought up the rear. The other three officers remained in the boat. \n \n Stooping under the shadow of the side wall of the garden, the invaders","\"Helene,\" said Wethermill, \"get to bed. I'll come up with the \n chloroform and put you to sleep.\" \n \n Helene Vauquier hurried upstairs. It was part of her plan that she \n should be left alone in the villa chloroformed. Thus only could \n suspicion be averted from herself. She did not shrink from the \n completion of the plan now. She went, the strange woman, without a \n tremor to her ordeal. Wethermill took the length of rope which had"],["\"And yet more kind to me,\" said Wethermill in a low voice which brought \n the blood into Celia's cheeks. \n \n But even while he spoke he soon caught sight of Mme. Dauvray standing \n by one of the tables; and near to her was Adele Tace. Adele had not yet \n made Mme. Dauvray's acquaintance; that was evident. She was apparently \n unaware of her; but she was gradually edging towards her. Wethermill","\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking \n volubly and with the utmost interest, the jewels sparkling about her \n neck. She raised her head, saw Celia, nodded to her affectionately, and \n then pointed her out to her companion. Adele Tace looked the girl over \n with interest and smiled contentedly. There was nothing to be feared \n from her. Her youth, her very daintiness, seemed to offer her as the \n easiest of victims. \n","\"Are you ready to go, dear?\" she asked, and she turned to Adele Tace. \n \"This is Celie, Mme. Rossignol,\" she said, and she spoke with a marked \n significance and a note of actual exultation in her voice. \n \n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \n her companion, and had a habit of showing her off, to the girl's \n discomfort. The three women spoke a few words, and then Mme. Dauvray","Wethermill stayed by the girl's side throughout the evening. Once again \n he saw Mme. Dauvray and Adele Tace. But now they were together; now \n they were talking. The first step had been taken. Adele Tace had \n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \n same moment. \n \n \"Oh, there is Mme. Dauvray,\" she cried, taking a step towards her. \n \n Wethermill detained the girl. \n","he had to say to me--\" and her voice broke upon the words. She \n recovered herself with an effort. \"Then I went home with Mme. Dauvray.\" \n \n On the morning of Tuesday, however, there came a letter from Adele \n Tace, of which no trace was afterwards discovered. The letter invited \n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \n hotel there. They could then return together to Aix. The proposal","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to","mademoiselle's big hats,\" she said. \"We will have mademoiselle as \n modern as possible, so that, when the great ladies of the past appear \n in the coiffure of their day, we may be sure it is not Mlle. Celie who \n represents them.\" \n \n \"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content. \n \n There was a particular new dress of which she knew, and it was very","Celia sat with a face which WOULD grow red. She did not look, but none \n the less she was aware that Mme. Dauvray was gazing at her with a \n perplexed frown and some return of her suspicion showing in her eyes. \n Adele Tace was not content to leave the subject there. \n \n \"Perhaps,\" she said, with a smile, \"Mlle. Celie dresses in that way for \n a seance?\" \n","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","At first Celia shrank away, fearing some new cruelty. But Adele's voice \n came to her ears, speaking--and speaking with remorse. \n \n \"I can't endure it!\" she whispered. \"You are so young--too young to be \n killed.\" \n \n The tears were rolling down Celia's cheeks. Her face was pitiful and \n beseeching. \n \n \"Don't look at me like that, for God's sake, child!\" Adele went on, and","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","accident at the last moment would spoil her plan, that Adele Tace had \n not learned her lesson, that Celie would take fright, that she would \n not return. Now all those fears were over. She had her victims safe \n within the villa. The charwoman had been sent home. She had them to \n herself. She was still standing in the hall when Mme. Dauvray called \n aloud impatiently: \n \n \"Helene! Helene!\" \n","no one else would hear you. But I should, and afterwards--we should no \n longer be able to call you 'my pretty one,' eh?\" \n \n And with a horrible playfulness she pinched the girl's cheek. \n \n Then with old Jeanne's help she stripped Celia and told her to get into \n bed. \n \n \"I'll give her something to keep her quiet,\" said Adele, and she \n fetched her morphia-needle and injected a dose into Celia's arm. \n","word--to tell what she did not know. Meanwhile her name would be \n execrated through Aix as the murderess of the woman who had saved her. \n Then suddenly the car stopped. There were lights outside. Celia heard \n voices. A man was speaking to Wethermill. She started and saw Adele \n Tace's arm flash upwards. She sank back in terror; and the car rolled \n on into the darkness. Adele Tace drew a breath of relief. The one point","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","stout, and Celia keeping pace with her. Thus it seemed natural that \n Adele Tace should walk ahead, though a passer-by would not have thought \n she was of their company. At the corner of the Rue du Casino Adele \n waited for them and said quickly: \n \n \"Mademoiselle, you can get some cord, I think, at the shop there,\" and \n she pointed to the shop of M. Corval. \"Madame and I will go slowly on;","The two women stood and looked at her; and then Adele Rossignol burst \n out laughing. Vauquier approached the girl, and Celia had a moment's \n hope that she meant to free her altogether, but she only loosed the \n cords which fixed her to the pillar and the high stool. \n \n \"Mademoiselle will pardon me for laughing,\" said Adele Rossignol \n politely; \"but it was mademoiselle who invited me to try my hand. And","Adele Rossignol looked the girl over and nodded her head with \n satisfaction. She had no animosity towards Celia; she had really no \n feeling of any kind for her or against her. Fortunately she was unaware \n at this time that Harry Wethermill had been paying his court to her or \n it would have gone worse with Mlle. Celie before the night was out. \n Mlle. Celie was just a pawn in a very dangerous game which she happened \n to be playing, and she had succeeded in engineering her pawn into the"],["\"And yet more kind to me,\" said Wethermill in a low voice which brought \n the blood into Celia's cheeks. \n \n But even while he spoke he soon caught sight of Mme. Dauvray standing \n by one of the tables; and near to her was Adele Tace. Adele had not yet \n made Mme. Dauvray's acquaintance; that was evident. She was apparently \n unaware of her; but she was gradually edging towards her. Wethermill","\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking \n volubly and with the utmost interest, the jewels sparkling about her \n neck. She raised her head, saw Celia, nodded to her affectionately, and \n then pointed her out to her companion. Adele Tace looked the girl over \n with interest and smiled contentedly. There was nothing to be feared \n from her. Her youth, her very daintiness, seemed to offer her as the \n easiest of victims. \n","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","Wethermill stayed by the girl's side throughout the evening. Once again \n he saw Mme. Dauvray and Adele Tace. But now they were together; now \n they were talking. The first step had been taken. Adele Tace had \n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \n same moment. \n \n \"Oh, there is Mme. Dauvray,\" she cried, taking a step towards her. \n \n Wethermill detained the girl. \n","Celia sat with a face which WOULD grow red. She did not look, but none \n the less she was aware that Mme. Dauvray was gazing at her with a \n perplexed frown and some return of her suspicion showing in her eyes. \n Adele Tace was not content to leave the subject there. \n \n \"Perhaps,\" she said, with a smile, \"Mlle. Celie dresses in that way for \n a seance?\" \n","he had to say to me--\" and her voice broke upon the words. She \n recovered herself with an effort. \"Then I went home with Mme. Dauvray.\" \n \n On the morning of Tuesday, however, there came a letter from Adele \n Tace, of which no trace was afterwards discovered. The letter invited \n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \n hotel there. They could then return together to Aix. The proposal","At first Celia shrank away, fearing some new cruelty. But Adele's voice \n came to her ears, speaking--and speaking with remorse. \n \n \"I can't endure it!\" she whispered. \"You are so young--too young to be \n killed.\" \n \n The tears were rolling down Celia's cheeks. Her face was pitiful and \n beseeching. \n \n \"Don't look at me like that, for God's sake, child!\" Adele went on, and","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to","mademoiselle's big hats,\" she said. \"We will have mademoiselle as \n modern as possible, so that, when the great ladies of the past appear \n in the coiffure of their day, we may be sure it is not Mlle. Celie who \n represents them.\" \n \n \"I will speak to Helene,\" said Mme. Dauvray, and Adele Tace was content. \n \n There was a particular new dress of which she knew, and it was very","\"Are you ready to go, dear?\" she asked, and she turned to Adele Tace. \n \"This is Celie, Mme. Rossignol,\" she said, and she spoke with a marked \n significance and a note of actual exultation in her voice. \n \n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \n her companion, and had a habit of showing her off, to the girl's \n discomfort. The three women spoke a few words, and then Mme. Dauvray","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","word--to tell what she did not know. Meanwhile her name would be \n execrated through Aix as the murderess of the woman who had saved her. \n Then suddenly the car stopped. There were lights outside. Celia heard \n voices. A man was speaking to Wethermill. She started and saw Adele \n Tace's arm flash upwards. She sank back in terror; and the car rolled \n on into the darkness. Adele Tace drew a breath of relief. The one point","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","no one else would hear you. But I should, and afterwards--we should no \n longer be able to call you 'my pretty one,' eh?\" \n \n And with a horrible playfulness she pinched the girl's cheek. \n \n Then with old Jeanne's help she stripped Celia and told her to get into \n bed. \n \n \"I'll give her something to keep her quiet,\" said Adele, and she \n fetched her morphia-needle and injected a dose into Celia's arm. \n","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","Celia had no doubt who \"she\" was. She was Mme. de Montespan. \n \n \"Oh, no, madame!\" she stammered. \"Here, at Aix, we are not in the \n spirit for such things.\" \n \n And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then, \n what Adele said?\" \n \n And Celia started violently. Mme. Dauvray doubted. \n","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","The two women stood and looked at her; and then Adele Rossignol burst \n out laughing. Vauquier approached the girl, and Celia had a moment's \n hope that she meant to free her altogether, but she only loosed the \n cords which fixed her to the pillar and the high stool. \n \n \"Mademoiselle will pardon me for laughing,\" said Adele Rossignol \n politely; \"but it was mademoiselle who invited me to try my hand. And","refuse the tests Adele wished to impose upon her. But that was not all. \n She took a subtle and ironic pleasure to-night in decking out her \n victim's natural loveliness. Her face, her slender throat, her white \n shoulders, should look their prettiest, her grace of limb and figure \n should be more alluring than ever before. The same words, indeed, were \n running through both women's minds. \n \n \"For the last time,\" said Celia to herself, thinking of these horrible"],["her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","\"And yet more kind to me,\" said Wethermill in a low voice which brought \n the blood into Celia's cheeks. \n \n But even while he spoke he soon caught sight of Mme. Dauvray standing \n by one of the tables; and near to her was Adele Tace. Adele had not yet \n made Mme. Dauvray's acquaintance; that was evident. She was apparently \n unaware of her; but she was gradually edging towards her. Wethermill","he had to say to me--\" and her voice broke upon the words. She \n recovered herself with an effort. \"Then I went home with Mme. Dauvray.\" \n \n On the morning of Tuesday, however, there came a letter from Adele \n Tace, of which no trace was afterwards discovered. The letter invited \n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \n hotel there. They could then return together to Aix. The proposal","would excite Mme. Dauvray to a terrible suspicion. She drew on her \n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \n them. To free her hands with her fingers and wrists already hampered in \n gloves would not be so easy a task. But there was no escape. Adele \n Rossignol was watching her with a satiric smile. Mme. Dauvray was \n urging her to be quick. Obeying a second order the girl raised her","\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking \n volubly and with the utmost interest, the jewels sparkling about her \n neck. She raised her head, saw Celia, nodded to her affectionately, and \n then pointed her out to her companion. Adele Tace looked the girl over \n with interest and smiled contentedly. There was nothing to be feared \n from her. Her youth, her very daintiness, seemed to offer her as the \n easiest of victims. \n","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","her lips with her tongue. But Helene Vauquier kept her mouth sealed. \n \n \n \n \n CHAPTER XVII \n \n THE AFTERNOON OF TUESDAY \n \n \n Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the \n name which she assumed, waiting for them impatiently in the garden of \n an hotel at Annecy, on the Promenade du Paquier. She was a tall, lithe","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","accident at the last moment would spoil her plan, that Adele Tace had \n not learned her lesson, that Celie would take fright, that she would \n not return. Now all those fears were over. She had her victims safe \n within the villa. The charwoman had been sent home. She had them to \n herself. She was still standing in the hall when Mme. Dauvray called \n aloud impatiently: \n \n \"Helene! Helene!\" \n","apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \n at stake too. \n \n \"It must be from my lips that Harry learns what I have been,\" she said \n to herself, and with the resolve she strengthened herself. \n \n \"I will wear what you please,\" she said, with a smile. \"I only wish \n Mme. Rossignol to be satisfied.\" \n \n \"And I shall be,\" said Adele, \"if--\" She leaned forward in anxiety. She","Wethermill stayed by the girl's side throughout the evening. Once again \n he saw Mme. Dauvray and Adele Tace. But now they were together; now \n they were talking. The first step had been taken. Adele Tace had \n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \n same moment. \n \n \"Oh, there is Mme. Dauvray,\" she cried, taking a step towards her. \n \n Wethermill detained the girl. \n","called her Adele, just simply Adele. That interested me, for Helene \n Vauquier had called her Adele too when she was describing to us the \n unknown visitor. 'Adele' was what Mme. Dauvray called her.\" \n \n \"Yes,\" said Ricardo. \"Helene Vauquier made a slip there. She should \n have given her a false name.\" \n \n Hanaud nodded. \n \n \"It is the one slip she made in the whole of the business. Nor did she","Celia had no doubt who \"she\" was. She was Mme. de Montespan. \n \n \"Oh, no, madame!\" she stammered. \"Here, at Aix, we are not in the \n spirit for such things.\" \n \n And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then, \n what Adele said?\" \n \n And Celia started violently. Mme. Dauvray doubted. \n","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","Celia sat with a face which WOULD grow red. She did not look, but none \n the less she was aware that Mme. Dauvray was gazing at her with a \n perplexed frown and some return of her suspicion showing in her eyes. \n Adele Tace was not content to leave the subject there. \n \n \"Perhaps,\" she said, with a smile, \"Mlle. Celie dresses in that way for \n a seance?\" \n","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","\"Madame shall see to-night,\" Celia stammered, and Camille Dauvray rather \n sternly repeated her words. \n \n \"Yes, Adele shall see to-night. I myself will decide what you shall \n wear, Celie.\" \n \n Adele Tace casually suggested the kind of dress which she would prefer. \n \n \"Something light in colour with a train, something which will hiss and \n whisper if mademoiselle moves about the room--yes, and I think one of","subjecting Celia to the severest tests. The rain ceased, and they took \n their coffee on the terrace of the hotel. Mme. Dauvray had been really \n pained by the conversation of Adele Tace. She had all the missionary \n zeal of a fanatic. \n \n \"I do hope, Adele, that we shall make you believe. But we shall. Oh, I \n am confident we shall.\" And her voice was feverish. \n \n Adele dropped for the moment her tone of raillery.","her she saw mysteries beyond. She took up her part at once. Since for \n the last time it had got to be played, there must be no fault in the \n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \n she must carry it off to-night with success. The suspicions of Adele \n Rossignol must obtain no verification. She spoke in a quiet and most \n serious voice. \"Under spirit-control no one is clever. One does the \n bidding of the spirit which controls.\" \n","\"It is the murder of Mme. Dauvray,\" said Wethermill. \n \n Hanaud started. \n \n \"And in what way, monsieur,\" he asked, \"are you interested in the \n murder of Mme. Dauvray?\" \n \n \"Her companion,\" said Wethermill, \"the young English girl--she is a \n great friend of mine.\" \n \n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \n"],["into the recess and see him. And then the real truth flashed in upon \n her blindingly. He had jerked the cord, but he had jerked it \n deliberately. He was already winding it up in a coil as it slid \n noiselessly across the polished floor beneath the curtains towards him. \n He had given a signal to Adele Rossignol. All that woman's scepticism \n and precaution against trickery had been a mere blind, under cover of","\"Every one in Geneva or near Geneva will know of this message by now.\" \n \n \"Who could have told?\" asked Ricardo blankly, and Hanaud laughed in his \n face, but laughed without any merriment. \n \n \"At last!\" he cried, as the waiter brought the bill, and just as he had \n paid it the light of a match flared up under the trees. \n \n \"The signal!\" said Lemerre. \n \n \"Not too quickly,\" whispered Hanaud. \n","These are facts, and, as I said, I can face facts. But there will be an \n explanation--if only we can discover it.\" \n \n He buried his face for a moment in his hands. Then he took up the paper \n again. \n \n \"As for the rest, Helene Vauquier lied,\" he cried violently, and he \n tossed the paper to Hanaud. \"What do you make of it?\" \n \n Hanaud smiled and shook his head. \n","uneasily, uncomfortably, until darkness should come. \n \n \"Eat,\" he cried--\"eat, my friends,\" playing with his own barely tasted \n food. \n \n And then, at a sentence from Lemerre, his knife and fork clattered on \n his plate, and he sat with a face suddenly grown white. \n \n For Lemerre said, as though it was no more than a matter of ordinary \n comment: \n \n \"So Mme. Dauvray's jewels were, after all, never stolen?\" \n","then I had no particular conviction about Geneva. I really wished to \n see how Wethermill would take it. He was wonderful.\" \n \n \"He sprang up.\" \n \n \"He betrayed nothing but surprise. You showed no less surprise than he \n did, my good friend. What I was looking for was one glance of fear. I \n did not get it.\" \n \n \"Yet you suspected him--even then you spoke of brains and audacity. You \n told him enough to hinder him from communicating with the red-haired","With as much unconcern as each could counterfeit, the three men \n descended the stairs and crossed the road. Under the trees a fourth man \n joined them--he who had lighted his pipe. \n \n \"The coachman, Hippolyte,\" he whispered, \"bought an evening paper at \n the front door of the house from a boy who came down the street \n shouting the news. The coachman ran back into the house.\" \n \n \"When was this?\" asked Lemerre. \n","She spoke with a simplicity and a remorse which it was difficult to \n disbelieve. M. Fleuriot, the judge, now at last convinced that the \n Dreyfus affair was for nothing in the history of this crime, listened \n to her with sympathy. \n \n \"That is your explanation, mademoiselle,\" he said gently. \"But I must \n tell you that we have another.\" \n \n \"Yes, monsieur?\" Celia asked. \n \n \"Given by Helene Vauquier,\" said Fleuriot. \n","the slightest justification that people were pointing him out. \"That \n man has been present at the investigation at the Villa Rose,\" he seemed \n to hear people say. \"What strange things he could tell us if he would!\" \n \n And suddenly, Mr. Ricardo began to reflect. What, after all, could he \n have told them? \n \n And that question he turned over in his mind while he ate his luncheon. \n Hanaud wrote a letter between the courses. They were sitting at a","secured her as Hanaud had found her, and, leaving her in the old \n woman's charge, sent down Adele for her needle and Hippolyte to get \n ready the boat. As Hippolyte opened the door he saw the launch of the \n Chef de la Surete glide along the bank. \n \n \n \n \n CHAPTER XXI \n \n HANAUD EXPLAINS \n \n \n This is the story as Mr. Ricardo wrote it out from the statement of","\"It is not surprising,\" said Hanaud. \"Some one within the house was an \n accomplice--we start with that fact. The house had not been broken \n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \n and a record obviously true. There was the fact that she had got rid of \n Servettaz. There was the maid upstairs very ill from the chloroform. \n What more likely than that Mlle. Celie had arranged a seance, and then","Wethermill stirred uneasily in his seat. His face flushed. To Mr. \n Ricardo that had been from the beginning the most interesting problem \n of the case. Was he to have the answer now? \n \n \"I do not know,\" answered Wethermill, with some hesitation, and then it \n seemed that he was at once ashamed of his hesitation. His accent \n gathered strength, and in a low but ringing voice, he added: \"But I say","of the gang. It did not help us very much to lay our hands upon them. \n No; the little accident which happened was the entrance of our friend \n Perrichet into the garden while the murderers were still in the room. \n Imagine that scene, M. Ricardo. The rage of the murderers at their \n inability to discover the plunder for which they had risked their \n necks, the old woman crumpled up on the floor against the wall, the \n girl writing laboriously with fettered arms 'I do not know' under","\"No. You came while I was still in bed. I have not thought of them till \n now.\" \n \n Hanaud crossed to the table, and, looking down at the letters, uttered \n a cry. \n \n \"There's one, the big envelope,\" he said, his voice shaking like his \n hand. \"It has a Swiss stamp.\" \n \n He swallowed to moisten his throat. Ricardo sprang across the room and \n tore open the envelope. There was a long letter enclosed in a","But as he passed he caught a sentence spoken suddenly by Wethermill. \n \n \"Well, it is true; I must have money.\" And the agitated voice and words \n remained fixed in his memory. He heard, too, a warning \"Hush!\" from the \n maid. Then they passed out of his hearing. But he turned and saw that \n Wethermill was talking volubly. What Harry Wethermill was saying he was \n saying in a foolish burst of confidence. \n","towards Celia too. She wrenched herself from Hanaud's arms, she shrank \n violently away. Her white face flushed scarlet and grew white again. \n She screamed loudly, terribly; and after the scream she uttered a \n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \n as she fell. A light broke over his face. \n \n \"Now I understand!\" he cried. \"Good God! That's horrible.\" \n \n \n \n \n CHAPTER XIII \n","his car there. Now, observe! It is no longer any use for him to pretend \n that he and his friends did not disappear in that car. The murder is \n already discovered, and with the murder the disappearance of the car. \n So he no longer troubles his head about it. He does not remove the \n traces of mould from the place where his feet rested, which otherwise, \n no doubt, he would have done. It no longer matters. He has to run to \n earth now before he is seen. That is all his business. And so the state","\"She speaks, then! After all she speaks!\" Hanaud whispered in a voice \n of awe. He ran to the door of the room, opened it suddenly, and, \n shutting it again, locked it. \"Quick! We cannot bring that poor woman \n back to life; but we may still--\" He did not finish his sentence. He \n took the letter unceremoniously from Ricardo's hand and seated himself \n at the table. Over his shoulder Mr. Ricardo, too, read Marthe Gobin's \n letter. \n","A startled exclamation burst from Ricardo. Harry Wethermill sat slowly \n down. For the first time that day there had come some colour into his \n cheeks, a sparkle into his eye. \n \n \"But that is wonderful!\" he cried. \"How did you find that out?\" \n \n Hanaud leaned back in his chair and took a pull at his cigar. He was \n obviously pleased with Wethermill's admiration. \n \n \"Yes, how did you find it out?\" Ricardo repeated. \n","imperceptible shrug. But Mr. Ricardo saw it, and construed it into one \n word. He imagined a jury uttering the word \"Guilty.\" \n \n Helene Vauquier saw the movement too. \n \n \"Do not condemn her too quickly, monsieur,\" she, said, with an impulse \n of remorse. \"And not upon my words. For, as I say, I--hated her.\" \n \n Hanaud nodded reassuringly, and she resumed: \n","searched for a telegram. Fortunately he did not examine your letters, \n or Marthe Gobin would never have spoken to us as she did after she was \n dead.\" \n \n \"Then what did he do?\" asked Ricardo eagerly; and, though Hanaud had \n been with him at the entrance to the station all this while, he asked \n the question in absolute confidence that the true answer would be given \n to him. \n \n \"He returned to the verandah wondering what he should do. He saw us"],["same table, within a foot of them. But they made no more of her \n presence than if she had been an old shoe. Only once did one of them \n speak to her. \n \n \"Stop your whimpering,\" said Hippolyte roughly. \"We can hardly hear \n ourselves talk.\" \n \n He was for finishing with the business altogether to-night. \n \n \"It's a mistake,\" he said. \"There's been a bungle, and the sooner we","back into the living world. For when she slept she dreamed through \n again that dark and dreadful night of Tuesday and the two days which \n followed it, until at some moment endurance snapped and she woke up \n screaming. But youth, a good constitution, and a healthy appetite had \n their way with her in the end. \n \n She told her share of the story--she told what happened. There was \n apparently one terrible scene when she was confronted with Harry \n Wethermill in the office of Monsieur Fleuriot, the Juge d'instruction,","flung out his arm as though he would dash his fist into her face. But \n as he stood with his arm poised there came a singular change upon his \n face. \n \n \"Did you hear anything?\" he asked in a whisper. \n \n All listened, and all heard in the quiet of the night a faint click, \n and after an interval they heard it again, and after another but \n shorter interval yet once more. \n \n \"That's the gate,\" said Wethermill in a whisper of fear, and a pulse of","hiding them in this secret place. But I tell you--this is human. Yes, \n it is interesting just because it is so human. Then picture to \n yourselves last night, the murderers opening this safe and finding \n nothing--oh, but nothing!--and ransacking the room in deadly haste, \n kicking up the rugs, forcing open the drawers, and always finding \n nothing--nothing--nothing. Think of their rage, their stupefaction, and \n finally their fear! They must go, and with one pearl necklace, when","The man pointed to a lad who leaned against the balustrade above the \n lake, hot and panting for breath. \n \n \"He came on his bicycle. He has just arrived.\" \n \n \"Follow me,\" said Lemerre. \n \n Six yards from where they stood a couple of steps led down from the \n embankment on to a wooden landing-stage, where boats were moored. \n Lemerre, followed by the others, walked briskly down on to the","\"There we are,\" he said, with his shrill, wavering laugh. \"I opened the \n gate before.\" And suddenly Celia hung inert in his arms. \n \n The light went out in the salon. Adele Rossignol, carrying Celia's \n cloak, stepped out at the side of the window. \n \n \"She has fainted,\" said Wethermill. \"Wipe the mould off her shoes and \n off yours too--carefully. I don't want them to think this car has been","of danger had been passed. They had crossed the Pont de la Caille, they \n were in Switzerland. \n \n Some long while afterwards the car slackened its speed. By the side of \n it Celia heard the sound of wheels and of the hooves of a horse. A \n single-horsed closed landau had been caught up as it jogged along the \n road. The motor-car stopped; close by the side of it the driver of the \n landau reined in his horse. Wethermill jumped down from the chauffeur's","yards, came suddenly upon a space in front of the villa. It was a small \n toy pleasure-house, looking on to a green lawn gay with flower-beds. It \n was built of yellow stone, and was almost square in shape. A couple of \n ornate pillars flanked the door, and a gable roof, topped by a gilt \n vane, surmounted it. To Ricardo it seemed impossible that so sordid and \n sinister a tragedy had taken place within its walls during the last","Near to him a woman sneered, and a man said, pityingly: \"She was \n pretty, that little one. It is regrettable that she has lost.\" \n \n A few minutes afterwards Ricardo finished his cigar and strolled back \n into the rooms, making his way to the big table just on the right hand \n of the entrance, where the play as a rule runs high. It was clearly \n running high to-night. For so deep a crowd thronged about the table that","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","Wethermill put his arm through hers. \n \n \"You'll have to take yourself away before you can do that,\" he \n answered, and the couple walked together out of Ricardo's hearing. \n \n Ricardo was left to wonder about Celia. She was just one of those \n problems which made Aix-les-Bains so unfailingly attractive to him. She \n dwelt in some street of Bohemia; so much was clear. The frankness of \n her pleasure, of her excitement, and even of her distress proved it.","a villa. A hedge separated the garden of the villa from the road, and \n above the hedge rose a board with the words \"To Let\" upon it. At the \n gate a gendarme was standing, and just within the gate Ricardo saw \n Louis Besnard, the Commissaire, and Servettaz, Mme. Dauvray's chauffeur. \n \n \"It is here,\" said Besnard, as the party descended from the cab, \"in \n the coach-house of this empty villa.\" \n","quickly aside. He bent his eyes to the ground, lay prone, moved this \n way and that to catch the light upon the floor, then with a spring he \n rose upon his knees. He lifted his finger to his lips. In a dead \n silence he drew a pen-knife quickly from his pocket and opened it. He \n bent down again and inserted the blade between the cracks of the \n blocks. The three men in the room watched him with an intense \n excitement. A block of wood rose from the floor, he pulled it out, laid","overwhelming terror. The carriage drove out from the town along the \n western edge of the lake. \n \n \"Now listen,\" said Adele. \"As soon as the landau stops the door of the \n house opposite to which it stops will open. I shall open the carriage \n door myself and you will get out. You must stand close by the carriage \n door until I have got out. I shall hold this flask ready in my hand. As \n soon as I am out you will run across the pavement into the house. You \n won't speak or scream.\"","\"Do you see?\" he said. \"On the opposite side there are no houses; there \n is only a wall. Behind the wall there are climbing gardens and the \n ground falls steeply to the turn of the road below. There's a flight of \n steps leading down which corresponds with the flight of steps from the \n garden. Very often there's a SERJENT-DE-VILLE stationed on the top of \n the steps. But there was not one there yesterday afternoon at three. \n Behind us is the supporting wall of the hotel garden. Well, look about","Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","in broad daylight. He must get rid of it, and at once, before people \n are about to see it, and to see him in it. Imagine his feelings! It is \n almost enough to make one pity him. Here he is in a car which convicts \n him as a murderer, and he has nowhere to leave it. He drives through \n Aix. Then on the outskirts of the town he finds an empty villa. He \n drives in at the gate, forces the door of the coach-house, and leaves","rose to get him some medicine. We slept in the front of the house, \n monsieur, and while I was searching for the matches upon the table in \n the middle of the room I heard the sound of carriage wheels in the \n silent street. I went to the window, and, raising a corner of the \n curtains, looked out. M. Gobin called to me fretfully from the bed to \n know why I did not light the candle and get him what he wanted. I have \n already told you how fretful sick men can be, always complaining if","\"Listen!\" he said, in a low voice, and with a gravity which impressed \n them all. \"There is something in this house which I do not understand. \n I have told you so. I tell you something more now. I am afraid--I am \n afraid.\" And the word startled his hearers like a thunderclap, though \n it was breathed no louder than a whisper, \"Yes, my friends,\" he \n repeated, nodding his head, \"terribly afraid.\" And upon the others fell","dared not cry out. Her hands were helpless, her face at the mercy of \n that grim flask. Just ahead of them the lights of Geneva were visible, \n and from the lights a silver radiance overspread a patch of sky. \n Wethermill placed her in the landau; Adele sprang in behind her and \n closed the door. The transfer had taken no more than a few seconds. The \n landau jogged into Geneva; the motor turned and sped back over the \n fifty miles of empty road to Aix. \n"],["Dauvray. \n \n Celia's father was a Captain Harland, of a marching regiment, who had \n little beyond good looks and excellent manners wherewith to support his \n position. He was extravagant in his tastes, and of an easy mind in the \n presence of embarrassments. To his other disadvantages he added that of \n falling in love with a pretty girl no better off than himself. They \n married, and Celia was born. For nine years they managed, through the","wife's constant devotion, to struggle along and to give their daughter \n an education. Then, however, Celia's mother broke down under the strain \n and died. Captain Harland, a couple of years later, went out of the \n service with discredit, passed through the bankruptcy court, and turned \n showman. His line was thought-reading; he enlisted the services of his \n daughter, taught her the tricks of his trade, and became \"The Great \n Fortinbras\" of the music-halls. Captain Harland would move amongst the","(1) Celia Harland made her entrance into Mme. Dauvray's household under \n very doubtful circumstances. \n \n (2) By methods still more doubtful she acquired an extraordinary \n ascendency over Mme. Dauvray's mind. \n \n (3) If proof were needed how complete that ascendency was, a glance at \n Celia Harland's wardrobe would suffice; for she wore the most expensive \n clothes. \n","(4) It was Celia Harland who arranged that Servettaz, the chauffeur, \n should be absent at Chambery on the Tuesday night--the night of the \n murder. \n \n (5) It was Celia Harland who bought the cord with which Mme. Dauvray \n was strangled and Helene Vauquier bound. \n \n (6) The footsteps outside the salon show that Celia Harland ran from \n the salon to the motor-car. \n","members. But Celia Harland is not one of them.\" \n \n \"Ah!\" said Fleuriot; and there was something of disappointment, \n something, too, of incredulity, in his voice. \"Well, you will come and \n report to me when you have made your investigation.\" And he passed on \n without another question or remark. \n \n The group of men watched him go, and it was not until he was out of \n earshot that Besnard turned with a deprecating gesture to Hanaud. \n","any question. I was not troubled about it until I came to Aix.\" \n \n A startling exposure, however, at Cambridge discredited the craze for \n spiritualism, and Captain Harland's fortunes declined. He crossed with \n his daughter to France and made a disastrous tour in that country, \n wasted the last of his resources in the Casino at Dieppe, and died in \n that town, leaving Celia just enough money to bury him and to pay her \n third-class fare to Paris. \n","the question which had so perplexed him: how a girl of so much \n distinction as Celia Harland came to be living with a woman of so \n common a type as Mme. Dauvray. \n \n \"Well, one night in June,\" said Helene Vauquier, \"madame went with a \n party to supper at the Abbaye Restaurant in Montmartre. And she brought \n home for the first time Mlle. Celie. But you should have seen her! She","must guess at once that she saw Celie Harland enter their house, that \n she is travelling to Aix with the information of her whereabouts. At \n all costs she must be prevented from giving that information. At all \n risks, therefore, the warning telegram must be sent to Harry \n Wethermill.\" \n \n Ricardo recognised the force of the argument. \n \n \"If only you had heard of the telegram yesterday in time!\" he cried. \n","Wethermill put his arm through hers. \n \n \"You'll have to take yourself away before you can do that,\" he \n answered, and the couple walked together out of Ricardo's hearing. \n \n Ricardo was left to wonder about Celia. She was just one of those \n problems which made Aix-les-Bains so unfailingly attractive to him. She \n dwelt in some street of Bohemia; so much was clear. The frankness of \n her pleasure, of her excitement, and even of her distress proved it.","rose from the music-halls to the assembly rooms of provincial towns. \n The performance became genteel, and ladies flocked to the matinees. \n \n The Great Fortinbras dropped his pseudonym and became once more Captain \n Harland. \n \n As Celia grew up, he tried a yet higher flight--he became a \n spiritualist, with Celia for his medium. The thought-reading \n entertainments became thrilling seances, and the beautiful child, now \n grown into a beautiful girl of seventeen, created a greater sensation","took a step forward. His face seemed to narrow to a greater sharpness. \n In a moment, to Mr. Ricardo's thought, he ceased to be the judge; he \n dropped from his high office; he dwindled into a fanatic. \n \n \"She is a Jewess, this Celia Harland?\" he cried. \n \n \"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in \n disparagement of that race, for I count many friends amongst its","seat, opened the door of the landau, and then put his head in at the \n window of the car. \n \n \"Are you ready? Be quick!\" \n \n Adele turned to Celia. \n \n \"Not a word, remember!\" \n \n Wethermill flung open the door of the car. Adele took the girl's feet \n and drew them down to the step of the car. Then she pushed her out. \n Wethermill caught her in his arms and carried her to the landau. Celia","\"Send your valet away,\" he said. And as soon as they were alone he \n produced a newspaper, which he flourished in Mr. Ricardo's face and \n then dropped into his hands. \n \n Ricardo saw staring him in the face a full description of Celia \n Harland, of her appearance and her dress, of everything except her \n name, coupled with an intimation that a reward of four thousand francs \n would be paid to any one who could give information leading to the","Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","IN THE HOUSE AT GENEVA \n \n \n It was well, Mr. Ricardo thought, that some one understood. For \n himself, he frankly admitted that he did not. Indeed, in his view the \n first principles of reasoning seemed to be set at naught. It was \n obvious from the solicitude with which Celia Harland was surrounded \n that every one except himself was convinced of her innocence. Yet it \n was equally obvious that any one who bore in mind the eight points he","\"You will stay here to-night to arrange for their transfer to Aix?\" \n \n \"I will leave Durette behind,\" said Hanaud. \"I am needed at Aix. We \n will make a formal application for the prisoners.\" He was kneeling by \n Celia's side and awkwardly dabbing her forehead with a wet \n handkerchief. He raised a warning hand. Celia Harland moved and opened \n her eyes. She sat up on the sofa, shivering, and looked with dazed and","Then Ricardo's thoughts turned as he tossed upon his bed to Celia \n Harland, a tragic and a lonely figure. He recalled the look of \n tenderness upon her face when her eyes had met Harry Wethermill's \n across the baccarat-table in the Villa des Fleurs. He gained some \n insight into the reason why she had clung so desperately to Hanaud's \n coat-sleeve yesterday. Not merely had he saved her life. She was lying \n with all her world of trust and illusion broken about her, and Hanaud","of danger had been passed. They had crossed the Pont de la Caille, they \n were in Switzerland. \n \n Some long while afterwards the car slackened its speed. By the side of \n it Celia heard the sound of wheels and of the hooves of a horse. A \n single-horsed closed landau had been caught up as it jogged along the \n road. The motor-car stopped; close by the side of it the driver of the \n landau reined in his horse. Wethermill jumped down from the chauffeur's","knew of Celia Harland or not. But before he had decided a knock came \n upon the door. \n \n \"Here is Perrichet,\" said Hanaud, taking up his hat. \"We will go down \n to the Villa Rose.\" \n \n \n \n \n CHAPTER III \n \n PERRICHET'S STORY \n \n \n Perrichet was a young, thick-set man, with a red, fair face, and a \n moustache and hair so pale in colour that they were almost silver. He","Celia's room. While she brushed Celia's hair she told her that \n Servettaz's parents lived at Chambery, and that he would like to see \n them. \n \n \"But the poor man is afraid to ask for a day,\" she said. \"He has been \n so short a time with madame.\" \n \n \"Of course madame will give him a holiday if he asks,\" replied Celia \n with a smile. \"I will speak to her myself to-morrow.\" \n"],["seance swelling into a positive disgust. More than once she had felt \n driven by some uncontrollable power to rise up at the table and cry out \n to Adele: \n \n \"You are right! It IS trickery. There is no truth in it.\" \n \n But she had mastered herself. For opposite to her sat her patroness, \n her good friend, the woman who had saved her. The flush upon Mme. \n Dauvray's cheeks and the agitation of her manner warned Celia how much","remember all the names, and very likely I do not pronounce them \n properly. Then the voices would cease and the lights be turned up, and \n Mlle. Celie would be found in a trance just in the same place and \n attitude as she had been when the lights were turned out. Imagine, \n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \n She was made for them. She believed in them implicitly. The words of \n the great ladies from the past--she would remember and repeat them, and","Mme. Dauvray spoke in a hushed, awestruck voice. \n \n \"There is a presence in the room.\" \n \n It was horrible to Celia that the poor woman was speaking the jargon \n which she herself had taught to her. \n \n \"I will speak to it,\" said Mme. Dauvray, and raising her voice a \n little, she asked: \"Who are you that come to us from the spirit-world?\" \n \n No answer came, but all the while Celia knew that Wethermill was","the colours of her belief, she would hold a seance at the Villa Rose. \n \n Mme. Dauvray told the news to Helene Vauquier when they reached the \n villa. \n \n \"You will be present, Helene,\" she cried excitedly. \"It will be \n Tuesday. There will be the three of us.\" \n \n \"Certainly, if madame wishes,\" said Helene submissively. She looked \n round the room. \"Mlle. Celie can be placed on a chair in that recess","seances, and at once, to add fuel to her hatred, she found herself \n stripped of those gifts and commissions which she had exacted from the \n herd of common tricksters who had been wont to make their harvest out \n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \n grew into a very delirium. But it was a delirium she had the cunning to","Celie practised seances. That is very strange. We will hear about them. \n Who knows what thread may lead us to the truth?\" \n \n Helene Vauquier shook her head. \n \n \"Monsieur, it is not right that you should seek the truth from me. For, \n consider this! I cannot speak with justice of Mlle. Celie. No, I \n cannot! I did not like her. I was jealous--yes, jealous. Monsieur, you","Dauvray. \"And I do not wonder.\" \n \n Celia saw upon the old woman's foolish and excited face a look of \n veritable consternation. \n \n \"Are you afraid, Celie?\" she asked. \n \n There was anger, there was menace in the voice, but above all these \n there was fear--fear that her illusions were to tumble about her. Celia \n heard that note and was quelled by it. This folly of belief, these","Dauvray's voice rang shrill and irritable up the stairs. \n \n \"Celie! Celie!\" \n \n \"Quick, Helene,\" said Celia. For she herself was now anxious to have \n the seance over and done with. \n \n But Helene did not hurry. The more irritable Mme. Dauvray became, the \n more impatient with Mlle. Celie, the less would Mlle. Celie dare to","Celia had no doubt who \"she\" was. She was Mme. de Montespan. \n \n \"Oh, no, madame!\" she stammered. \"Here, at Aix, we are not in the \n spirit for such things.\" \n \n And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then, \n what Adele said?\" \n \n And Celia started violently. Mme. Dauvray doubted. \n","Within a fortnight Mme. Dauvray confided to Celia that there was a new \n fortune-teller come to Paris, who, by looking into a crystal, could \n tell the most wonderful things about the future. The old woman's eyes \n kindled as she spoke. She took Celia to the fortune-teller's rooms next \n day, and the girl quickly understood the ruling passion of the woman \n who had befriended her. It took very little time then for Celia to","anxious to speak with the spirit of Mme. de Montespan. Yes, yes! She \n had read all the memoirs about that lady. Very likely Mlle. Celie had \n put the notion into Mme. Dauvray's head, for madame was not a scholar. \n But she was dying to hear that famous woman's voice and to catch a dim \n glimpse of her face. Well, she was never gratified. Always she hoped. \n Always Mlle. Celie tantalised her with the hope. But she would not","conceal. She lived at white heat, but to all the world she had lost \n nothing of her calm. \n \n Celia did not foresee the hatred she was arousing; nor, on the other \n hand, did she foresee the overwhelming effect of these spiritualistic \n seances on Mme. Dauvray. Celia had never been brought quite close to \n the credulous before. \n \n \"There had always been the row of footlights,\" she said. \"I was on the","That was her explanation of Helene Vauquier's treachery; and believing \n that error, she believed yet another--that she had reached the terrible \n climax of her troubles. She was only at the beginning of them. \n \n \"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\" \n \n The maid instantly slid back into the room. \n \n \"Mademoiselle has not moved,\" she said. \n \n Celia heard the women settle in their chairs about the table. \n","\"It is not surprising,\" said Hanaud. \"Some one within the house was an \n accomplice--we start with that fact. The house had not been broken \n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \n and a record obviously true. There was the fact that she had got rid of \n Servettaz. There was the maid upstairs very ill from the chloroform. \n What more likely than that Mlle. Celie had arranged a seance, and then","Celia sat with a face which WOULD grow red. She did not look, but none \n the less she was aware that Mme. Dauvray was gazing at her with a \n perplexed frown and some return of her suspicion showing in her eyes. \n Adele Tace was not content to leave the subject there. \n \n \"Perhaps,\" she said, with a smile, \"Mlle. Celie dresses in that way for \n a seance?\" \n","silk curtains swung across the opening, leaving Celia in darkness. \n Quickly and noiselessly the poor girl began to twist and work her \n hands. But she only bruised her wrists. This was to be the last of the \n seances. But it must succeed! So much of Mme. Dauvray's happiness, so \n much of her own, hung upon its success. Let her fail to-night, she \n would be surely turned from the door. The story of her trickery and her","would make spirits appear and speak!\" \n \n \"Really! And she was never caught out! But Mlle. Celie must have been a \n remarkably clever girl.\" \n \n \"Oh, she was of an address which was surprising. Sometimes madame and I \n were alone. Sometimes there were others, whom madame in her pride had \n invited. For she was very proud, monsieur, that her companion could \n introduce her to the spirits of dead people. But never was Mlle. Celie","\"I believe it would break my heart, my dear, if I were to think that; \n if I were to know that you had tricked me,\" she said, with a trembling \n voice. \n \n Celia covered her face with her hands. It would be true. She had \n no doubt of it. Mme. Dauvray would never forgive herself--would never \n forgive Celia. Her infatuation had grown so to engross her that the \n rest of her life would surely be embittered. It was not merely a","passion--it was a creed as well. Celia shrank from the renewal of these \n seances. Every fibre in her was in revolt. They were so unworthy--so \n unworthy of Harry Wethermill, and of herself as she now herself wished \n to be. But she had to pay now; the moment for payment had come. \n \n \"Celie,\" said Mme. Dauvray, \"it isn't true! Surely it isn't true?\" \n \n Celia drew her hands away from her face. \n","It appeared that at five o'clock in the afternoon Mme. Dauvray and \n Mlle. Celie prepared to leave the house on foot. It was their custom to \n walk down at this hour to the Villa des Fleurs, pass an hour or so \n there, dine in a restaurant, and return to the Rooms to spend the \n evening. On this occasion, however, Mme. Dauvray informed Helene that \n they should be back early and bring with them a friend who was \n interested in, but entirely sceptical of, spiritualistic"],["That was her explanation of Helene Vauquier's treachery; and believing \n that error, she believed yet another--that she had reached the terrible \n climax of her troubles. She was only at the beginning of them. \n \n \"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\" \n \n The maid instantly slid back into the room. \n \n \"Mademoiselle has not moved,\" she said. \n \n Celia heard the women settle in their chairs about the table. \n","upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \n would have laughed if any one had told her that this respectable and \n respectful middle-aged woman, who was so attentive, so neat, so \n grateful for any kindness, was really nursing a rancorous hatred \n against her. Celia had sprung from Montmartre suddenly; therefore \n Helene Vauquier despised her. Celia had taken her place in Mme.","the horrors of the night's adventure. She lay back and cried quietly in \n the darkness of the carriage. The car dashed through Annecy. It seemed \n incredible to Celia that less than six hours ago she had been dining \n with Mme. Dauvray and the woman opposite, who was now her jailer. Mme. \n Dauvray lay dead in the little salon, and she herself--she dared not \n think what lay in front of her. She was to be persuaded--that was the","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","and the curtains drawn, whilst we--madame and madame's friend and \n I--can sit round this table under the side windows.\" \n \n \"Yes,\" said Celia, \"that will do very well.\" \n \n It was Madame Dauvray's habit when she was particularly pleased with \n Celia to dismiss her maid quickly, and to send her to brush the girl's \n hair at night; and in a little while on this night Helene went to","Yet another day had gone, but in that dark cupboard Celia had no means \n of judging time. In the afternoon the newspaper came out with the \n announcement that Mme. Dauvray's jewellery had been discovered under \n the boards. Hippolyte brought in the newspaper, and, cursing their \n stupidity, they sat down to decide upon Celia's fate. That, however, \n was soon arranged. They would dress her in everything which she wore \n when she came, so that no trace of her might be discovered. They would","\"No, indeed,\" replied Mme. Dauvray. \"We shall all three dine together \n early in Aix and return here.\" \n \n \"Then I will tell him he may go to-morrow,\" said Celia. \n \n For this conversation took place on the Monday, and in the evening Mme. \n Dauvray and Celia went as usual to the Villa des Fleurs and dined there. \n \n \"I was in a bad mind,\" said Celia, when asked by the Juge d'Instruction","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","It appeared that at five o'clock in the afternoon Mme. Dauvray and \n Mlle. Celie prepared to leave the house on foot. It was their custom to \n walk down at this hour to the Villa des Fleurs, pass an hour or so \n there, dine in a restaurant, and return to the Rooms to spend the \n evening. On this occasion, however, Mme. Dauvray informed Helene that \n they should be back early and bring with them a friend who was \n interested in, but entirely sceptical of, spiritualistic","a high stool without a back, taken from the hall, had been placed, and \n the back legs of the stool had been lashed with cord firmly to the \n pillar, so that it could not be moved. The round table had been put in \n position, with three chairs about it. Mme. Dauvray waited impatiently. \n Celia stood apparently unconcerned, apparently lost to all that was \n going on. Her eyes saw no one. Adele looked up at Celia, and laughed \n maliciously. \n","\"Mademoiselle, I see, is in the very mood to produce the most wonderful \n phenomena. But it will be better, I think, madame,\" she said, turning \n to Mme. Dauvray, \"that Mlle. Celie should put on those gloves which I \n see she has thrown on to a chair. It will be a little more difficult \n for mademoiselle to loosen these cords, should she wish to do so.\" \n \n The argument silenced Celia. If she refused this condition now she","accident at the last moment would spoil her plan, that Adele Tace had \n not learned her lesson, that Celie would take fright, that she would \n not return. Now all those fears were over. She had her victims safe \n within the villa. The charwoman had been sent home. She had them to \n herself. She was still standing in the hall when Mme. Dauvray called \n aloud impatiently: \n \n \"Helene! Helene!\" \n","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","the question which had so perplexed him: how a girl of so much \n distinction as Celia Harland came to be living with a woman of so \n common a type as Mme. Dauvray. \n \n \"Well, one night in June,\" said Helene Vauquier, \"madame went with a \n party to supper at the Abbaye Restaurant in Montmartre. And she brought \n home for the first time Mlle. Celie. But you should have seen her! She","seances, and at once, to add fuel to her hatred, she found herself \n stripped of those gifts and commissions which she had exacted from the \n herd of common tricksters who had been wont to make their harvest out \n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \n grew into a very delirium. But it was a delirium she had the cunning to","fixed Celia to the pillar. \n \n \"I'll follow,\" he said, and as he turned he stumbled over the body of \n Mme. Dauvray. With a shrill cry he kicked it out of his way and crept \n up the stairs. Adele Rossignol quickly set the room in order. She \n removed the stool from its position in the recess, and carried it to \n its place in the hall. She put Celia's shoes upon her feet, loosening","\"You will stay here to-night to arrange for their transfer to Aix?\" \n \n \"I will leave Durette behind,\" said Hanaud. \"I am needed at Aix. We \n will make a formal application for the prisoners.\" He was kneeling by \n Celia's side and awkwardly dabbing her forehead with a wet \n handkerchief. He raised a warning hand. Celia Harland moved and opened \n her eyes. She sat up on the sofa, shivering, and looked with dazed and","was concerned in hiding from them. It is not rash to guess, then, that \n it was some piece of the plunder of which the other two would have \n claimed their share--and a piece of plunder belonging to Mlle. Celie. \n Well, she has nothing but the diamond eardrops. Suppose Vauquier is \n left alone to guard Mlle. Celie while the other two ransack Mme. \n Dauvray's room. She sees her chance. The girl cannot stir hand or foot","Dauvray's voice rang shrill and irritable up the stairs. \n \n \"Celie! Celie!\" \n \n \"Quick, Helene,\" said Celia. For she herself was now anxious to have \n the seance over and done with. \n \n But Helene did not hurry. The more irritable Mme. Dauvray became, the \n more impatient with Mlle. Celie, the less would Mlle. Celie dare to"],["\"To be sure,\" said the judge, with a savage sarcasm. \"In decent \n conversation there is always a reticence. Something is left to be \n understood.\" \n \n And it is difficult to understand how murder could not have been an \n essential part of their plan, since---But let us see what happened. \n \n \n \n \n CHAPTER XVI \n \n THE FIRST MOVE \n \n \n On the Friday before the crime was committed Mme. Dauvray and Celia","\"It is the murder of Mme. Dauvray,\" said Wethermill. \n \n Hanaud started. \n \n \"And in what way, monsieur,\" he asked, \"are you interested in the \n murder of Mme. Dauvray?\" \n \n \"Her companion,\" said Wethermill, \"the young English girl--she is a \n great friend of mine.\" \n \n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \n","this. You have told me, M. Hanaud, of women who looked innocent and \n were guilty. But you know also of women and girls who can live \n untainted and unspoilt amidst surroundings which are suspicious.\" \n \n Hanaud listened, but he neither agreed nor denied. He took up a second \n slip of paper. \n \n \"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not \n take up her early history. It might not be edifying and, poor woman,","often never played at all. If she won a few louis, she was as delighted \n with her gains and as afraid to lose them again at the tables as if she \n were of the poorest, and she stopped at once. No, monsieur; twenty or \n thirty louis--there was never more than that in the house.\" \n \n \"Then it was certainly for her famous collection of jewellery that \n Madame Dauvray was murdered?\" \n \n \"Certainly, monsieur.\" \n","Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \n her generosity, her desire to converse with Mme. de Montespan and the \n great ladies of the past, and her love of a young, fresh face about \n her; Helene Vauquier, the maid with her six years of confidential \n service, who finds herself suddenly supplanted and made to tend and \n dress in dainty frocks the girl who has supplanted her; the young girl","Celia had no doubt who \"she\" was. She was Mme. de Montespan. \n \n \"Oh, no, madame!\" she stammered. \"Here, at Aix, we are not in the \n spirit for such things.\" \n \n And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then, \n what Adele said?\" \n \n And Celia started violently. Mme. Dauvray doubted. \n","gratify it. She would not spoil her fine affairs by making these treats \n too common. And she acquired--how should she not?--a power over Mme. \n Dauvray which was unassailable. The fortune-tellers had no more to say \n to Mme. Dauvray. She did nothing but felicitate herself upon the happy \n chance which had sent her Mlle. Celie. And now she lies in her room \n murdered!\" \n \n Once more Helene's voice broke upon the words. But Hanaud poured her","you. She carried a lace scarf which she could drape about her head, and \n in a moment she would be, in the dim light, an old, old woman, with a \n voice so altered that no one could know it. Indeed, you said rightly, \n monsieur--she was clever.\" \n \n To all who listened Helene Vauquier's story carried its conviction. \n Mme. Dauvray rose vividly before their minds as a living woman. Celie's","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","That was her explanation of Helene Vauquier's treachery; and believing \n that error, she believed yet another--that she had reached the terrible \n climax of her troubles. She was only at the beginning of them. \n \n \"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\" \n \n The maid instantly slid back into the room. \n \n \"Mademoiselle has not moved,\" she said. \n \n Celia heard the women settle in their chairs about the table. \n","to madame.\" \n \n \"Quite so,\" said Hanaud. \"Now, when did Mme. Dauvray tell you that you \n might have Tuesday?\" \n \n Servettaz hesitated. His face became troubled. When he spoke, he spoke \n reluctantly. \n \n \"It was not Mme. Dauvray, monsieur, who told me that I might go on \n Tuesday,\" he said. \n \n \"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.","a chair overturned upon the floor, and to my right, below the middle \n one of the three windows in the right-hand side wall, a woman lying \n huddled upon the floor. It was Mme. Dauvray. She was dressed. There was \n a little mud upon her shoes, as though she had walked after the rain \n had ceased. Monsieur will remember that two heavy showers fell last \n evening between six and eight.\" \n \n \"Yes,\" said Hanaud, nodding his approval. \n","Dauvray's confidence, had deposed her unwittingly, had turned the \n confidential friend into a mere servant; therefore Helene Vauquier \n hated her. And her hatred reached out beyond the girl, and embraced the \n old, superstitious, foolish woman, whom a young and pretty face could \n so easily beguile. Helene Vauquier despised them both, hated them both, \n and yet must nurse her rancour in silence and futility. Then came the","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \n would have laughed if any one had told her that this respectable and \n respectful middle-aged woman, who was so attentive, so neat, so \n grateful for any kindness, was really nursing a rancorous hatred \n against her. Celia had sprung from Montmartre suddenly; therefore \n Helene Vauquier despised her. Celia had taken her place in Mme.","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","notice how easily Mme. Dauvray was duped, how perpetually she was \n robbed. Celia turned the problem over in her mind. \n \n \"Madame had been very good to me. She was kind and simple,\" said Celia, \n with a very genuine affection in her voice. \"The people whom we knew \n laughed at her, and were ungenerous. But there are many women whom the \n world respects who are worse than ever was poor Mme. Dauvray. I was","\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","had had the courage to tell him yesterday, he would have forgiven, \n surely he would! The tears gathered in her eyes and rolled down her \n cheeks. What would become of her now? She was in pain besides. The \n cords about her arms and ankles tortured her. And she feared--yes, \n desperately she feared the effect of the exposure upon Mme. Dauvray. \n She had been treated as a daughter; now she was in return to rob Mme. \n Dauvray of the belief which had become the passion of her life.","Hanaud smiled. \n \n \"But that is a fine suggestion,\" he cried. \"We must think over that,\" \n and he clapped his hand to his forehead with a gesture of \n self-reproach. \"Why did not such a fine idea occur to me, fool that I \n am! However, we will call the head waiter.\" \n \n The head waiter was sent for and appeared before them. \n \n \"You knew Mme. Dauvray?\" Hanaud asked. \n"],["\"It is the murder of Mme. Dauvray,\" said Wethermill. \n \n Hanaud started. \n \n \"And in what way, monsieur,\" he asked, \"are you interested in the \n murder of Mme. Dauvray?\" \n \n \"Her companion,\" said Wethermill, \"the young English girl--she is a \n great friend of mine.\" \n \n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \n","to madame.\" \n \n \"Quite so,\" said Hanaud. \"Now, when did Mme. Dauvray tell you that you \n might have Tuesday?\" \n \n Servettaz hesitated. His face became troubled. When he spoke, he spoke \n reluctantly. \n \n \"It was not Mme. Dauvray, monsieur, who told me that I might go on \n Tuesday,\" he said. \n \n \"Not Mme. Dauvray! Who was it, then?\" Hanaud asked sharply.","gratify it. She would not spoil her fine affairs by making these treats \n too common. And she acquired--how should she not?--a power over Mme. \n Dauvray which was unassailable. The fortune-tellers had no more to say \n to Mme. Dauvray. She did nothing but felicitate herself upon the happy \n chance which had sent her Mlle. Celie. And now she lies in her room \n murdered!\" \n \n Once more Helene's voice broke upon the words. But Hanaud poured her","this. You have told me, M. Hanaud, of women who looked innocent and \n were guilty. But you know also of women and girls who can live \n untainted and unspoilt amidst surroundings which are suspicious.\" \n \n Hanaud listened, but he neither agreed nor denied. He took up a second \n slip of paper. \n \n \"I shall tell you something now of Mme. Dauvray,\" he said. \"We will not \n take up her early history. It might not be edifying and, poor woman,","the way he shall tell us exactly what he discovered and how he \n discovered it. At the villa we shall find Monsieur Fleuriot, the Juge \n d'instruction, who has already begun his examination, and the \n Commissaire of Police. In company with them we will inspect the villa. \n Except for the removal of Mme. Dauvray's body from the salon to her \n bedroom and the opening of the windows, the house remains exactly as it \n was.\" \n","\"To be sure,\" said the judge, with a savage sarcasm. \"In decent \n conversation there is always a reticence. Something is left to be \n understood.\" \n \n And it is difficult to understand how murder could not have been an \n essential part of their plan, since---But let us see what happened. \n \n \n \n \n CHAPTER XVI \n \n THE FIRST MOVE \n \n \n On the Friday before the crime was committed Mme. Dauvray and Celia","friends, and searched. Upon her is found the pot of cream, and in the \n cream Mlle. Celie's eardrops. She has slipped into Mlle. Celie's room, \n as, if my theory was correct, she would be sure to do, and put the pot \n of cream into her pocket. So I am now fairly sure that she is concerned \n in the murder. \n \n \"We then went to Mme. Dauvray's room and discovered her brilliants and","\"I have told him to fetch a cab,\" he said, \"and convey Helene Vauquier \n to her friends.\" Then he looked at Ricardo, and from Ricardo to the \n Commissaire, while he rubbed his hand backwards and forwards across his \n shaven chin. \n \n \"I tell you,\" he said, \"I find this sinister little drama very \n interesting to me. The sordid, miserable struggle for mastery in this \n household of Mme. Dauvray--eh? Yes, very interesting. Just as much","Hanaud smiled. \n \n \"But that is a fine suggestion,\" he cried. \"We must think over that,\" \n and he clapped his hand to his forehead with a gesture of \n self-reproach. \"Why did not such a fine idea occur to me, fool that I \n am! However, we will call the head waiter.\" \n \n The head waiter was sent for and appeared before them. \n \n \"You knew Mme. Dauvray?\" Hanaud asked. \n","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","often never played at all. If she won a few louis, she was as delighted \n with her gains and as afraid to lose them again at the tables as if she \n were of the poorest, and she stopped at once. No, monsieur; twenty or \n thirty louis--there was never more than that in the house.\" \n \n \"Then it was certainly for her famous collection of jewellery that \n Madame Dauvray was murdered?\" \n \n \"Certainly, monsieur.\" \n","you. She carried a lace scarf which she could drape about her head, and \n in a moment she would be, in the dim light, an old, old woman, with a \n voice so altered that no one could know it. Indeed, you said rightly, \n monsieur--she was clever.\" \n \n To all who listened Helene Vauquier's story carried its conviction. \n Mme. Dauvray rose vividly before their minds as a living woman. Celie's","want the truth--I hated her!\" And the woman's face flushed and she \n clenched her hand upon the arm of her chair. \"Yes, I hated her. How \n could I help it?\" she asked. \n \n \"Why?\" asked Hanaud gently. \"Why could you not help it?\" \n \n Helene Vauquier leaned back again, her strength exhausted, and smiled \n languidly. \n \n \"I will tell you. But remember it is a woman speaking to you, and","a chair overturned upon the floor, and to my right, below the middle \n one of the three windows in the right-hand side wall, a woman lying \n huddled upon the floor. It was Mme. Dauvray. She was dressed. There was \n a little mud upon her shoes, as though she had walked after the rain \n had ceased. Monsieur will remember that two heavy showers fell last \n evening between six and eight.\" \n \n \"Yes,\" said Hanaud, nodding his approval. \n","struggle. Not a chair was broken, and only a chair upset. Yes, there \n were brains behind that murder. We know that. But what do we know of \n the plan? How far can we build it up? Let us see. First, there was an \n accomplice in the house--perhaps two.\" \n \n \"No!\" cried Harry Wethermill. \n \n Hanaud took no notice of the interruption. \n \n \"Secondly the woman came to the house with Mme. Dauvray and Mlle. Celie","And, indeed, how should she notice anything if the salon were dark, and \n Mme. Dauvray's body lay under the windows at the side?\" \n \n Ricardo leaned forward eagerly. \n \n \"That must be the truth,\" he cried; and Wethermill's voice broke \n hastily in: \n \n \"It is not the truth and I will tell you why. Celia Harland was to have \n married me this week.\" \n \n There was so much pain and misery in his voice that Ricardo was moved","\"The murder was discovered at twelve o'clock at night by the \n sergent-de-ville Perrichet, to whose intelligence more than a word of \n praise is due, and it is obvious from the absence of all marks upon the \n door and windows that the murderer was admitted from within the villa. \n Meanwhile Mme. Dauvray's motor-car has disappeared, and with it a young \n Englishwoman who came to Aix with her as her companion. The motive of","truth to madame, she would have been so angry that I had been a party \n to tricking her that again I would have lost my place. And so the \n seances went on.\" \n \n \"Yes,\" said Hanaud. \"I understand that your position was very \n difficult. We shall not, I think,\" and he turned to the Commissaire \n confidently for corroboration of his words, \"be disposed to blame you.\" \n \n \"Certainly not,\" said the Commissaire. \"After all, life is not so easy.\"","\"No, indeed,\" replied Mme. Dauvray. \"We shall all three dine together \n early in Aix and return here.\" \n \n \"Then I will tell him he may go to-morrow,\" said Celia. \n \n For this conversation took place on the Monday, and in the evening Mme. \n Dauvray and Celia went as usual to the Villa des Fleurs and dined there. \n \n \"I was in a bad mind,\" said Celia, when asked by the Juge d'Instruction","the crime leaps to the eyes. Mme. Dauvray was famous in Aix for her \n jewels, which she wore with too little prudence. The condition of the \n house shows that a careful search was made for them, and they have \n disappeared. It is anticipated that a description of the young \n Englishwoman, with a reward for her apprehension, will be issued \n immediately. And it is not too much to hope that the citizens of Aix, \n and indeed of France, will be cleared of all participation in so cruel"],["Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","At first Celia shrank away, fearing some new cruelty. But Adele's voice \n came to her ears, speaking--and speaking with remorse. \n \n \"I can't endure it!\" she whispered. \"You are so young--too young to be \n killed.\" \n \n The tears were rolling down Celia's cheeks. Her face was pitiful and \n beseeching. \n \n \"Don't look at me like that, for God's sake, child!\" Adele went on, and","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","but she did not bolt it. She came back into the room; she looked at \n Celia, as she lay back upon the settee, with a long glance of \n indecision. And then, to Celia's surprise--for she had given up all \n hope--the indecision in her eyes became pity. She suddenly ran across \n the room and knelt down before Celia. With quick and feverish hands she \n untied the cord which fastened the train of her skirt about her knees. \n","Wethermill opened the wooden door, while Celia's heart raced in her \n bosom. \n \n \"I will go down and open the gate,\" he whispered. \"Are you ready?\" \n \n \"Yes.\" \n \n Wethermill disappeared; and this time he left the door open. Adele \n helped Celia to her feet. For a moment she tottered; then she stood \n firm. \n \n \"Now run!\" whispered Adele. \"Run, child, for your life!\" \n","Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","Celia a respite, perhaps more than a respite. Helene set the flask down \n upon the table. Her avarice had got the better of her hatred. She \n roughly plucked the earrings out of the girl's ears. She hid them \n quickly in the bosom of her dress with her eye upon the door. She did \n not see a drop of blood gather on the lobe of Celia's ear and fall into \n the cushion on which her face was pressed. She had hardly hidden them","towards Celia too. She wrenched herself from Hanaud's arms, she shrank \n violently away. Her white face flushed scarlet and grew white again. \n She screamed loudly, terribly; and after the scream she uttered a \n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \n as she fell. A light broke over his face. \n \n \"Now I understand!\" he cried. \"Good God! That's horrible.\" \n \n \n \n \n CHAPTER XIII \n","here.\" \n \n \"No!\" cried Celia decisively, and she again laid hold of his coat, with \n a pretty imperiousness, as though he belonged to her. \n \n \"But I must,\" said Hanaud with a laugh. \n \n \"Then I will come too,\" said Celia, and she opened the door and set a \n foot upon the step. \n \n \"You will not, mademoiselle,\" said Hanaud, with a laugh. \"Will you take","upon their expedition of rescue. Into that short interval of time so \n much that was eventful had been crowded. \n \n Hanaud leaned across the table to Celia and said in a low voice: \n \n \"Mademoiselle, if I may suggest it, it would be as well if you put on \n your gloves; otherwise they may notice your wrists.\" \n \n Celia followed his advice. She ate some food and drank a glass of \n champagne. A little colour returned to her cheeks. \n","extraordinary relief. The genuine, heartfelt cry restored her \n confidence in Celia. \n \n \"Some one--who means harm!\" she whispered, trembling with excitement. \n \n \"Ah, mademoiselle is already under control,\" said Helene, using the \n jargon which she had learnt from Celia's lips. \n \n Adele Rossignol grinned. \n \n \"Yes, LA PETITE is under control,\" she repeated, with a sneer; and all","Then Ricardo's thoughts turned as he tossed upon his bed to Celia \n Harland, a tragic and a lonely figure. He recalled the look of \n tenderness upon her face when her eyes had met Harry Wethermill's \n across the baccarat-table in the Villa des Fleurs. He gained some \n insight into the reason why she had clung so desperately to Hanaud's \n coat-sleeve yesterday. Not merely had he saved her life. She was lying \n with all her world of trust and illusion broken about her, and Hanaud","have been thinking of what will become of Mlle. Celie. I wrote to my \n sister, and here is her reply. Mlle. Celie will be very welcome.\" \n \n Hanaud stretched out his hand and shook Ricardo's warmly. \n \n \"She will not, I think, be for very long a burden. She is young. She \n will recover from this shock. She is very pretty, very gentle. If--if \n no one comes forward whom she loves and who loves her--I--yes, I","\"Is it two days?\" she asked. \"I was in the dark there. I did not know. \n A little bread, a little water.\" \n \n \"That's what is wrong,\" said Hanaud. \"Come, let us go from here!\" \n \n \"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered. \n Hanaud put his arm about her. \"You are very kind,\" she said in a low \n voice, and again doubt looked out from her face and disappeared. \"I am","Celie. No; you have seen too much to-night. And every one will think \n that Mlle. Celie helped to murder and rob her benefactress. They are \n certain to suspect some one, so why not you, pretty one?\" \n \n Celia made no movement. She lay trying to believe that no crime had \n been committed, that that lifeless body did not lie against the wall. \n And then she heard in the room above a bed wheeled roughly from its \n place. \n","\"You can trust Marie,\" said Hanaud. And Celia turned as she stood upon \n the ground and gave her hands to the two men. \n \n \"Thank you! Thank you both!\" she said in a trembling voice. She looked \n at Hanaud and nodded her head. \"You understand why I thank you so very \n much?\" \n \n \"Yes,\" said Hanaud. \"But, mademoiselle\"--and he bent over the car and \n spoke to her quietly, holding her hand--\"there is ALWAYS a big","\"It seems impossible to me,\" she said in a low voice, \"that I am here, \n in the open air, and free.\" \n \n Hanaud looked at his watch. \n \n \"Mlle. Celie, it is past ten o'clock. M. Ricardo's car is waiting there \n under the trees. I want you to drive back to Aix. I have taken rooms \n for you at an hotel, and there will be a nurse from the hospital to \n look after you.\" \n","sure that I can trust you.\" \n \n Ricardo fetched her cloak and slipped it on her shoulders. Then he \n brought her hat, and she pinned it on. She turned to Hanaud; \n unconsciously familiar words rose to her lips. \n \n \"Is it straight?\" she asked. And Hanaud laughed outright, and in a \n moment Celia smiled herself. \n \n Supported by Hanaud she stumbled down the stairs to the garden. As they \n passed the open door of the lighted parlour at the back of the house","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","with her, she placed it carelessly round her shoulders. \n \n \"Wait!\" Helene Vauquier whispered in Celia's ear. \n \n To the cord about Celia's waist Adele was fastening a longer line. \n \n \"I shall keep my foot on the other end of this,\" she said, \"when the \n lights are out, and I shall know then if our little one frees herself.\" \n \n The three women went out of the recess. And the next moment the heavy"],["here.\" \n \n \"No!\" cried Celia decisively, and she again laid hold of his coat, with \n a pretty imperiousness, as though he belonged to her. \n \n \"But I must,\" said Hanaud with a laugh. \n \n \"Then I will come too,\" said Celia, and she opened the door and set a \n foot upon the step. \n \n \"You will not, mademoiselle,\" said Hanaud, with a laugh. \"Will you take","front of him. An old hag of a woman was sitting in a chair with her \n back towards them. She was mending with a big needle the holes in an \n old sack, and while she bent over her work she crooned to herself some \n French song. Every now and then she raised her eyes, for in front of \n her, under her charge, Mlle. Celie, the girl of whom Hanaud was in \n search, lay helpless upon a sofa. The train of her delicate green frock","had raised her up. She had found some one whom she trusted--the big \n Newfoundland dog, as she expressed it. Mr. Ricardo was still thinking \n of Celia Harland when the morning came. He fell asleep, and awoke to \n find Hanaud by his bed. \n \n \"You will be wanted to-day,\" said Hanaud. \n \n Ricardo got up and walked down from the hotel with the detective. The \n front door faces the hillside of Mont Revard, and on this side Mr.","Celia's door and opened it He burst into the room, stood for a second, \n then ran to the window. He hid behind the curtain, looking out. With \n his hand he waved to his companions to keep back. The sound of wheels \n creaking and rasping rose to their ears. The cab had just come out into \n the road. Durette upon the box turned and looked towards the house. \n Just for a moment Hanaud leaned from the window, as Besnard, the","Celia covered her face with her hands for a few moments. Then she drew \n them away and said simply: \n \n \"Yes, monsieur, I will tell you.\" \n \n Hanaud bowed to her with a genuine deference. \n \n \"Thank you, mademoiselle,\" he said, and in his voice there was a strong \n ring of sympathy. \n \n They went downstairs and entered Ricardo's motor car. \n \n \"I want to send a telephone message,\" said Hanaud, \"if you will wait","triumphantly, Hanaud had not noticed everything, and as he made the \n reflection Hanaud's voice broke in to corroborate him. \n \n \"We have seen everything here; let us go upstairs,\" he said. \"We will \n first visit the room of Mlle. Celie. Then we will question the maid, \n Helene Vauquier.\" \n \n The four men, followed by Perrichet, passed out by the door into the \n hall and mounted the stairs. Celia's room was in the southwest angle of","\"You can trust Marie,\" said Hanaud. And Celia turned as she stood upon \n the ground and gave her hands to the two men. \n \n \"Thank you! Thank you both!\" she said in a trembling voice. She looked \n at Hanaud and nodded her head. \"You understand why I thank you so very \n much?\" \n \n \"Yes,\" said Hanaud. \"But, mademoiselle\"--and he bent over the car and \n spoke to her quietly, holding her hand--\"there is ALWAYS a big","\"Oh, thank you! thank you!\" cried Hanaud in a voice which shook--surely \n with emotion. He wrung Ricardo's hand. He wiped an imaginary tear from \n his eye. \n \n And still Celia slept. M. Ricardo looked at her. He said to Hanaud in a \n whisper: \n \n \"Yet I do not understand. The car, though no serious search was made, \n must still have stopped at the Pont de La Caille on the Swiss side. Why","upon their expedition of rescue. Into that short interval of time so \n much that was eventful had been crowded. \n \n Hanaud leaned across the table to Celia and said in a low voice: \n \n \"Mademoiselle, if I may suggest it, it would be as well if you put on \n your gloves; otherwise they may notice your wrists.\" \n \n Celia followed his advice. She ate some food and drank a glass of \n champagne. A little colour returned to her cheeks. \n","innocent of a share in Mme. Dauvray's murder. But Hanaud evidently \n thought she was. And since Hanaud thought so, why, it was better to say \n nothing if one was sensitive to gibes. So Ricardo sat and talked with \n her while Hanaud ran back into the restaurant. It mattered very little, \n however, what he said, for Celia's eyes were fixed upon the doorway \n through which Hanaud had disappeared. And when he came back she was \n quick to turn the handle of the door.","\"You will stay here to-night to arrange for their transfer to Aix?\" \n \n \"I will leave Durette behind,\" said Hanaud. \"I am needed at Aix. We \n will make a formal application for the prisoners.\" He was kneeling by \n Celia's side and awkwardly dabbing her forehead with a wet \n handkerchief. He raised a warning hand. Celia Harland moved and opened \n her eyes. She sat up on the sofa, shivering, and looked with dazed and","wondering eyes from one to another of the strangers who surrounded her. \n She searched in vain for a familiar face. \n \n \"You are amongst good friends, Mlle. Celie,\" said Hanaud with great \n gentleness. \n \n \"Oh, I wonder! I wonder!\" she cried piteously. \n \n \"Be very sure of it,\" he said heartily, and she clung to the sleeve of \n his coat with desperate hands. \n \n \"I suppose you ARE friends,\" she said; \"else why--?\" and she moved her","over the balustrade he called him up from the hall. \n \n \"We will now,\" said Hanaud, \"have a glance into this poor murdered \n woman's room.\" \n \n The room was opposite to Celia's. Besnard produced the key and unlocked \n the door. Hanaud took off his hat upon the threshold and then passed \n into the room with his companions. Upon the bed, outlined under a \n sheet, lay the rigid form of Mme. Dauvray. Hanaud stepped gently to the","towards Celia too. She wrenched herself from Hanaud's arms, she shrank \n violently away. Her white face flushed scarlet and grew white again. \n She screamed loudly, terribly; and after the scream she uttered a \n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \n as she fell. A light broke over his face. \n \n \"Now I understand!\" he cried. \"Good God! That's horrible.\" \n \n \n \n \n CHAPTER XIII \n","of her own delicate self upon it. Wethermill stood upon the threshold \n watching with a sullen face the violation of this chamber by the \n officers of the police. \n \n No such feelings, however, troubled Hanaud. He went over to the \n dressing-room and opened a few small leather cases which held Celia's \n ornaments. In one or two of them a trinket was visible; others were \n empty. One of these latter Hanaud held open in his hand, and for so \n long that Besnard moved impatiently.","\"You are very kind to me, you and monsieur your friend,\" she said, with \n a smile towards Ricardo. \"But for you--\" and her voice shook. \n \n \"Hush!\" said Hanaud--\"all that is over; we will not speak of it.\" \n \n Celia looked out across the road on to the trees, of which the dark \n foliage was brightened and made pale by the lights of the restaurant. \n Out on the water some one was singing. \n","\"It is not surprising,\" said Hanaud. \"Some one within the house was an \n accomplice--we start with that fact. The house had not been broken \n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \n and a record obviously true. There was the fact that she had got rid of \n Servettaz. There was the maid upstairs very ill from the chloroform. \n What more likely than that Mlle. Celie had arranged a seance, and then","Yet another day had gone, but in that dark cupboard Celia had no means \n of judging time. In the afternoon the newspaper came out with the \n announcement that Mme. Dauvray's jewellery had been discovered under \n the boards. Hippolyte brought in the newspaper, and, cursing their \n stupidity, they sat down to decide upon Celia's fate. That, however, \n was soon arranged. They would dress her in everything which she wore \n when she came, so that no trace of her might be discovered. They would","of the gang. We might have suspected Wethermill; we should hardly have \n secured him, and we should very likely never have known of the Tace \n family. That mistake was, as you no doubt are fully aware--\" \n \n \"The failure of Wethermill to discover Mme. Dauvray's jewels,\" said \n Ricardo at once. \n \n \"No, my friend,\" answered Hanaud. \"That made them keep Mlle. Celie \n alive. It enabled us to save her when we had discovered the whereabouts","\"Those were her words, monsieur.\" \n \n \"'I was right, Alphonse. Madame has a kind heart'?\" \n \n \"Yes, monsieur.\" \n \n \"Then Mlle. Celie had spoken to you before about this visit of yours to \n Chambery,\" said Hanaud, with his eyes fixed steadily upon the \n chauffeur's face. The distress upon Servettaz's face increased. \n Suddenly Hanaud's voice rang sharply. \"You hesitate. Begin at the"],["Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","Yet another day had gone, but in that dark cupboard Celia had no means \n of judging time. In the afternoon the newspaper came out with the \n announcement that Mme. Dauvray's jewellery had been discovered under \n the boards. Hippolyte brought in the newspaper, and, cursing their \n stupidity, they sat down to decide upon Celia's fate. That, however, \n was soon arranged. They would dress her in everything which she wore \n when she came, so that no trace of her might be discovered. They would","At first Celia shrank away, fearing some new cruelty. But Adele's voice \n came to her ears, speaking--and speaking with remorse. \n \n \"I can't endure it!\" she whispered. \"You are so young--too young to be \n killed.\" \n \n The tears were rolling down Celia's cheeks. Her face was pitiful and \n beseeching. \n \n \"Don't look at me like that, for God's sake, child!\" Adele went on, and","sound most dreadful. They were murdering her--murdering an old, kind \n woman silently and methodically in the darkness. The girl strained and \n twisted against the pillar furiously, like an animal in a trap. But the \n coils of rope held her; the scarf suffocated her. The scuffling became \n a spasmodic sound, with intervals between, and then ceased altogether. \n A voice spoke--a man's voice--Wethermill's. But Celia would never have","Celie. No; you have seen too much to-night. And every one will think \n that Mlle. Celie helped to murder and rob her benefactress. They are \n certain to suspect some one, so why not you, pretty one?\" \n \n Celia made no movement. She lay trying to believe that no crime had \n been committed, that that lifeless body did not lie against the wall. \n And then she heard in the room above a bed wheeled roughly from its \n place. \n","for a second. \"I only say perhaps as to that. But certainly they were \n going to sew her up in that sack, row her well out across the lake, fix \n a weight to her feet, and drop her quietly overboard. She was to wear \n everything which she had brought with her to the house. Mlle. Celie \n would have disappeared for ever, and left not even a ripple upon the \n water to trace her by!\" \n \n Ricardo clenched his hands. \n","no one else would hear you. But I should, and afterwards--we should no \n longer be able to call you 'my pretty one,' eh?\" \n \n And with a horrible playfulness she pinched the girl's cheek. \n \n Then with old Jeanne's help she stripped Celia and told her to get into \n bed. \n \n \"I'll give her something to keep her quiet,\" said Adele, and she \n fetched her morphia-needle and injected a dose into Celia's arm. \n","tried to scream; she could not utter a sound. She stared at Helene with \n incredulous, horror-stricken eyes. Helene nodded at her with a cruel \n grin of satisfaction, and Celia realised, though she did not \n understand, something of the rancour and the hatred which seethed \n against her in the heart of the woman whom she had supplanted. Helene \n Vauquier meant to expose her to-night; Celia had not a doubt of it.","not intended for playing the piano. Nor, indeed, for the ballroom. It \n leaps to one's eyes that dancing would be difficult. Nor is it intended \n for much conversation. It is a costume for a mood of quiet reflection. \n But I assure mademoiselle that for pretty young ladies who are the \n favourites of rich old women it is the style most recommended by the \n criminal classes.\" \n \n All the woman's bitter rancour against Celia, hidden for months beneath","we are here. Come, go and get the jewels. The key of the door's on the \n mantelshelf. While you are away we two will arrange the pretty baby in \n there.\" \n \n She pointed to the recess; her voice rang with contempt. Wethermill \n staggered across the room like a drunkard, and picked up the key in \n trembling fingers. Celia heard it turn in the lock, and the door bang. \n Wethermill had gone upstairs. \n","The garden of the house ran down to the lake. A means of disposing of \n Mlle. Celie was close at hand. And the night had fallen. As it was, we \n arrived just in time, and no earlier than just in time. The paper had \n been bought, the message had reached the house, Mlle. Celie was no \n longer of any use, and every hour she stayed in that house was of \n course an hour of danger to her captors.\" \n \n \"What were they going to do?\" asked Ricardo. \n","Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","shoulders for you. How would you like that?\" \n \n Celia shuddered from head to foot, and, burying her face in the \n cushion, lay trembling. She would have begged for death upon her knees \n rather than suffer this horror. She felt Vauquier's fingers lingering \n with a dreadful caressing touch upon her shoulders and about her \n throat. She was within an ace of the torture, the disfigurement, and \n she knew it. She could not pray for mercy. She could only lie quite","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","And the next moment Celia winced and had to bite her lip to prevent a \n cry. The thin cord was wound twice about her wrists, drawn cruelly \n tight and then cunningly knotted. For one second Celia was thankful for \n her gloves; the next, more than ever she regretted that she wore them. \n It would have been difficult enough for her to free her hands now, even \n without them. And upon that a worse thing befell her. \n","\"Mademoiselle, I see, is in the very mood to produce the most wonderful \n phenomena. But it will be better, I think, madame,\" she said, turning \n to Mme. Dauvray, \"that Mlle. Celie should put on those gloves which I \n see she has thrown on to a chair. It will be a little more difficult \n for mademoiselle to loosen these cords, should she wish to do so.\" \n \n The argument silenced Celia. If she refused this condition now she","towards Celia too. She wrenched herself from Hanaud's arms, she shrank \n violently away. Her white face flushed scarlet and grew white again. \n She screamed loudly, terribly; and after the scream she uttered a \n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \n as she fell. A light broke over his face. \n \n \"Now I understand!\" he cried. \"Good God! That's horrible.\" \n \n \n \n \n CHAPTER XIII \n"],["wondering eyes from one to another of the strangers who surrounded her. \n She searched in vain for a familiar face. \n \n \"You are amongst good friends, Mlle. Celie,\" said Hanaud with great \n gentleness. \n \n \"Oh, I wonder! I wonder!\" she cried piteously. \n \n \"Be very sure of it,\" he said heartily, and she clung to the sleeve of \n his coat with desperate hands. \n \n \"I suppose you ARE friends,\" she said; \"else why--?\" and she moved her","\"We go together, then. I, too, am staying there,\" said the young man, \n and they climbed the steep streets together. Ricardo was dying to put \n some questions about Wethermill's young friend of the night before, but \n discretion kept him reluctantly silent. They chatted for a few moments \n in the hall upon indifferent topics and so separated for the night. Mr. \n Ricardo, however, was to learn something more of Celia the next \n morning; for while he was fixing his tie before the mirror Wethermill","her--men in evening dress, women in bright frocks and jewels. No one \n noticed her. She had shrunk into a corner, rather hoping not to be \n noticed, now that she had come. But the novelty of her surroundings \n wore off. She knew that for want of food she was almost fainting. There \n were two girls engaged by the management to dance amongst the tables \n while people had supper--one dressed as a page in blue satin, and the \n other as a Spanish dancer. Both girls were kind. They spoke to Celia","have been thinking of what will become of Mlle. Celie. I wrote to my \n sister, and here is her reply. Mlle. Celie will be very welcome.\" \n \n Hanaud stretched out his hand and shook Ricardo's warmly. \n \n \"She will not, I think, be for very long a burden. She is young. She \n will recover from this shock. She is very pretty, very gentle. If--if \n no one comes forward whom she loves and who loves her--I--yes, I","Wethermill stayed by the girl's side throughout the evening. Once again \n he saw Mme. Dauvray and Adele Tace. But now they were together; now \n they were talking. The first step had been taken. Adele Tace had \n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \n same moment. \n \n \"Oh, there is Mme. Dauvray,\" she cried, taking a step towards her. \n \n Wethermill detained the girl. \n","\"Are you ready to go, dear?\" she asked, and she turned to Adele Tace. \n \"This is Celie, Mme. Rossignol,\" she said, and she spoke with a marked \n significance and a note of actual exultation in her voice. \n \n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \n her companion, and had a habit of showing her off, to the girl's \n discomfort. The three women spoke a few words, and then Mme. Dauvray","\"It would be kind of mademoiselle,\" said Helene Vauquier. \"But \n perhaps--\" She stopped. \n \n \"Well,\" said Celia. \n \n \"Perhaps mademoiselle would do better still to speak to Servattaz \n himself and encourage him to ask with his own lips. Madame has her \n moods, is it not so? She does not always like it to be forgotten that \n she is the mistress.\" \n \n On the next day accordingly Celia did speak to Servettaz, and Servettaz","Celia's room. While she brushed Celia's hair she told her that \n Servettaz's parents lived at Chambery, and that he would like to see \n them. \n \n \"But the poor man is afraid to ask for a day,\" she said. \"He has been \n so short a time with madame.\" \n \n \"Of course madame will give him a holiday if he asks,\" replied Celia \n with a smile. \"I will speak to her myself to-morrow.\" \n","Adele Rossignol looked the girl over and nodded her head with \n satisfaction. She had no animosity towards Celia; she had really no \n feeling of any kind for her or against her. Fortunately she was unaware \n at this time that Harry Wethermill had been paying his court to her or \n it would have gone worse with Mlle. Celie before the night was out. \n Mlle. Celie was just a pawn in a very dangerous game which she happened \n to be playing, and she had succeeded in engineering her pawn into the","\"She seems quite happy,\" he said; and, indeed, Mme. Dauvray was talking \n volubly and with the utmost interest, the jewels sparkling about her \n neck. She raised her head, saw Celia, nodded to her affectionately, and \n then pointed her out to her companion. Adele Tace looked the girl over \n with interest and smiled contentedly. There was nothing to be feared \n from her. Her youth, her very daintiness, seemed to offer her as the \n easiest of victims. \n","Then Ricardo's thoughts turned as he tossed upon his bed to Celia \n Harland, a tragic and a lonely figure. He recalled the look of \n tenderness upon her face when her eyes had met Harry Wethermill's \n across the baccarat-table in the Villa des Fleurs. He gained some \n insight into the reason why she had clung so desperately to Hanaud's \n coat-sleeve yesterday. Not merely had he saved her life. She was lying \n with all her world of trust and illusion broken about her, and Hanaud","Even after these days Celia could not hear that woman's name without a \n shudder of fear and a flinching of her whole body. Her face grew white, \n her lips dry. \n \n \"I know, monsieur, that Helene Vauquier is not my friend,\" she said. \"I \n was taught that very cruelly.\" \n \n \"Listen, mademoiselle, to what she says,\" said the judge, and he read \n out to Celia an extract or two from Hanaud's report of his first","smiled, and Celia caught the smile. \n \n \"What is it?\" she asked, and her head began to turn in the direction of \n Mme. Dauvray. \n \n \"Why, I like your frock--that's all,\" said Wethermill at once; and \n Celia's eyes went down to it. \n \n \"Do you?\" she said, with a pleased smile. It was a dress of dark blue \n which suited her well. \"I am glad. I think it is pretty.\" And they \n passed on.","upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \n would have laughed if any one had told her that this respectable and \n respectful middle-aged woman, who was so attentive, so neat, so \n grateful for any kindness, was really nursing a rancorous hatred \n against her. Celia had sprung from Montmartre suddenly; therefore \n Helene Vauquier despised her. Celia had taken her place in Mme.","\"Let us take our seats at the table,\" she heard Mme. Dauvray say. \n \"Helene, you are by the switch of the electric light. Will you turn it \n off?\" And upon that Helene whispered, yet so that the whisper reached \n to Celia and awakened hope: \n \n \"Wait! I will see what she is doing.\" \n \n The curtains opened, and Helene Vauquier slipped to the girl's side. \n \n Celia checked her tears. She smiled imploringly, gratefully.","between their dances. They let her waltz with them. Still no one \n noticed her. She had no jewels, no fine clothes, no CHIC--the three \n indispensable things. She had only youth and a pretty face. \n \n \"But,\" said Celia, \"without jewels and fine clothes and CHIC these go \n for nothing in Paris. At last, however, Mme. Dauvray came in with a \n party of friends from a theatre, and saw how unhappy I was, and gave me","new friend had talked. \"And she laughed. ... I could not bear it.\" \n \n Celia was silent, and Mme. Dauvray went on in a voice of awe: \n \n \"I told her of the wonderful things which happened when I sat with \n Helene in the dark--how the room filled with strange sounds, how \n ghostly fingers touched my forehead and my eyes. She laughed--Adele \n Rossignol laughed, Celie. I told her of the spirits with whom we held","And there she met Harry Wethermill on the second day after her arrival, \n and proceeded straightway for the first time to fall in love. To Celia \n it seemed that at last that had happened for which she had so longed. \n She began really to live as she understood life at this time. The day, \n until she met Harry Wethermill, was one flash of joyous expectation; \n the hours when they were together a time of contentment which thrilled \n with some chance meeting of the hands into an exquisite happiness. Mme.","sure that I can trust you.\" \n \n Ricardo fetched her cloak and slipped it on her shoulders. Then he \n brought her hat, and she pinned it on. She turned to Hanaud; \n unconsciously familiar words rose to her lips. \n \n \"Is it straight?\" she asked. And Hanaud laughed outright, and in a \n moment Celia smiled herself. \n \n Supported by Hanaud she stumbled down the stairs to the garden. As they \n passed the open door of the lighted parlour at the back of the house","Mme. Dauvray was not with them. \n \n \"We will find her easily,\" said Harry. \n \n \"Of course,\" replied Celia. \n \n \"There is, after all, no hurry,\" said Wethermill, with a laugh; \"and \n perhaps she was not unwilling to leave us together.\" \n \n Celia dimpled to a smile. \n \n \"Mme. Dauvray is kind to me,\" she said, with a very pretty timidity. \n"],["Mme. Dauvray spoke in a hushed, awestruck voice. \n \n \"There is a presence in the room.\" \n \n It was horrible to Celia that the poor woman was speaking the jargon \n which she herself had taught to her. \n \n \"I will speak to it,\" said Mme. Dauvray, and raising her voice a \n little, she asked: \"Who are you that come to us from the spirit-world?\" \n \n No answer came, but all the while Celia knew that Wethermill was","with a satirical smile. But Mme. Dauvray came to the girl's help. \n \n \"She is right, Adele. Light is the great barrier between us and the \n spirit-world,\" she said solemnly. \n \n Meanwhile, in the hall Helene Vauquier locked and bolted the front \n door. Then she stood motionless, with a smile upon her face and a heart \n beating high. All through that afternoon she had been afraid that some","remember all the names, and very likely I do not pronounce them \n properly. Then the voices would cease and the lights be turned up, and \n Mlle. Celie would be found in a trance just in the same place and \n attitude as she had been when the lights were turned out. Imagine, \n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \n She was made for them. She believed in them implicitly. The words of \n the great ladies from the past--she would remember and repeat them, and","her she saw mysteries beyond. She took up her part at once. Since for \n the last time it had got to be played, there must be no fault in the \n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \n she must carry it off to-night with success. The suspicions of Adele \n Rossignol must obtain no verification. She spoke in a quiet and most \n serious voice. \"Under spirit-control no one is clever. One does the \n bidding of the spirit which controls.\" \n","platform; the audience was in the hall; or, if it was at a house, my \n father made the arrangements. I only came in at the last moment, played \n my part, and went away. It was never brought home to me that some \n amongst these people really and truly believed. I did not think about \n it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so \n firmly convinced that great ladies from the spirit world came and spoke","anxious to speak with the spirit of Mme. de Montespan. Yes, yes! She \n had read all the memoirs about that lady. Very likely Mlle. Celie had \n put the notion into Mme. Dauvray's head, for madame was not a scholar. \n But she was dying to hear that famous woman's voice and to catch a dim \n glimpse of her face. Well, she was never gratified. Always she hoped. \n Always Mlle. Celie tantalised her with the hope. But she would not","amusements. She had kept her eyes open. She had seen that it was from \n the denizens of the dull streets in these towns that the quack \n religions won their recruits. Mme. Dauvray's life had been a \n featureless sort of affair until these experiments had come to colour \n it. Madame Dauvray must at any rate preserve the memory of that colour. \n \n \"No,\" she said boldly; \"I am not afraid,\" and after that she moved no \n more. \n","be very proud that such great ladies had come back to the world merely \n to tell her--Mme. Dauvray--about their lives. She would have had \n seances all day, but Mlle. Celie pleaded that she was left exhausted at \n the end of them. But Mlle. Celie was of an address! For instance--it \n will seem very absurd and ridiculous to you, gentlemen, but you must \n remember what Mme. Dauvray was--for instance, madame was particularly","new friend had talked. \"And she laughed. ... I could not bear it.\" \n \n Celia was silent, and Mme. Dauvray went on in a voice of awe: \n \n \"I told her of the wonderful things which happened when I sat with \n Helene in the dark--how the room filled with strange sounds, how \n ghostly fingers touched my forehead and my eyes. She laughed--Adele \n Rossignol laughed, Celie. I told her of the spirits with whom we held","to her, I became terrified. I had aroused a passion which I had not \n suspected. I tried to stop the seances, but I was not allowed. I had \n aroused a passion which I could not control. I was afraid that Mme. \n Dauvray's whole life--it seems absurd to those who did not know her, \n but those who did will understand--yes, her whole life and happiness \n would be spoilt if she discovered that what she believed in was all a \n trick.\" \n","the colours of her belief, she would hold a seance at the Villa Rose. \n \n Mme. Dauvray told the news to Helene Vauquier when they reached the \n villa. \n \n \"You will be present, Helene,\" she cried excitedly. \"It will be \n Tuesday. There will be the three of us.\" \n \n \"Certainly, if madame wishes,\" said Helene submissively. She looked \n round the room. \"Mlle. Celie can be placed on a chair in that recess","whirled, flecked with fire. She would have fallen, but she could not \n fall. Then, in the silence, a tambourine jangled. There was to be a \n seance to-night, then, and the seance had begun. In a dreadful suspense \n she heard Mme. Dauvray speak. \n \n \n \n \n CHAPTER XIX \n \n HELENE EXPLAINS \n \n \n And what she heard made her blood run cold. \n","Celia had no doubt who \"she\" was. She was Mme. de Montespan. \n \n \"Oh, no, madame!\" she stammered. \"Here, at Aix, we are not in the \n spirit for such things.\" \n \n And then, in a voice of dread, Mme. Dauvray asked: \"Is it true, then, \n what Adele said?\" \n \n And Celia started violently. Mme. Dauvray doubted. \n","of soft-soled slippers without heels, which she wore so that she might \n not be heard, and tambourines would rattle as you say, and fingers \n touch the forehead and the neck, and strange voices would sound from \n corners of the room, and dim apparitions would appear--the spirits of \n great ladies of the past, who would talk with Mme. Dauvray. Such ladies \n as Mme. de Castiglione, Marie Antoinette, Mme. de Medici--I do not","Dauvray. \"And I do not wonder.\" \n \n Celia saw upon the old woman's foolish and excited face a look of \n veritable consternation. \n \n \"Are you afraid, Celie?\" she asked. \n \n There was anger, there was menace in the voice, but above all these \n there was fear--fear that her illusions were to tumble about her. Celia \n heard that note and was quelled by it. This folly of belief, these","conceal. She lived at white heat, but to all the world she had lost \n nothing of her calm. \n \n Celia did not foresee the hatred she was arousing; nor, on the other \n hand, did she foresee the overwhelming effect of these spiritualistic \n seances on Mme. Dauvray. Celia had never been brought quite close to \n the credulous before. \n \n \"There had always been the row of footlights,\" she said. \"I was on the","It appeared that at five o'clock in the afternoon Mme. Dauvray and \n Mlle. Celie prepared to leave the house on foot. It was their custom to \n walk down at this hour to the Villa des Fleurs, pass an hour or so \n there, dine in a restaurant, and return to the Rooms to spend the \n evening. On this occasion, however, Mme. Dauvray informed Helene that \n they should be back early and bring with them a friend who was \n interested in, but entirely sceptical of, spiritualistic","Within a fortnight Mme. Dauvray confided to Celia that there was a new \n fortune-teller come to Paris, who, by looking into a crystal, could \n tell the most wonderful things about the future. The old woman's eyes \n kindled as she spoke. She took Celia to the fortune-teller's rooms next \n day, and the girl quickly understood the ruling passion of the woman \n who had befriended her. It took very little time then for Celia to","through the gates of the spirit-world--that is wonderful.\" \n \n To Celia the sound of the jargon learnt from her own lips, used by \n herself so thoughtlessly in past times, was odious. \"For the last \n time,\" she pleaded to herself. All her life was going to change; though \n no word had yet been spoken by Harry Wethermill, she was sure of it. \n Just for this one last time, then, so that she might leave Mme. Dauvray","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to"],["\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","the comparative. Everything in his life was a trifle overdone, from the \n fastidious arrangement of his neckties to the feminine nicety of his \n little dinner-parties. In age Mr. Ricardo was approaching the fifties; \n in condition he was a widower--a state greatly to his liking, for he \n avoided at once the irksomeness of marriage and the reproaches justly \n levelled at the bachelor; finally, he was rich, having amassed a","fortune in Mincing Lane, which he had invested in profitable securities. \n \n Ten years of ease, however, had not altogether obliterated in him the \n business look. Though he lounged from January to December, he lounged \n with the air of a financier taking a holiday; and when he visited, as \n he frequently did, the studio of a painter, a stranger would have \n hesitated to decide whether he had been drawn thither by a love of art \n or by the possibility of an investment. His \"acquaintances\" have been","woman who stays at your hotel, M. Ricardo. Yet she must be going to \n your hotel, for the road ends. The driver is nodding on his box, \n refusing to pay any heed to his fare lest again she should bid him \n hurry. His horse is moving at a walk. Wethermill puts his head in at \n the window and asks if she has come to see M. Ricardo. Anxious for her \n four thousand francs, she answers 'Yes.' Perhaps he steps into the cab,","a man of wealth. A gambler, with no inexpensive tastes, he had been \n always in need of money. The rights in his patent he had mortgaged long \n ago. He was not an idler; he was no sham foisted as a great man on an \n ignorant public. He had really some touch of genius, and he cultivated \n it assiduously. But the harder he worked, the greater was his need of \n gaiety and extravagance. Gifted with good looks and a charm of manner,","Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \n her generosity, her desire to converse with Mme. de Montespan and the \n great ladies of the past, and her love of a young, fresh face about \n her; Helene Vauquier, the maid with her six years of confidential \n service, who finds herself suddenly supplanted and made to tend and \n dress in dainty frocks the girl who has supplanted her; the young girl","stones--oh, but a large fortune! By the ostentation of her jewels she \n paraded her wealth here, at Monte Carlo, in Paris. Besides that, she \n was kind-hearted and most impressionable. Finally, she was, like so \n many of her class, superstitious to the degree of folly.\" \n \n Suddenly Mr. Ricardo started in his chair. Superstitious! The word was \n a sudden light upon his darkness. Now he knew what had perplexed him","Near to him a woman sneered, and a man said, pityingly: \"She was \n pretty, that little one. It is regrettable that she has lost.\" \n \n A few minutes afterwards Ricardo finished his cigar and strolled back \n into the rooms, making his way to the big table just on the right hand \n of the entrance, where the play as a rule runs high. It was clearly \n running high to-night. For so deep a crowd thronged about the table that","\"Never speak of Mme. Dauvray's wealth, monsieur, if you would keep the \n favour of Mlle. Celie. She is young, but she knows her world.\" \n \n \"I have not spoken of money to her,\" replied Wethermill; and then he \n burst out laughing. \"But why should you think that I--I, of all \n men--want money?\" he asked. \n \n And Helene answered him again enigmatically. \n","Ricardo could only by standing on tiptoe see the faces of the players. \n Of the banker he could not catch a glimpse. But though the crowd \n remained, its units were constantly changing, and it was not long \n before Ricardo found himself standing in the front rank of the \n spectators, just behind the players seated in the chairs. The oval \n green table was spread out beneath him littered with bank-notes. \n Ricardo turned his eyes to the left, and saw seated at the middle of","the table the man who was holding the bank. Ricardo recognised him with \n a start of surprise. He was a young Englishman, Harry Wethermill, who, \n after a brilliant career at Oxford and at Munich, had so turned his \n scientific genius to account that he had made a fortune for himself at \n the age of twenty-eight. \n \n He sat at the table with the indifferent look of the habitual player \n upon his cleanly chiselled face. But it was plain that his good fortune","Before the astonished eyes of his companions he opened them. Ropes of \n pearls, collars of diamonds, necklaces of emeralds, rings of \n pigeon-blood rubies, bracelets of gold studded with opals--Mme. \n Dauvray's various jewellery was disclosed. \n \n \"But that is astounding,\" said Besnard, in an awe-struck voice. \n \n \"Then she was never robbed after all?\" cried Ricardo. \n","she is dead. Let us not go back beyond her marriage seventeen years ago \n to a wealthy manufacturer of Nancy, whom she had met in Paris. Seven \n years ago M. Dauvray died, leaving his widow a very rich woman. She had \n a passion for jewellery, which she was now able to gratify. She \n collected jewels. A famous necklace, a well-known stone--she was not, \n as you say, happy till she got it. She had a fortune in precious","herself, that poor child, with her love of fine clothes, the Bohemian \n who, brought up amidst trickeries and practising them as a profession, \n looking upon them and upon misery and starvation and despair as the \n commonplaces of life, keeps a simplicity and a delicacy and a freshness \n which would have withered in a day had she been brought up otherwise; \n Harry Wethermill, the courted and successful man of genius. \n \n \"Just imagine if you can what his feelings must have been, when in Mme.","for so big a man, obviously engrossed, obviously reading here and there \n some detail, some custom of the inhabitants of that room. \n \n Ricardo leaned with careful artistry against the wall. \n \n \"Now, what has this room to say to me?\" he asked importantly. Nobody \n paid the slightest attention to his question, and it was just as well. \n For the room had very little information to give him. He ran his eye \n over the white Louis Seize furniture, the white panels of the wall, the","a little more picturesque than most girls of her age, and she was \n certainly a good deal more soignee than many, and she had the \n Frenchwoman's knack of putting on her clothes. But those would be all \n the differences, leaving out the frankness. Ricardo wondered in what \n street of Bohemia she dwelt. He wondered still more when he saw her \n again half an hour afterwards at the entrance to the Villa des Fleurs. \n She came down the long hall with Harry Wethermill at her side. The","\"Oh!\" cried Besnard tragically. \"What have you done?\" \n \n Hanaud's face flushed. He had been guilty of a clumsiness--even he. \n \n Mr. Ricardo took up the tale. \n \n \"Yes,\" he exclaimed, \"what have you done?\" \n \n Hanaud looked at Ricardo in amazement at his audacity. \n \n \"Well, what have I done?\" he asked. \"Come! tell me!\" \n","Ricardo remembered. For by the light of it Marthe Gobin had seen Celia \n Harland run so nimbly into this house. \n \n For a moment the men in the passage held their breath. Some one strode \n heavily by on the pavement outside--to Mr. Ricardo's ear a most \n companionable sound. Then a clock upon a church struck the half-hour \n musically, distantly. It was half-past eight. And a second afterwards a","\"When M. Ricardo has put that away,\" he said, \"we will hear what Helene \n Vauquier has to tell us.\" \n \n He passed out of the door last, and, locking it, placed the key in his \n pocket. \n \n \"Helene Vauquier's room is, I think, upstairs,\" he said. And he moved \n towards the staircase. \n \n But as he did so a man in plain clothes, who had been waiting upon the","But as he passed he caught a sentence spoken suddenly by Wethermill. \n \n \"Well, it is true; I must have money.\" And the agitated voice and words \n remained fixed in his memory. He heard, too, a warning \"Hush!\" from the \n maid. Then they passed out of his hearing. But he turned and saw that \n Wethermill was talking volubly. What Harry Wethermill was saying he was \n saying in a foolish burst of confidence. \n"],["\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","dressing-table or the mantel-shelf--anywhere. But in the morning the \n keys were no longer where she had left them. She had put them secretly \n away.\" \n \n Hanaud turned to another point. \n \n \"I suppose that Mademoiselle Celie knew of the safe and that the jewels \n were kept there?\" \n \n \"Oh yes! Mademoiselle indeed was often in Madame Dauvray's room when \n she was dressing or undressing. She must often have seen madame take","Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \n her generosity, her desire to converse with Mme. de Montespan and the \n great ladies of the past, and her love of a young, fresh face about \n her; Helene Vauquier, the maid with her six years of confidential \n service, who finds herself suddenly supplanted and made to tend and \n dress in dainty frocks the girl who has supplanted her; the young girl","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","recognised them both, and--smiled to himself with some amusement. What \n was Wethermill doing in company with Mme. Dauvray's maid? Ruel had no \n doubt. Ruel had seen Wethermill often enough these recent days with \n Mme. Dauvray's pretty companion. Ruel had all a Frenchman's sympathy \n with lovers. He wished them well, those two young and attractive \n people, and hoped that the maid would help their plans. \n","was concerned in hiding from them. It is not rash to guess, then, that \n it was some piece of the plunder of which the other two would have \n claimed their share--and a piece of plunder belonging to Mlle. Celie. \n Well, she has nothing but the diamond eardrops. Suppose Vauquier is \n left alone to guard Mlle. Celie while the other two ransack Mme. \n Dauvray's room. She sees her chance. The girl cannot stir hand or foot","would excite Mme. Dauvray to a terrible suspicion. She drew on her \n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \n them. To free her hands with her fingers and wrists already hampered in \n gloves would not be so easy a task. But there was no escape. Adele \n Rossignol was watching her with a satiric smile. Mme. Dauvray was \n urging her to be quick. Obeying a second order the girl raised her","That was her explanation of Helene Vauquier's treachery; and believing \n that error, she believed yet another--that she had reached the terrible \n climax of her troubles. She was only at the beginning of them. \n \n \"Helene!\" cried Mme. Dauvray sharply. \"What are you doing?\" \n \n The maid instantly slid back into the room. \n \n \"Mademoiselle has not moved,\" she said. \n \n Celia heard the women settle in their chairs about the table. \n","and the curtains drawn, whilst we--madame and madame's friend and \n I--can sit round this table under the side windows.\" \n \n \"Yes,\" said Celia, \"that will do very well.\" \n \n It was Madame Dauvray's habit when she was particularly pleased with \n Celia to dismiss her maid quickly, and to send her to brush the girl's \n hair at night; and in a little while on this night Helene went to","the crime leaps to the eyes. Mme. Dauvray was famous in Aix for her \n jewels, which she wore with too little prudence. The condition of the \n house shows that a careful search was made for them, and they have \n disappeared. It is anticipated that a description of the young \n Englishwoman, with a reward for her apprehension, will be issued \n immediately. And it is not too much to hope that the citizens of Aix, \n and indeed of France, will be cleared of all participation in so cruel","difficult, I will find a way to help you,\" said Helene Vauquier, and as \n she spoke she handed Celia a long pair of white gloves. \n \n \"I shall not want them,\" said Celia. \n \n \"Mme. Dauvray ordered me to give them to you,\" replied Helene. \n \n Celia took them hurriedly, picked up a white scarf of tulle, and ran \n down the stairs. Helene Vauquier listened at the door and heard \n madame's voice in feverish anger. \n","often never played at all. If she won a few louis, she was as delighted \n with her gains and as afraid to lose them again at the tables as if she \n were of the poorest, and she stopped at once. No, monsieur; twenty or \n thirty louis--there was never more than that in the house.\" \n \n \"Then it was certainly for her famous collection of jewellery that \n Madame Dauvray was murdered?\" \n \n \"Certainly, monsieur.\" \n","England. Helene Vauquier has served Mme. Dauvray for seven years. She \n has been the confidential friend rather than the maid. And mark this, \n M. Wethermill! During those seven years how many opportunities has she \n had of conniving at last night's crime? She was found chloroformed and \n bound. There is no doubt that she was chloroformed. Upon that point Dr. \n Peytin is quite, quite certain. He saw her before she recovered","Downstairs, in the salon, only a chair had been overturned. Here there \n was every sign of violence and disorder. An empty safe stood open in \n one corner; the rugs upon the polished floor had been tossed aside; \n every drawer had been torn open, every wardrobe burst; the very bed had \n been moved from its position. \n \n \"It was in this safe that Madame Dauvray hid her jewels each night,\" \n said the Commissaire as Hanaud gazed about the room. \n","need not trouble you any more about Mademoiselle Celie.\" He folded the \n paper up, slipped it into his letter-case, and put it away in his \n pocket. \"Let us consider that poor Madame Dauvray! Did she keep much \n money in the house?\" \n \n \"No, monsieur; very little. She was well known in Aix and her cheques \n were everywhere accepted without question. It was a high pleasure to \n serve madame, her credit was so good,\" said Helene Vauquier, raising","had had the courage to tell him yesterday, he would have forgiven, \n surely he would! The tears gathered in her eyes and rolled down her \n cheeks. What would become of her now? She was in pain besides. The \n cords about her arms and ankles tortured her. And she feared--yes, \n desperately she feared the effect of the exposure upon Mme. Dauvray. \n She had been treated as a daughter; now she was in return to rob Mme. \n Dauvray of the belief which had become the passion of her life.","which she had been able to pack the girl away securely without arousing \n her suspicions. Helene Vauquier was in the plot, too. The scarf at \n Celia's mouth was proof of that. As if to add proof to proof, she heard \n Adele Rossignol speak in answer to the signal. \n \n \"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\" \n \n \"Yes, madame,\" answered the maid. \n","\"Oh, was it so?\" Hanaud asked slowly. It seemed to Ricardo that he read \n something in the aspect of this room too, which troubled his mind and \n increased his perplexity. \n \n \"Yes,\" said Besnard confidently. \"Every night Mme. Dauvray locked her \n jewels away in this safe. Vauquier told us so this morning. Every night \n she was never too tired for that. Besides, here\"--and putting his hand"],["Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","for a second. \"I only say perhaps as to that. But certainly they were \n going to sew her up in that sack, row her well out across the lake, fix \n a weight to her feet, and drop her quietly overboard. She was to wear \n everything which she had brought with her to the house. Mlle. Celie \n would have disappeared for ever, and left not even a ripple upon the \n water to trace her by!\" \n \n Ricardo clenched his hands. \n","Yet another day had gone, but in that dark cupboard Celia had no means \n of judging time. In the afternoon the newspaper came out with the \n announcement that Mme. Dauvray's jewellery had been discovered under \n the boards. Hippolyte brought in the newspaper, and, cursing their \n stupidity, they sat down to decide upon Celia's fate. That, however, \n was soon arranged. They would dress her in everything which she wore \n when she came, so that no trace of her might be discovered. They would","we are here. Come, go and get the jewels. The key of the door's on the \n mantelshelf. While you are away we two will arrange the pretty baby in \n there.\" \n \n She pointed to the recess; her voice rang with contempt. Wethermill \n staggered across the room like a drunkard, and picked up the key in \n trembling fingers. Celia heard it turn in the lock, and the door bang. \n Wethermill had gone upstairs. \n","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","seat, opened the door of the landau, and then put his head in at the \n window of the car. \n \n \"Are you ready? Be quick!\" \n \n Adele turned to Celia. \n \n \"Not a word, remember!\" \n \n Wethermill flung open the door of the car. Adele took the girl's feet \n and drew them down to the step of the car. Then she pushed her out. \n Wethermill caught her in his arms and carried her to the landau. Celia","tried to scream; she could not utter a sound. She stared at Helene with \n incredulous, horror-stricken eyes. Helene nodded at her with a cruel \n grin of satisfaction, and Celia realised, though she did not \n understand, something of the rancour and the hatred which seethed \n against her in the heart of the woman whom she had supplanted. Helene \n Vauquier meant to expose her to-night; Celia had not a doubt of it.","Celie. No; you have seen too much to-night. And every one will think \n that Mlle. Celie helped to murder and rob her benefactress. They are \n certain to suspect some one, so why not you, pretty one?\" \n \n Celia made no movement. She lay trying to believe that no crime had \n been committed, that that lifeless body did not lie against the wall. \n And then she heard in the room above a bed wheeled roughly from its \n place. \n","out of the garage at all.\" \n \n Adele stooped and obeyed. Wethermill opened the door of the car and \n flung Celia into a seat. Adele followed and took her seat opposite the \n girl. Wethermill stepped carefully again on to the grass, and with the \n toe of his shoe scraped up and ploughed the impressions which he and \n Adele Rossignol had made on the ground, leaving those which Celia had \n made. He came back to the window. \n","with her. But in the morning she must get rid of them, and a nurse is \n with her. Hence the excuse to go to Mlle. Celie's room. If the eardrops \n are found in the pot of cold cream, it would only be thought that Mlle. \n Celie had herself hidden them there for safety. Again it is conjecture, \n and I wish to make sure. So I tell Vauquier she can go away, and I \n leave her unwatched. I have her driven to the depot instead of to her","The garden of the house ran down to the lake. A means of disposing of \n Mlle. Celie was close at hand. And the night had fallen. As it was, we \n arrived just in time, and no earlier than just in time. The paper had \n been bought, the message had reached the house, Mlle. Celie was no \n longer of any use, and every hour she stayed in that house was of \n course an hour of danger to her captors.\" \n \n \"What were they going to do?\" asked Ricardo. \n","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","not intended for playing the piano. Nor, indeed, for the ballroom. It \n leaps to one's eyes that dancing would be difficult. Nor is it intended \n for much conversation. It is a costume for a mood of quiet reflection. \n But I assure mademoiselle that for pretty young ladies who are the \n favourites of rich old women it is the style most recommended by the \n criminal classes.\" \n \n All the woman's bitter rancour against Celia, hidden for months beneath","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","\"Mademoiselle, I see, is in the very mood to produce the most wonderful \n phenomena. But it will be better, I think, madame,\" she said, turning \n to Mme. Dauvray, \"that Mlle. Celie should put on those gloves which I \n see she has thrown on to a chair. It will be a little more difficult \n for mademoiselle to loosen these cords, should she wish to do so.\" \n \n The argument silenced Celia. If she refused this condition now she","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","and put them into a pocket-bag which was slung at her waist. \n \n \"Hippolyte shall turn these things into money,\" she said. \"He shall set \n about it to-morrow. We shall have to keep the girl now--until she tells \n us where the rest is hidden.\" \n \n \"Yes, keep her,\" said Helene. \"We will come over to Geneva in a few \n days, as soon as we can. We will persuade her to tell.\" She glanced \n darkly at the girl. Celia shivered.","Wethermill opened the wooden door, while Celia's heart raced in her \n bosom. \n \n \"I will go down and open the gate,\" he whispered. \"Are you ready?\" \n \n \"Yes.\" \n \n Wethermill disappeared; and this time he left the door open. Adele \n helped Celia to her feet. For a moment she tottered; then she stood \n firm. \n \n \"Now run!\" whispered Adele. \"Run, child, for your life!\" \n","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to"],["she is dead. Let us not go back beyond her marriage seventeen years ago \n to a wealthy manufacturer of Nancy, whom she had met in Paris. Seven \n years ago M. Dauvray died, leaving his widow a very rich woman. She had \n a passion for jewellery, which she was now able to gratify. She \n collected jewels. A famous necklace, a well-known stone--she was not, \n as you say, happy till she got it. She had a fortune in precious","must needs listen to it. Ricardo dared not glance at him. \n \n \"But hardly any one would dance with her in her rags, and no one would \n give her supper except madame. Madame did. Madame listened to her story \n of hunger and distress. Madame believed it, and brought her home. \n Madame was so kind, so careless in her kindness. And now she lies \n murdered for a reward!\" An hysterical sob checked the woman's \n utterances, her face began to work, her hands to twitch.","woman who stays at your hotel, M. Ricardo. Yet she must be going to \n your hotel, for the road ends. The driver is nodding on his box, \n refusing to pay any heed to his fare lest again she should bid him \n hurry. His horse is moving at a walk. Wethermill puts his head in at \n the window and asks if she has come to see M. Ricardo. Anxious for her \n four thousand francs, she answers 'Yes.' Perhaps he steps into the cab,","\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","wife's constant devotion, to struggle along and to give their daughter \n an education. Then, however, Celia's mother broke down under the strain \n and died. Captain Harland, a couple of years later, went out of the \n service with discredit, passed through the bankruptcy court, and turned \n showman. His line was thought-reading; he enlisted the services of his \n daughter, taught her the tricks of his trade, and became \"The Great \n Fortinbras\" of the music-halls. Captain Harland would move amongst the","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","\"If I am wrong, monsieur, I am sorry, but you can help me too,\" she \n said, in her submissive voice. And she passed on, leaving Wethermill \n rooted to the ground. \n \n It was a bargain she proposed--the impertinence of it! It was a bargain \n she proposed--the value of it! In that shape ran Harry Wethermill's \n thoughts. He was in desperate straits, though to the world's eye he was","herself, that poor child, with her love of fine clothes, the Bohemian \n who, brought up amidst trickeries and practising them as a profession, \n looking upon them and upon misery and starvation and despair as the \n commonplaces of life, keeps a simplicity and a delicacy and a freshness \n which would have withered in a day had she been brought up otherwise; \n Harry Wethermill, the courted and successful man of genius. \n \n \"Just imagine if you can what his feelings must have been, when in Mme.","of joy at her heart. He was coming to her hand. \n \n \"Monsieur,\" she said, \"you do not go the right way.\" And again her \n strange smile illuminated her face. \"Mlle. Celie sets a guard about \n Mme. Dauvray. She will not give to people the opportunity to find \n madame generous.\" \n \n \"Oh,\" said Wethermill slowly. \"Is that so?\" And he turned and walked by \n Helene Vauquier's side. \n","for the woman who nurses them. So, as I am in the house most of the \n day, I find what amusement I can in watching the doings of my \n neighbours. You will not blame me. \n \n \"A month ago the house almost directly opposite to us was taken \n furnished for the summer by a Mme. Rossignol. She is a widow, but \n during the last fortnight a young gentleman has come several times in \n the afternoon to see her, and it is said in the street that he is going","\"You put your finger on a sore place, M. Ricardo. I was sure, but I \n still wanted evidence to convict. I left him free, hoping for that \n evidence. I left him free, hoping that he would commit himself. He did, \n but--well, let us talk of some one else. What of Mlle. Celie?\" \n \n Ricardo drew a letter from his pocket. \n \n \"I have a sister in London, a widow,\" he said. \"She is kind. I, too,","\"Indeed I do,\" said Hanaud, with a laugh. \n \n \"Well, after mademoiselle had been with us three weeks, she said to me \n one morning when I was dressing her hair that it was a pity madame was \n always running round the fortune-tellers, that she herself could do \n something much more striking and impressive, and that if only I would \n help her we could rescue madame from their clutches. Sir, I did not","\"And nothing gained!\" cried the older woman furiously. \"And we have \n hardly a five-franc piece in the house.\" \n \n \"Yes, something,\" said Adele. \"A necklace--a good one--some good rings, \n and bracelets. And we shall find out where the rest is hid--from her.\" \n And she nodded at Celia. \n \n The three people ate their supper, and, while they ate it, discussed \n Celia's fate. She was lying with her head bowed upon her arms at the","took a step forward. His face seemed to narrow to a greater sharpness. \n In a moment, to Mr. Ricardo's thought, he ceased to be the judge; he \n dropped from his high office; he dwindled into a fanatic. \n \n \"She is a Jewess, this Celia Harland?\" he cried. \n \n \"No, M. Fleuriot, she is not,\" replied Wethermill. \"I do not speak in \n disparagement of that race, for I count many friends amongst its","to marry her. But I cannot believe it myself. Monsieur is a young man \n of perhaps thirty, with smooth, black hair. He wears a moustache, a \n little black moustache, and is altogether captivating. Mme. Rossignol \n is five or six years older, I should think--a tall woman, with red hair \n and a bold sort of coarse beauty. I was not attracted by her. She \n seemed not quite of the same world as that charming monsieur who was","been, the confidential maid of an elderly woman. On her face there was \n now an aspect of eager appeal. \n \n \"Oh, monsieur!\" she began, \"let me go from here--anywhere--into prison \n if you like. But to stay here--where in years past we were so \n happy--and with madame lying in the room below. No, it is \n insupportable.\" \n \n She sank into her chair, and Hanaud came over to her side. \n","\"By my Normandy peasant-woman, M. Ricardo,\" said Hanaud. \"Yes, there's \n the dominating figure--cruel, masterful, relentless--that strange \n woman, Helene Vauquier. You are surprised? You will see! It is not the \n man of intellect and daring; it's my peasant-woman who is at the bottom \n of it all.\" \n \n \"But she's free!\" exclaimed Ricardo. \"You let her go free!\" \n","And, indeed, how should she notice anything if the salon were dark, and \n Mme. Dauvray's body lay under the windows at the side?\" \n \n Ricardo leaned forward eagerly. \n \n \"That must be the truth,\" he cried; and Wethermill's voice broke \n hastily in: \n \n \"It is not the truth and I will tell you why. Celia Harland was to have \n married me this week.\" \n \n There was so much pain and misery in his voice that Ricardo was moved","the comparative. Everything in his life was a trifle overdone, from the \n fastidious arrangement of his neckties to the feminine nicety of his \n little dinner-parties. In age Mr. Ricardo was approaching the fifties; \n in condition he was a widower--a state greatly to his liking, for he \n avoided at once the irksomeness of marriage and the reproaches justly \n levelled at the bachelor; finally, he was rich, having amassed a","same table, within a foot of them. But they made no more of her \n presence than if she had been an old shoe. Only once did one of them \n speak to her. \n \n \"Stop your whimpering,\" said Hippolyte roughly. \"We can hardly hear \n ourselves talk.\" \n \n He was for finishing with the business altogether to-night. \n \n \"It's a mistake,\" he said. \"There's been a bungle, and the sooner we"],["Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","At first Celia shrank away, fearing some new cruelty. But Adele's voice \n came to her ears, speaking--and speaking with remorse. \n \n \"I can't endure it!\" she whispered. \"You are so young--too young to be \n killed.\" \n \n The tears were rolling down Celia's cheeks. Her face was pitiful and \n beseeching. \n \n \"Don't look at me like that, for God's sake, child!\" Adele went on, and","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","but she did not bolt it. She came back into the room; she looked at \n Celia, as she lay back upon the settee, with a long glance of \n indecision. And then, to Celia's surprise--for she had given up all \n hope--the indecision in her eyes became pity. She suddenly ran across \n the room and knelt down before Celia. With quick and feverish hands she \n untied the cord which fastened the train of her skirt about her knees. \n","Wethermill opened the wooden door, while Celia's heart raced in her \n bosom. \n \n \"I will go down and open the gate,\" he whispered. \"Are you ready?\" \n \n \"Yes.\" \n \n Wethermill disappeared; and this time he left the door open. Adele \n helped Celia to her feet. For a moment she tottered; then she stood \n firm. \n \n \"Now run!\" whispered Adele. \"Run, child, for your life!\" \n","Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","Celia a respite, perhaps more than a respite. Helene set the flask down \n upon the table. Her avarice had got the better of her hatred. She \n roughly plucked the earrings out of the girl's ears. She hid them \n quickly in the bosom of her dress with her eye upon the door. She did \n not see a drop of blood gather on the lobe of Celia's ear and fall into \n the cushion on which her face was pressed. She had hardly hidden them","towards Celia too. She wrenched herself from Hanaud's arms, she shrank \n violently away. Her white face flushed scarlet and grew white again. \n She screamed loudly, terribly; and after the scream she uttered a \n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \n as she fell. A light broke over his face. \n \n \"Now I understand!\" he cried. \"Good God! That's horrible.\" \n \n \n \n \n CHAPTER XIII \n","here.\" \n \n \"No!\" cried Celia decisively, and she again laid hold of his coat, with \n a pretty imperiousness, as though he belonged to her. \n \n \"But I must,\" said Hanaud with a laugh. \n \n \"Then I will come too,\" said Celia, and she opened the door and set a \n foot upon the step. \n \n \"You will not, mademoiselle,\" said Hanaud, with a laugh. \"Will you take","upon their expedition of rescue. Into that short interval of time so \n much that was eventful had been crowded. \n \n Hanaud leaned across the table to Celia and said in a low voice: \n \n \"Mademoiselle, if I may suggest it, it would be as well if you put on \n your gloves; otherwise they may notice your wrists.\" \n \n Celia followed his advice. She ate some food and drank a glass of \n champagne. A little colour returned to her cheeks. \n","extraordinary relief. The genuine, heartfelt cry restored her \n confidence in Celia. \n \n \"Some one--who means harm!\" she whispered, trembling with excitement. \n \n \"Ah, mademoiselle is already under control,\" said Helene, using the \n jargon which she had learnt from Celia's lips. \n \n Adele Rossignol grinned. \n \n \"Yes, LA PETITE is under control,\" she repeated, with a sneer; and all","Then Ricardo's thoughts turned as he tossed upon his bed to Celia \n Harland, a tragic and a lonely figure. He recalled the look of \n tenderness upon her face when her eyes had met Harry Wethermill's \n across the baccarat-table in the Villa des Fleurs. He gained some \n insight into the reason why she had clung so desperately to Hanaud's \n coat-sleeve yesterday. Not merely had he saved her life. She was lying \n with all her world of trust and illusion broken about her, and Hanaud","have been thinking of what will become of Mlle. Celie. I wrote to my \n sister, and here is her reply. Mlle. Celie will be very welcome.\" \n \n Hanaud stretched out his hand and shook Ricardo's warmly. \n \n \"She will not, I think, be for very long a burden. She is young. She \n will recover from this shock. She is very pretty, very gentle. If--if \n no one comes forward whom she loves and who loves her--I--yes, I","\"Is it two days?\" she asked. \"I was in the dark there. I did not know. \n A little bread, a little water.\" \n \n \"That's what is wrong,\" said Hanaud. \"Come, let us go from here!\" \n \n \"Yes, yes!\" Celia cried eagerly. She rose to her feet, and tottered. \n Hanaud put his arm about her. \"You are very kind,\" she said in a low \n voice, and again doubt looked out from her face and disappeared. \"I am","Celie. No; you have seen too much to-night. And every one will think \n that Mlle. Celie helped to murder and rob her benefactress. They are \n certain to suspect some one, so why not you, pretty one?\" \n \n Celia made no movement. She lay trying to believe that no crime had \n been committed, that that lifeless body did not lie against the wall. \n And then she heard in the room above a bed wheeled roughly from its \n place. \n","\"You can trust Marie,\" said Hanaud. And Celia turned as she stood upon \n the ground and gave her hands to the two men. \n \n \"Thank you! Thank you both!\" she said in a trembling voice. She looked \n at Hanaud and nodded her head. \"You understand why I thank you so very \n much?\" \n \n \"Yes,\" said Hanaud. \"But, mademoiselle\"--and he bent over the car and \n spoke to her quietly, holding her hand--\"there is ALWAYS a big","\"It seems impossible to me,\" she said in a low voice, \"that I am here, \n in the open air, and free.\" \n \n Hanaud looked at his watch. \n \n \"Mlle. Celie, it is past ten o'clock. M. Ricardo's car is waiting there \n under the trees. I want you to drive back to Aix. I have taken rooms \n for you at an hotel, and there will be a nurse from the hospital to \n look after you.\" \n","sure that I can trust you.\" \n \n Ricardo fetched her cloak and slipped it on her shoulders. Then he \n brought her hat, and she pinned it on. She turned to Hanaud; \n unconsciously familiar words rose to her lips. \n \n \"Is it straight?\" she asked. And Hanaud laughed outright, and in a \n moment Celia smiled herself. \n \n Supported by Hanaud she stumbled down the stairs to the garden. As they \n passed the open door of the lighted parlour at the back of the house","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","with her, she placed it carelessly round her shoulders. \n \n \"Wait!\" Helene Vauquier whispered in Celia's ear. \n \n To the cord about Celia's waist Adele was fastening a longer line. \n \n \"I shall keep my foot on the other end of this,\" she said, \"when the \n lights are out, and I shall know then if our little one frees herself.\" \n \n The three women went out of the recess. And the next moment the heavy"],["Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","\"Mademoiselle, I see, is in the very mood to produce the most wonderful \n phenomena. But it will be better, I think, madame,\" she said, turning \n to Mme. Dauvray, \"that Mlle. Celie should put on those gloves which I \n see she has thrown on to a chair. It will be a little more difficult \n for mademoiselle to loosen these cords, should she wish to do so.\" \n \n The argument silenced Celia. If she refused this condition now she","with her, she placed it carelessly round her shoulders. \n \n \"Wait!\" Helene Vauquier whispered in Celia's ear. \n \n To the cord about Celia's waist Adele was fastening a longer line. \n \n \"I shall keep my foot on the other end of this,\" she said, \"when the \n lights are out, and I shall know then if our little one frees herself.\" \n \n The three women went out of the recess. And the next moment the heavy","She was placed in a chair. Adele passed a cord round her ankles, and \n the mere touch of it quickened Celia to a spasm of revolt. Her last \n little remnant of liberty was being taken from her. She raised herself, \n or rather would have raised herself. But Helene with gentle hands held \n her in the chair, and whispered under her breath: \n \n \"Have no fear! Madame is watching.\" \n \n Adele looked fiercely up into the girl's face. \n","Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","And the next moment Celia winced and had to bite her lip to prevent a \n cry. The thin cord was wound twice about her wrists, drawn cruelly \n tight and then cunningly knotted. For one second Celia was thankful for \n her gloves; the next, more than ever she regretted that she wore them. \n It would have been difficult enough for her to free her hands now, even \n without them. And upon that a worse thing befell her. \n","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","Yet another day had gone, but in that dark cupboard Celia had no means \n of judging time. In the afternoon the newspaper came out with the \n announcement that Mme. Dauvray's jewellery had been discovered under \n the boards. Hippolyte brought in the newspaper, and, cursing their \n stupidity, they sat down to decide upon Celia's fate. That, however, \n was soon arranged. They would dress her in everything which she wore \n when she came, so that no trace of her might be discovered. They would","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","slipped in behind. He lifted up Celia with Rossignol's help, and made \n her sit in the middle of the sofa with her feet upon the ground. He \n unbound her wrists and fingers, and Vauquier placed the writing-pad and \n the paper on the girl's knees. Her arms were still pinioned above the \n elbows; she could not raise her hands high enough to snatch the scarf \n from her lips. But with the pad held up to her she could write. \n","The two women stood and looked at her; and then Adele Rossignol burst \n out laughing. Vauquier approached the girl, and Celia had a moment's \n hope that she meant to free her altogether, but she only loosed the \n cords which fixed her to the pillar and the high stool. \n \n \"Mademoiselle will pardon me for laughing,\" said Adele Rossignol \n politely; \"but it was mademoiselle who invited me to try my hand. And","we are here. Come, go and get the jewels. The key of the door's on the \n mantelshelf. While you are away we two will arrange the pretty baby in \n there.\" \n \n She pointed to the recess; her voice rang with contempt. Wethermill \n staggered across the room like a drunkard, and picked up the key in \n trembling fingers. Celia heard it turn in the lock, and the door bang. \n Wethermill had gone upstairs. \n","Wethermill opened the wooden door, while Celia's heart raced in her \n bosom. \n \n \"I will go down and open the gate,\" he whispered. \"Are you ready?\" \n \n \"Yes.\" \n \n Wethermill disappeared; and this time he left the door open. Adele \n helped Celia to her feet. For a moment she tottered; then she stood \n firm. \n \n \"Now run!\" whispered Adele. \"Run, child, for your life!\" \n","not intended for playing the piano. Nor, indeed, for the ballroom. It \n leaps to one's eyes that dancing would be difficult. Nor is it intended \n for much conversation. It is a costume for a mood of quiet reflection. \n But I assure mademoiselle that for pretty young ladies who are the \n favourites of rich old women it is the style most recommended by the \n criminal classes.\" \n \n All the woman's bitter rancour against Celia, hidden for months beneath","and Celia left the rooms and walked to the entrance-doors. But as they \n walked Celia became alarmed. \n \n She was by nature extraordinarily sensitive to impressions. It was to \n that quick receptivity that the success of \"The Great Fortinbras\" had \n been chiefly due. She had a gift of rapid comprehension. It was not \n that she argued, or deducted, or inferred. But she felt. To take a \n metaphor from the work of the man she loved, she was a natural","too, had been carelessly left unbolted. The man stepped without a sound \n over the sill into the room. And, as he stepped, fear for herself drove \n out for the moment from Celia's thoughts fear for the three women in \n the black room. If only he did not see her! She pressed herself against \n the pillar. He might overlook her, perhaps! His eyes would not be so \n accustomed to the darkness of the recess as hers. He might pass her","hope stirred within Celia. \n \n He seized her wrists, crushed them together behind her, and swiftly \n fastened them once more. Adele Rossignol sat down upon the floor, took \n the girl's feet upon her lap, and quietly wrenched off her shoes. \n \n \"The light,\" cried Wethermill in an agonised voice, and Helena Vauquier \n flew across the room and turned it off. \n \n All three stood holding their breath, straining their ears in the dark","middle of the room, her back to the recess, her face to the mirror, \n where all could see her. \n \n \"Now, Celie\"--she had dropped the \"Mlle.\" and the ironic suavity of her \n manner--\"try to free yourself.\" \n \n For a moment the girl's shoulders worked, her hands fluttered. But they \n remained helplessly bound. \n \n \"Ah, you will be content, Adele, to-night,\" cried Mme. Dauvray eagerly. \n"],["Celia did not stop to think whither she should run, or how she should \n escape from Wethermill's search. She could not ask that her lips and \n her hands might be freed. She had but a few seconds. She had one \n thought--to hide herself in the darkness of the garden. Celia fled \n across the room, sprang wildly over the sill, ran, tripped over her \n skirt, steadied herself, and was swung off the ground by the arms of \n Harry Wethermill. \n","Celia leaned back, her heart fainting within her. Arrange! It was her \n turn now. She was to be \"arranged.\" She had no doubt what sinister \n meaning that innocent word concealed. The dry, choking sound, the \n horrid scuffling of feet upon the floor, were in her ears. And it had \n taken so long--so terribly long! \n \n She heard the door open again and shut again. Then steps approached the \n recess. The curtains were flung back, and the two women stood in front","we are here. Come, go and get the jewels. The key of the door's on the \n mantelshelf. While you are away we two will arrange the pretty baby in \n there.\" \n \n She pointed to the recess; her voice rang with contempt. Wethermill \n staggered across the room like a drunkard, and picked up the key in \n trembling fingers. Celia heard it turn in the lock, and the door bang. \n Wethermill had gone upstairs. \n","seat, opened the door of the landau, and then put his head in at the \n window of the car. \n \n \"Are you ready? Be quick!\" \n \n Adele turned to Celia. \n \n \"Not a word, remember!\" \n \n Wethermill flung open the door of the car. Adele took the girl's feet \n and drew them down to the step of the car. Then she pushed her out. \n Wethermill caught her in his arms and carried her to the landau. Celia","Celie. No; you have seen too much to-night. And every one will think \n that Mlle. Celie helped to murder and rob her benefactress. They are \n certain to suspect some one, so why not you, pretty one?\" \n \n Celia made no movement. She lay trying to believe that no crime had \n been committed, that that lifeless body did not lie against the wall. \n And then she heard in the room above a bed wheeled roughly from its \n place. \n","the door. Celia sprang out on to the pavement. She sprang so quickly \n that Adele Rossignol caught and held the train of her dress. But it was \n the fear of the vitriol which had made her spring so nimbly. It was \n that, too, which made her run so lightly and quickly into the house. \n The old woman who acted as servant, Jeanne Tace, received her. Celia \n offered no resistance. The fear of vitriol had made her supple as a","the elegance of her velvet gown was unable to hide her any longer from \n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \n Helene Vauquier whispered: \n \n \"Keep still, mademoiselle. I shall help you.\" \n \n Vauquier carried the girl into the recess and placed her upon the \n stool. With a long cord Adele bound her by the arms and the waist to","little ostentatious in her present predicament. They are a provocation \n to thieves. Will mademoiselle permit me to remove them?\" \n \n She caught her by the neck and lifted her up. She pushed the lace scarf \n up at the side of Celia's head. Celia began to struggle furiously, \n convulsively. She kicked and writhed, and a little tearing sound was \n heard. One of her shoe-buckles had caught in the thin silk covering of","Wethermill opened the wooden door, while Celia's heart raced in her \n bosom. \n \n \"I will go down and open the gate,\" he whispered. \"Are you ready?\" \n \n \"Yes.\" \n \n Wethermill disappeared; and this time he left the door open. Adele \n helped Celia to her feet. For a moment she tottered; then she stood \n firm. \n \n \"Now run!\" whispered Adele. \"Run, child, for your life!\" \n","however, and her feet were free. She started forward, and Adele \n Rossignol spoke sternly from the seat opposite. \n \n \"Keep still. I am holding the flask in my hand. If you scream, if you \n make a movement to escape, I shall fling the vitriol in your face,\" she \n said. \n \n Celia shrank back, shivering. \n \n \"I won't! I won't!\" she whispered piteously. Her spirit was broken by","As the motor-car rolled away, courage returned for a moment to Celia. \n The man--the murderer--had gone. She was alone with Adele Rossignol in \n a carriage moving no faster than an ordinary trot. Her ankles were \n free, the gag had been taken from her lips. If only she could free her \n hands and choose a moment when Adele was off her guard she might open \n the door and spring out on to the road. She saw Adele draw down the","hope stirred within Celia. \n \n He seized her wrists, crushed them together behind her, and swiftly \n fastened them once more. Adele Rossignol sat down upon the floor, took \n the girl's feet upon her lap, and quietly wrenched off her shoes. \n \n \"The light,\" cried Wethermill in an agonised voice, and Helena Vauquier \n flew across the room and turned it off. \n \n All three stood holding their breath, straining their ears in the dark","\"I will tell you what we are going to do with you, Mlle. Celie. Adele \n Rossignol and that kind gentleman, M. Wethermill, are going to take you \n away with them. You will be glad to go, won't you, dearie? For you love \n M. Wethermill, don't you? Oh, they won't keep you long enough for you \n to get tired of them. Do not fear! But you will not come back, Mile.","And the next moment Celia winced and had to bite her lip to prevent a \n cry. The thin cord was wound twice about her wrists, drawn cruelly \n tight and then cunningly knotted. For one second Celia was thankful for \n her gloves; the next, more than ever she regretted that she wore them. \n It would have been difficult enough for her to free her hands now, even \n without them. And upon that a worse thing befell her. \n","She was placed in a chair. Adele passed a cord round her ankles, and \n the mere touch of it quickened Celia to a spasm of revolt. Her last \n little remnant of liberty was being taken from her. She raised herself, \n or rather would have raised herself. But Helene with gentle hands held \n her in the chair, and whispered under her breath: \n \n \"Have no fear! Madame is watching.\" \n \n Adele looked fiercely up into the girl's face. \n","she chafed the girl's ankles for a moment. \n \n \"Can you stand?\" she asked. \n \n Celia nodded her head gratefully. After all, then, she was not to die. \n It seemed to her hardly possible. But before she could rise a subdued \n whirr of machinery penetrated into the room, and the motor-car came \n slowly to the front of the villa. \n \n \"Keep still!\" said Adele hurriedly, and she placed herself in front of \n Celia. \n","with her, she placed it carelessly round her shoulders. \n \n \"Wait!\" Helene Vauquier whispered in Celia's ear. \n \n To the cord about Celia's waist Adele was fastening a longer line. \n \n \"I shall keep my foot on the other end of this,\" she said, \"when the \n lights are out, and I shall know then if our little one frees herself.\" \n \n The three women went out of the recess. And the next moment the heavy","could warn them. And she could not. Her struggles were mere efforts to \n struggle, futile, a shiver from head to foot, and noiseless as a \n shiver. Adele Rossignol had done her work well and thoroughly. Celia's \n arms, her waist, her ankles were pinioned; only the bandage over her \n mouth seemed to be loosening. Then upon horror, horror was added. The \n man touched the glass doors, and they swung silently inwards. They,","rise to her feet. Adele Rossignol held her legs firmly. She was \n powerless. She sat with one desperate hope that, whoever it was who was \n in the garden, he would break in. Were it even another murderer, he \n might have more pity than the callous brutes who held her now; he could \n have no less. But the footsteps moved away. It was the withdrawal of \n all hope. Celia heard Wethermill behind her draw a long breath of \n relief. That seemed to Celia almost the cruellest part of the whole","\"Mademoiselle, I see, is in the very mood to produce the most wonderful \n phenomena. But it will be better, I think, madame,\" she said, turning \n to Mme. Dauvray, \"that Mlle. Celie should put on those gloves which I \n see she has thrown on to a chair. It will be a little more difficult \n for mademoiselle to loosen these cords, should she wish to do so.\" \n \n The argument silenced Celia. If she refused this condition now she"],["\"I suppose Mme. Dauvray is very rich?\" \n \n \"She has a great fortune in jewels,\" said Helene Vauquier. \n \n Wethermill started. He was agitated that evening, the woman saw. His \n hands shook, his face twitched. Clearly he was hard put to it. For he \n seldom betrayed himself. She thought it time to strike. \n \n \"Jewels which she keeps in the safe in her bedroom,\" she added. \n","would excite Mme. Dauvray to a terrible suspicion. She drew on her \n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \n them. To free her hands with her fingers and wrists already hampered in \n gloves would not be so easy a task. But there was no escape. Adele \n Rossignol was watching her with a satiric smile. Mme. Dauvray was \n urging her to be quick. Obeying a second order the girl raised her","remember all the names, and very likely I do not pronounce them \n properly. Then the voices would cease and the lights be turned up, and \n Mlle. Celie would be found in a trance just in the same place and \n attitude as she had been when the lights were turned out. Imagine, \n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \n She was made for them. She believed in them implicitly. The words of \n the great ladies from the past--she would remember and repeat them, and","often never played at all. If she won a few louis, she was as delighted \n with her gains and as afraid to lose them again at the tables as if she \n were of the poorest, and she stopped at once. No, monsieur; twenty or \n thirty louis--there was never more than that in the house.\" \n \n \"Then it was certainly for her famous collection of jewellery that \n Madame Dauvray was murdered?\" \n \n \"Certainly, monsieur.\" \n","seances, and at once, to add fuel to her hatred, she found herself \n stripped of those gifts and commissions which she had exacted from the \n herd of common tricksters who had been wont to make their harvest out \n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \n grew into a very delirium. But it was a delirium she had the cunning to","\"What does monsieur want of Mme. Dauvray?\" she asked. And the question \n was her answer. \n \n Wethermill stood silent. Then he said abruptly: \n \n \"Nothing, of course; nothing.\" And he walked away. \n \n But the smile remained on Helene Vauquier's face. What did they all \n want of Mme. Dauvray? She knew very well. It was what she herself \n wanted--with other things. It was money--always money. Wethermill was","amusements. She had kept her eyes open. She had seen that it was from \n the denizens of the dull streets in these towns that the quack \n religions won their recruits. Mme. Dauvray's life had been a \n featureless sort of affair until these experiments had come to colour \n it. Madame Dauvray must at any rate preserve the memory of that colour. \n \n \"No,\" she said boldly; \"I am not afraid,\" and after that she moved no \n more. \n","and the curtains drawn, whilst we--madame and madame's friend and \n I--can sit round this table under the side windows.\" \n \n \"Yes,\" said Celia, \"that will do very well.\" \n \n It was Madame Dauvray's habit when she was particularly pleased with \n Celia to dismiss her maid quickly, and to send her to brush the girl's \n hair at night; and in a little while on this night Helene went to","Within a fortnight Mme. Dauvray confided to Celia that there was a new \n fortune-teller come to Paris, who, by looking into a crystal, could \n tell the most wonderful things about the future. The old woman's eyes \n kindled as she spoke. She took Celia to the fortune-teller's rooms next \n day, and the girl quickly understood the ruling passion of the woman \n who had befriended her. It took very little time then for Celia to","her mother, were practised criminals. They had taken the house in \n Geneva deliberately in order to carry out some robberies from the great \n villas on the lake-side. But they had not been fortunate; and a \n description of Mme. Dauvray's jewellery in the woman's column of a \n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \n the task of seducing Mme. Dauvray's maid, and found a master, not an \n instrument. \n","to her, I became terrified. I had aroused a passion which I had not \n suspected. I tried to stop the seances, but I was not allowed. I had \n aroused a passion which I could not control. I was afraid that Mme. \n Dauvray's whole life--it seems absurd to those who did not know her, \n but those who did will understand--yes, her whole life and happiness \n would be spoilt if she discovered that what she believed in was all a \n trick.\" \n","And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \n her maid what frock she should wear. She was hot, and she took a \n hurried bath. When she came from her bathroom she saw with dismay that \n it was her new pale-green evening gown which had been laid out. It was \n the last which she would have chosen. But she dared not refuse it. She \n must still any suspicion. She must succeed. She gave herself into \n Helene's hands. Celia remembered afterwards one or two points which","able she was to concentrate her mind upon them, to will them to favour \n her. Mme. Dauvray's suspicions, she was sure, were still awake. She \n could not quell them. There was a stronger personality than hers at \n work in the room. The cord bit through her thin stockings into her \n ankles. She dared not complain. It was savagely tied. She made no \n remonstrance. And then Helene Vauquier raised her up from the chair and","like a ragged petticoat under a satin dress. That was never the case \n with Madame Dauvray.\" \n \n \"So that she was under no necessity to have ready money always in her \n pocket,\" said Hanaud. \"I understand that. But at times perhaps she won \n at the Villa des Fleurs?\" \n \n Helene Vauquier shook her head. \n \n \"She loved the Villa des Fleurs, but she never played for high sums and","\"I believe it would break my heart, my dear, if I were to think that; \n if I were to know that you had tricked me,\" she said, with a trembling \n voice. \n \n Celia covered her face with her hands. It would be true. She had \n no doubt of it. Mme. Dauvray would never forgive herself--would never \n forgive Celia. Her infatuation had grown so to engross her that the \n rest of her life would surely be embittered. It was not merely a","Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \n small. They sat down to their dinner in the garden, but the rain began \n to fall and drove them indoors. There were a few people dining at the \n same hour, but none near enough to overhear them. Alike in the garden \n and the dining-room, Adele Tace kept up the same note of ridicule and \n disbelief. She had been carefully tutored for her work. She was able to","\"You see Mme. Dauvray does not want you,\" said Harry Wethermill. \"Let \n us go and play CHEMIN-DE-FER\"; and they did, moving off into one of the \n further rooms. \n \n It was not until another hour had passed that Celia rose and went in \n search of Mme. Dauvray. She found her still talking earnestly to Adele \n Tace. Mme. Dauvray got up at once. \n","apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \n at stake too. \n \n \"It must be from my lips that Harry learns what I have been,\" she said \n to herself, and with the resolve she strengthened herself. \n \n \"I will wear what you please,\" she said, with a smile. \"I only wish \n Mme. Rossignol to be satisfied.\" \n \n \"And I shall be,\" said Adele, \"if--\" She leaned forward in anxiety. She","\"Oh, monsieur,\" Vauquier answered, \"it was not difficult to begin them. \n Mme. Dauvray had a passion for fortune-tellers and rogues of that kind. \n Any one with a pack of cards and some nonsense about a dangerous woman \n with black hair or a man with a limp--Monsieur knows the stories they \n string together in dimly lighted rooms to deceive the credulous--any \n one could make a harvest out of madame's superstitions. But monsieur \n knows the type.\"","had had the courage to tell him yesterday, he would have forgiven, \n surely he would! The tears gathered in her eyes and rolled down her \n cheeks. What would become of her now? She was in pain besides. The \n cords about her arms and ankles tortured her. And she feared--yes, \n desperately she feared the effect of the exposure upon Mme. Dauvray. \n She had been treated as a daughter; now she was in return to rob Mme. \n Dauvray of the belief which had become the passion of her life."]],"string":"[\n [\n \"wife's constant devotion, to struggle along and to give their daughter \\n an education. Then, however, Celia's mother broke down under the strain \\n and died. Captain Harland, a couple of years later, went out of the \\n service with discredit, passed through the bankruptcy court, and turned \\n showman. His line was thought-reading; he enlisted the services of his \\n daughter, taught her the tricks of his trade, and became \\\"The Great \\n Fortinbras\\\" of the music-halls. Captain Harland would move amongst the\",\n \"any question. I was not troubled about it until I came to Aix.\\\" \\n \\n A startling exposure, however, at Cambridge discredited the craze for \\n spiritualism, and Captain Harland's fortunes declined. He crossed with \\n his daughter to France and made a disastrous tour in that country, \\n wasted the last of his resources in the Casino at Dieppe, and died in \\n that town, leaving Celia just enough money to bury him and to pay her \\n third-class fare to Paris. \\n\",\n \"Dauvray. \\n \\n Celia's father was a Captain Harland, of a marching regiment, who had \\n little beyond good looks and excellent manners wherewith to support his \\n position. He was extravagant in his tastes, and of an easy mind in the \\n presence of embarrassments. To his other disadvantages he added that of \\n falling in love with a pretty girl no better off than himself. They \\n married, and Celia was born. For nine years they managed, through the\",\n \"(4) It was Celia Harland who arranged that Servettaz, the chauffeur, \\n should be absent at Chambery on the Tuesday night--the night of the \\n murder. \\n \\n (5) It was Celia Harland who bought the cord with which Mme. Dauvray \\n was strangled and Helene Vauquier bound. \\n \\n (6) The footsteps outside the salon show that Celia Harland ran from \\n the salon to the motor-car. \\n\",\n \"members. But Celia Harland is not one of them.\\\" \\n \\n \\\"Ah!\\\" said Fleuriot; and there was something of disappointment, \\n something, too, of incredulity, in his voice. \\\"Well, you will come and \\n report to me when you have made your investigation.\\\" And he passed on \\n without another question or remark. \\n \\n The group of men watched him go, and it was not until he was out of \\n earshot that Besnard turned with a deprecating gesture to Hanaud. \\n\",\n \"(1) Celia Harland made her entrance into Mme. Dauvray's household under \\n very doubtful circumstances. \\n \\n (2) By methods still more doubtful she acquired an extraordinary \\n ascendency over Mme. Dauvray's mind. \\n \\n (3) If proof were needed how complete that ascendency was, a glance at \\n Celia Harland's wardrobe would suffice; for she wore the most expensive \\n clothes. \\n\",\n \"the question which had so perplexed him: how a girl of so much \\n distinction as Celia Harland came to be living with a woman of so \\n common a type as Mme. Dauvray. \\n \\n \\\"Well, one night in June,\\\" said Helene Vauquier, \\\"madame went with a \\n party to supper at the Abbaye Restaurant in Montmartre. And she brought \\n home for the first time Mlle. Celie. But you should have seen her! She\",\n \"must guess at once that she saw Celie Harland enter their house, that \\n she is travelling to Aix with the information of her whereabouts. At \\n all costs she must be prevented from giving that information. At all \\n risks, therefore, the warning telegram must be sent to Harry \\n Wethermill.\\\" \\n \\n Ricardo recognised the force of the argument. \\n \\n \\\"If only you had heard of the telegram yesterday in time!\\\" he cried. \\n\",\n \"Then Ricardo's thoughts turned as he tossed upon his bed to Celia \\n Harland, a tragic and a lonely figure. He recalled the look of \\n tenderness upon her face when her eyes had met Harry Wethermill's \\n across the baccarat-table in the Villa des Fleurs. He gained some \\n insight into the reason why she had clung so desperately to Hanaud's \\n coat-sleeve yesterday. Not merely had he saved her life. She was lying \\n with all her world of trust and illusion broken about her, and Hanaud\",\n \"Wethermill put his arm through hers. \\n \\n \\\"You'll have to take yourself away before you can do that,\\\" he \\n answered, and the couple walked together out of Ricardo's hearing. \\n \\n Ricardo was left to wonder about Celia. She was just one of those \\n problems which made Aix-les-Bains so unfailingly attractive to him. She \\n dwelt in some street of Bohemia; so much was clear. The frankness of \\n her pleasure, of her excitement, and even of her distress proved it.\",\n \"Celia's room. While she brushed Celia's hair she told her that \\n Servettaz's parents lived at Chambery, and that he would like to see \\n them. \\n \\n \\\"But the poor man is afraid to ask for a day,\\\" she said. \\\"He has been \\n so short a time with madame.\\\" \\n \\n \\\"Of course madame will give him a holiday if he asks,\\\" replied Celia \\n with a smile. \\\"I will speak to her myself to-morrow.\\\" \\n\",\n \"\\\"You will stay here to-night to arrange for their transfer to Aix?\\\" \\n \\n \\\"I will leave Durette behind,\\\" said Hanaud. \\\"I am needed at Aix. We \\n will make a formal application for the prisoners.\\\" He was kneeling by \\n Celia's side and awkwardly dabbing her forehead with a wet \\n handkerchief. He raised a warning hand. Celia Harland moved and opened \\n her eyes. She sat up on the sofa, shivering, and looked with dazed and\",\n \"There she lived honestly but miserably. The slimness of her figure and \\n a grace of movement which was particularly hers obtained her at last a \\n situation as a mannequin in the show-rooms of a modiste. She took a \\n room on the top floor of a house in the Rue St. Honore and settled down \\n to a hard and penurious life. \\n \\n \\\"I was not happy or contented--no,\\\" said Celia frankly and decisively. \\n \\\"The long hours in the close rooms gave me headaches and made me\",\n \"And, indeed, how should she notice anything if the salon were dark, and \\n Mme. Dauvray's body lay under the windows at the side?\\\" \\n \\n Ricardo leaned forward eagerly. \\n \\n \\\"That must be the truth,\\\" he cried; and Wethermill's voice broke \\n hastily in: \\n \\n \\\"It is not the truth and I will tell you why. Celia Harland was to have \\n married me this week.\\\" \\n \\n There was so much pain and misery in his voice that Ricardo was moved\",\n \"Ricardo remembered. For by the light of it Marthe Gobin had seen Celia \\n Harland run so nimbly into this house. \\n \\n For a moment the men in the passage held their breath. Some one strode \\n heavily by on the pavement outside--to Mr. Ricardo's ear a most \\n companionable sound. Then a clock upon a church struck the half-hour \\n musically, distantly. It was half-past eight. And a second afterwards a\",\n \"Hanaud turned back to Lemerre and pointed silently to the \\n morphia-needle and the phial. Lemerre nodded his head, and going into \\n the room took them away. They went out again into the garden. Celia \\n Harland threw back her head to the stars and drew in a deep breath of \\n the cool night air. \\n \\n \\\"I did not think,\\\" she said in a low voice, \\\"to see the stars again.\\\" \\n \\n They walked slowly down the length of the garden, and Hanaud lifted her\",\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"Celia blushed. \\n \\n \\\"I suppose there will,\\\" she said regretfully. There were, indeed, \\n moments when she was frightened of Harry Wethermill, but frightened \\n with a delicious thrill of knowledge that he was only stern because he \\n cared so much. \\n \\n But in a day or two there began to intrude upon her happiness a \\n stinging dissatisfaction with her past life. At times she fell into \\n melancholy, comparing her career with that of the man who loved her. At\",\n \"rose from the music-halls to the assembly rooms of provincial towns. \\n The performance became genteel, and ladies flocked to the matinees. \\n \\n The Great Fortinbras dropped his pseudonym and became once more Captain \\n Harland. \\n \\n As Celia grew up, he tried a yet higher flight--he became a \\n spiritualist, with Celia for his medium. The thought-reading \\n entertainments became thrilling seances, and the beautiful child, now \\n grown into a beautiful girl of seventeen, created a greater sensation\",\n \"IN THE HOUSE AT GENEVA \\n \\n \\n It was well, Mr. Ricardo thought, that some one understood. For \\n himself, he frankly admitted that he did not. Indeed, in his view the \\n first principles of reasoning seemed to be set at naught. It was \\n obvious from the solicitude with which Celia Harland was surrounded \\n that every one except himself was convinced of her innocence. Yet it \\n was equally obvious that any one who bore in mind the eight points he\"\n ],\n [\n \"often never played at all. If she won a few louis, she was as delighted \\n with her gains and as afraid to lose them again at the tables as if she \\n were of the poorest, and she stopped at once. No, monsieur; twenty or \\n thirty louis--there was never more than that in the house.\\\" \\n \\n \\\"Then it was certainly for her famous collection of jewellery that \\n Madame Dauvray was murdered?\\\" \\n \\n \\\"Certainly, monsieur.\\\" \\n\",\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"would excite Mme. Dauvray to a terrible suspicion. She drew on her \\n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \\n them. To free her hands with her fingers and wrists already hampered in \\n gloves would not be so easy a task. But there was no escape. Adele \\n Rossignol was watching her with a satiric smile. Mme. Dauvray was \\n urging her to be quick. Obeying a second order the girl raised her\",\n \"remember all the names, and very likely I do not pronounce them \\n properly. Then the voices would cease and the lights be turned up, and \\n Mlle. Celie would be found in a trance just in the same place and \\n attitude as she had been when the lights were turned out. Imagine, \\n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \\n She was made for them. She believed in them implicitly. The words of \\n the great ladies from the past--she would remember and repeat them, and\",\n \"to her, I became terrified. I had aroused a passion which I had not \\n suspected. I tried to stop the seances, but I was not allowed. I had \\n aroused a passion which I could not control. I was afraid that Mme. \\n Dauvray's whole life--it seems absurd to those who did not know her, \\n but those who did will understand--yes, her whole life and happiness \\n would be spoilt if she discovered that what she believed in was all a \\n trick.\\\" \\n\",\n \"seances, and at once, to add fuel to her hatred, she found herself \\n stripped of those gifts and commissions which she had exacted from the \\n herd of common tricksters who had been wont to make their harvest out \\n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \\n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \\n grew into a very delirium. But it was a delirium she had the cunning to\",\n \"Within a fortnight Mme. Dauvray confided to Celia that there was a new \\n fortune-teller come to Paris, who, by looking into a crystal, could \\n tell the most wonderful things about the future. The old woman's eyes \\n kindled as she spoke. She took Celia to the fortune-teller's rooms next \\n day, and the girl quickly understood the ruling passion of the woman \\n who had befriended her. It took very little time then for Celia to\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"amusements. She had kept her eyes open. She had seen that it was from \\n the denizens of the dull streets in these towns that the quack \\n religions won their recruits. Mme. Dauvray's life had been a \\n featureless sort of affair until these experiments had come to colour \\n it. Madame Dauvray must at any rate preserve the memory of that colour. \\n \\n \\\"No,\\\" she said boldly; \\\"I am not afraid,\\\" and after that she moved no \\n more. \\n\",\n \"\\\"Oh, monsieur,\\\" Vauquier answered, \\\"it was not difficult to begin them. \\n Mme. Dauvray had a passion for fortune-tellers and rogues of that kind. \\n Any one with a pack of cards and some nonsense about a dangerous woman \\n with black hair or a man with a limp--Monsieur knows the stories they \\n string together in dimly lighted rooms to deceive the credulous--any \\n one could make a harvest out of madame's superstitions. But monsieur \\n knows the type.\\\"\",\n \"like a ragged petticoat under a satin dress. That was never the case \\n with Madame Dauvray.\\\" \\n \\n \\\"So that she was under no necessity to have ready money always in her \\n pocket,\\\" said Hanaud. \\\"I understand that. But at times perhaps she won \\n at the Villa des Fleurs?\\\" \\n \\n Helene Vauquier shook her head. \\n \\n \\\"She loved the Villa des Fleurs, but she never played for high sums and\",\n \"and the curtains drawn, whilst we--madame and madame's friend and \\n I--can sit round this table under the side windows.\\\" \\n \\n \\\"Yes,\\\" said Celia, \\\"that will do very well.\\\" \\n \\n It was Madame Dauvray's habit when she was particularly pleased with \\n Celia to dismiss her maid quickly, and to send her to brush the girl's \\n hair at night; and in a little while on this night Helene went to\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"able she was to concentrate her mind upon them, to will them to favour \\n her. Mme. Dauvray's suspicions, she was sure, were still awake. She \\n could not quell them. There was a stronger personality than hers at \\n work in the room. The cord bit through her thin stockings into her \\n ankles. She dared not complain. It was savagely tied. She made no \\n remonstrance. And then Helene Vauquier raised her up from the chair and\",\n \"had had the courage to tell him yesterday, he would have forgiven, \\n surely he would! The tears gathered in her eyes and rolled down her \\n cheeks. What would become of her now? She was in pain besides. The \\n cords about her arms and ankles tortured her. And she feared--yes, \\n desperately she feared the effect of the exposure upon Mme. Dauvray. \\n She had been treated as a daughter; now she was in return to rob Mme. \\n Dauvray of the belief which had become the passion of her life.\",\n \"apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \\n at stake too. \\n \\n \\\"It must be from my lips that Harry learns what I have been,\\\" she said \\n to herself, and with the resolve she strengthened herself. \\n \\n \\\"I will wear what you please,\\\" she said, with a smile. \\\"I only wish \\n Mme. Rossignol to be satisfied.\\\" \\n \\n \\\"And I shall be,\\\" said Adele, \\\"if--\\\" She leaned forward in anxiety. She\",\n \"\\\"I believe it would break my heart, my dear, if I were to think that; \\n if I were to know that you had tricked me,\\\" she said, with a trembling \\n voice. \\n \\n Celia covered her face with her hands. It would be true. She had \\n no doubt of it. Mme. Dauvray would never forgive herself--would never \\n forgive Celia. Her infatuation had grown so to engross her that the \\n rest of her life would surely be embittered. It was not merely a\"\n ],\n [\n \"\\\"And yet more kind to me,\\\" said Wethermill in a low voice which brought \\n the blood into Celia's cheeks. \\n \\n But even while he spoke he soon caught sight of Mme. Dauvray standing \\n by one of the tables; and near to her was Adele Tace. Adele had not yet \\n made Mme. Dauvray's acquaintance; that was evident. She was apparently \\n unaware of her; but she was gradually edging towards her. Wethermill\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"Wethermill stayed by the girl's side throughout the evening. Once again \\n he saw Mme. Dauvray and Adele Tace. But now they were together; now \\n they were talking. The first step had been taken. Adele Tace had \\n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \\n same moment. \\n \\n \\\"Oh, there is Mme. Dauvray,\\\" she cried, taking a step towards her. \\n \\n Wethermill detained the girl. \\n\",\n \"and on her knees, with the tears streaming down her face, besought him \\n to confess the truth. For a long while he held out. And then there came \\n a strange and human turn to the affair. Adele Rossignol--or, to give \\n her real name, Adele Tace, the wife of Hippolyte--had conceived a \\n veritable passion for Harry Wethermill. He was of a not uncommon type, \\n cold and callous in himself, yet with the power to provoke passion in\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"stout, and Celia keeping pace with her. Thus it seemed natural that \\n Adele Tace should walk ahead, though a passer-by would not have thought \\n she was of their company. At the corner of the Rue du Casino Adele \\n waited for them and said quickly: \\n \\n \\\"Mademoiselle, you can get some cord, I think, at the shop there,\\\" and \\n she pointed to the shop of M. Corval. \\\"Madame and I will go slowly on;\",\n \"\\\"Are you ready to go, dear?\\\" she asked, and she turned to Adele Tace. \\n \\\"This is Celie, Mme. Rossignol,\\\" she said, and she spoke with a marked \\n significance and a note of actual exultation in her voice. \\n \\n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \\n her companion, and had a habit of showing her off, to the girl's \\n discomfort. The three women spoke a few words, and then Mme. Dauvray\",\n \"he had to say to me--\\\" and her voice broke upon the words. She \\n recovered herself with an effort. \\\"Then I went home with Mme. Dauvray.\\\" \\n \\n On the morning of Tuesday, however, there came a letter from Adele \\n Tace, of which no trace was afterwards discovered. The letter invited \\n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \\n hotel there. They could then return together to Aix. The proposal\",\n \"\\\"She seems quite happy,\\\" he said; and, indeed, Mme. Dauvray was talking \\n volubly and with the utmost interest, the jewels sparkling about her \\n neck. She raised her head, saw Celia, nodded to her affectionately, and \\n then pointed her out to her companion. Adele Tace looked the girl over \\n with interest and smiled contentedly. There was nothing to be feared \\n from her. Her youth, her very daintiness, seemed to offer her as the \\n easiest of victims. \\n\",\n \"her lips with her tongue. But Helene Vauquier kept her mouth sealed. \\n \\n \\n \\n \\n CHAPTER XVII \\n \\n THE AFTERNOON OF TUESDAY \\n \\n \\n Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the \\n name which she assumed, waiting for them impatiently in the garden of \\n an hotel at Annecy, on the Promenade du Paquier. She was a tall, lithe\",\n \"mademoiselle's big hats,\\\" she said. \\\"We will have mademoiselle as \\n modern as possible, so that, when the great ladies of the past appear \\n in the coiffure of their day, we may be sure it is not Mlle. Celie who \\n represents them.\\\" \\n \\n \\\"I will speak to Helene,\\\" said Mme. Dauvray, and Adele Tace was content. \\n \\n There was a particular new dress of which she knew, and it was very\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"next day in that very room--\\\"There is something here which I do not \\n understand.\\\" The touch of Adele Tace's hands communicated something to \\n her--something which filled her with a vague alarm. She could not have \\n formulated it if she would; she dared not if she could. She had but to \\n stand and submit. \\n \\n \\\"Now,\\\" said Adele. \\n \\n She took the girl by the shoulders and set her in a clear space in the\",\n \"He travelled, accordingly, the next day to Geneva, and was there \\n presented to Adele Tace and Hippolyte. \\n \\n \\\"They are trusted friends of mine,\\\" said Helene Vauquier to Wethermill, \\n who was not inspired to confidence by the sight of the young man with \\n the big ears and the plastered hair. As a matter of fact, she had never \\n met them before they came this year to Aix. \\n \\n The Tace family, which consisted of Adele and her husband and Jeanne,\",\n \"word--to tell what she did not know. Meanwhile her name would be \\n execrated through Aix as the murderess of the woman who had saved her. \\n Then suddenly the car stopped. There were lights outside. Celia heard \\n voices. A man was speaking to Wethermill. She started and saw Adele \\n Tace's arm flash upwards. She sank back in terror; and the car rolled \\n on into the darkness. Adele Tace drew a breath of relief. The one point\",\n \"Celia sat with a face which WOULD grow red. She did not look, but none \\n the less she was aware that Mme. Dauvray was gazing at her with a \\n perplexed frown and some return of her suspicion showing in her eyes. \\n Adele Tace was not content to leave the subject there. \\n \\n \\\"Perhaps,\\\" she said, with a smile, \\\"Mlle. Celie dresses in that way for \\n a seance?\\\" \\n\",\n \"\\\"But she said Adele's hair was black,\\\" interposed Mr. Ricardo. \\n \\n \\\"Yes, there she didn't,\\\" said Hanaud drily, and his eyes dropped again \\n to the paper. \\n \\n \\\"I knew her name was Adele, for often I have heard her servant calling \\n her so, and without any 'Madame' in front of the name. That is strange, \\n is it not, to hear an elderly servant-woman calling after her mistress,\",\n \"subjecting Celia to the severest tests. The rain ceased, and they took \\n their coffee on the terrace of the hotel. Mme. Dauvray had been really \\n pained by the conversation of Adele Tace. She had all the missionary \\n zeal of a fanatic. \\n \\n \\\"I do hope, Adele, that we shall make you believe. But we shall. Oh, I \\n am confident we shall.\\\" And her voice was feverish. \\n \\n Adele dropped for the moment her tone of raillery.\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\",\n \"called her Adele, just simply Adele. That interested me, for Helene \\n Vauquier had called her Adele too when she was describing to us the \\n unknown visitor. 'Adele' was what Mme. Dauvray called her.\\\" \\n \\n \\\"Yes,\\\" said Ricardo. \\\"Helene Vauquier made a slip there. She should \\n have given her a false name.\\\" \\n \\n Hanaud nodded. \\n \\n \\\"It is the one slip she made in the whole of the business. Nor did she\"\n ],\n [\n \"remember all the names, and very likely I do not pronounce them \\n properly. Then the voices would cease and the lights be turned up, and \\n Mlle. Celie would be found in a trance just in the same place and \\n attitude as she had been when the lights were turned out. Imagine, \\n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \\n She was made for them. She believed in them implicitly. The words of \\n the great ladies from the past--she would remember and repeat them, and\",\n \"the colours of her belief, she would hold a seance at the Villa Rose. \\n \\n Mme. Dauvray told the news to Helene Vauquier when they reached the \\n villa. \\n \\n \\\"You will be present, Helene,\\\" she cried excitedly. \\\"It will be \\n Tuesday. There will be the three of us.\\\" \\n \\n \\\"Certainly, if madame wishes,\\\" said Helene submissively. She looked \\n round the room. \\\"Mlle. Celie can be placed on a chair in that recess\",\n \"It appeared that at five o'clock in the afternoon Mme. Dauvray and \\n Mlle. Celie prepared to leave the house on foot. It was their custom to \\n walk down at this hour to the Villa des Fleurs, pass an hour or so \\n there, dine in a restaurant, and return to the Rooms to spend the \\n evening. On this occasion, however, Mme. Dauvray informed Helene that \\n they should be back early and bring with them a friend who was \\n interested in, but entirely sceptical of, spiritualistic\",\n \"be very proud that such great ladies had come back to the world merely \\n to tell her--Mme. Dauvray--about their lives. She would have had \\n seances all day, but Mlle. Celie pleaded that she was left exhausted at \\n the end of them. But Mlle. Celie was of an address! For instance--it \\n will seem very absurd and ridiculous to you, gentlemen, but you must \\n remember what Mme. Dauvray was--for instance, madame was particularly\",\n \"Dauvray's voice rang shrill and irritable up the stairs. \\n \\n \\\"Celie! Celie!\\\" \\n \\n \\\"Quick, Helene,\\\" said Celia. For she herself was now anxious to have \\n the seance over and done with. \\n \\n But Helene did not hurry. The more irritable Mme. Dauvray became, the \\n more impatient with Mlle. Celie, the less would Mlle. Celie dare to\",\n \"and the curtains drawn, whilst we--madame and madame's friend and \\n I--can sit round this table under the side windows.\\\" \\n \\n \\\"Yes,\\\" said Celia, \\\"that will do very well.\\\" \\n \\n It was Madame Dauvray's habit when she was particularly pleased with \\n Celia to dismiss her maid quickly, and to send her to brush the girl's \\n hair at night; and in a little while on this night Helene went to\",\n \"her she saw mysteries beyond. She took up her part at once. Since for \\n the last time it had got to be played, there must be no fault in the \\n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \\n she must carry it off to-night with success. The suspicions of Adele \\n Rossignol must obtain no verification. She spoke in a quiet and most \\n serious voice. \\\"Under spirit-control no one is clever. One does the \\n bidding of the spirit which controls.\\\" \\n\",\n \"short and about forty-five years old, though it is difficult to judge \\n of these things. I noticed her hands, for she was taking her gloves \\n off, and they seemed to me to be unusually muscular for a woman.\\\" \\n \\n \\\"Ah!\\\" cried Louis Besnard. \\\"That is important.\\\" \\n \\n \\\"Mme. Dauvray was, as she always was before a seance, in a feverish \\n flutter. 'You will help Mlle. Celie to dress, Helene, and be very\",\n \"seances, and at once, to add fuel to her hatred, she found herself \\n stripped of those gifts and commissions which she had exacted from the \\n herd of common tricksters who had been wont to make their harvest out \\n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \\n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \\n grew into a very delirium. But it was a delirium she had the cunning to\",\n \"Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \\n her generosity, her desire to converse with Mme. de Montespan and the \\n great ladies of the past, and her love of a young, fresh face about \\n her; Helene Vauquier, the maid with her six years of confidential \\n service, who finds herself suddenly supplanted and made to tend and \\n dress in dainty frocks the girl who has supplanted her; the young girl\",\n \"was no seance as yet held in the Villa Rose. And there would have been \\n none but for Helene Vauquier. \\n \\n One evening, however, as Harry Wethermill walked down from the Cercle \\n to the Villa des Fleurs, a woman's voice spoke to him from behind. \\n \\n \\\"Monsieur!\\\" \\n \\n He turned and saw Mme. Dauvray's maid. He stopped under a street lamp, \\n and said: \\n \\n \\\"Well, what can I do for you?\\\" \\n\",\n \"platform; the audience was in the hall; or, if it was at a house, my \\n father made the arrangements. I only came in at the last moment, played \\n my part, and went away. It was never brought home to me that some \\n amongst these people really and truly believed. I did not think about \\n it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so \\n firmly convinced that great ladies from the spirit world came and spoke\",\n \"of soft-soled slippers without heels, which she wore so that she might \\n not be heard, and tambourines would rattle as you say, and fingers \\n touch the forehead and the neck, and strange voices would sound from \\n corners of the room, and dim apparitions would appear--the spirits of \\n great ladies of the past, who would talk with Mme. Dauvray. Such ladies \\n as Mme. de Castiglione, Marie Antoinette, Mme. de Medici--I do not\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"Within a fortnight Mme. Dauvray confided to Celia that there was a new \\n fortune-teller come to Paris, who, by looking into a crystal, could \\n tell the most wonderful things about the future. The old woman's eyes \\n kindled as she spoke. She took Celia to the fortune-teller's rooms next \\n day, and the girl quickly understood the ruling passion of the woman \\n who had befriended her. It took very little time then for Celia to\",\n \"recognised them both, and--smiled to himself with some amusement. What \\n was Wethermill doing in company with Mme. Dauvray's maid? Ruel had no \\n doubt. Ruel had seen Wethermill often enough these recent days with \\n Mme. Dauvray's pretty companion. Ruel had all a Frenchman's sympathy \\n with lovers. He wished them well, those two young and attractive \\n people, and hoped that the maid would help their plans. \\n\",\n \"with a satirical smile. But Mme. Dauvray came to the girl's help. \\n \\n \\\"She is right, Adele. Light is the great barrier between us and the \\n spirit-world,\\\" she said solemnly. \\n \\n Meanwhile, in the hall Helene Vauquier locked and bolted the front \\n door. Then she stood motionless, with a smile upon her face and a heart \\n beating high. All through that afternoon she had been afraid that some\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"That was her explanation of Helene Vauquier's treachery; and believing \\n that error, she believed yet another--that she had reached the terrible \\n climax of her troubles. She was only at the beginning of them. \\n \\n \\\"Helene!\\\" cried Mme. Dauvray sharply. \\\"What are you doing?\\\" \\n \\n The maid instantly slid back into the room. \\n \\n \\\"Mademoiselle has not moved,\\\" she said. \\n \\n Celia heard the women settle in their chairs about the table. \\n\",\n \"\\\"I found Mme. Dauvray, Mlle. Celie, and another woman in the salon,\\\" \\n continued Helene Vauquier. \\n \\n \\\"Madame had let them in with her latchkey.\\\" \\n \\n \\\"Ah, the other woman!\\\" cried Besnard. \\\"Had you seen her before?\\\" \\n \\n \\\"No, monsieur.\\\" \\n \\n \\\"What was she like?\\\" \\n \\n \\\"She was sallow, with black hair and bright eyes like beads. She was\"\n ],\n [\n \"of the car is explained. It was a bold step to bring that car \\n back--yes, a bold and desperate step. But a clever one. For, if it had \\n succeeded, we should have known nothing of their movements--oh, but \\n nothing--nothing. Ah! I tell you this is no ordinary blundering affair. \\n They are clever people who devised this crime--clever, and of an \\n audacity which is surprising.\\\" \\n \\n Then Hanaud lit another cigarette. \\n\",\n \"of the gang. It did not help us very much to lay our hands upon them. \\n No; the little accident which happened was the entrance of our friend \\n Perrichet into the garden while the murderers were still in the room. \\n Imagine that scene, M. Ricardo. The rage of the murderers at their \\n inability to discover the plunder for which they had risked their \\n necks, the old woman crumpled up on the floor against the wall, the \\n girl writing laboriously with fettered arms 'I do not know' under\",\n \"not the work of a moment. It was planned with great care and cunning, \\n and carried out to the letter of the plan. There must be no noise, no \\n violence. On each side of the Villa Rose there are other villas; a few \\n yards away the road runs past. A scream, a cry, the noise of a \\n struggle--these sounds, or any one of them, might be fatal to success. \\n Thus the crime was planned; and there WAS no scream, there WAS no\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"\\\"That you shall know in good time. I am the captain of the ship.\\\" His \\n voice took on a deeper note. \\\"But I prepare you. Listen! Daring and \\n brains, those were the property of Harry Wethermill--yes. But it is not \\n he who is the chief actor in the crime. Of that I am sure. He was no \\n more than one of the instruments.\\\" \\n \\n \\\"One of the instruments? Used, then, by whom?\\\" asked Ricardo. \\n\",\n \"not frighten her. He would be gentle, he would be cunning. Softly and \\n delicately he would turn this good woman inside out, like a glove. \\n Every artistic fibre in his body vibrated to the dramatic situation. \\n \\n Suddenly Hanaud leaned out of the window. \\n \\n \\\"It comes! it comes!\\\" he said in a quick, feverish whisper. \\\"I can see \\n the cab between the shrubs of the drive.\\\" \\n \\n \\\"Let it come!\\\" said Mr. Ricardo superbly. \\n\",\n \"of the gang. We might have suspected Wethermill; we should hardly have \\n secured him, and we should very likely never have known of the Tace \\n family. That mistake was, as you no doubt are fully aware--\\\" \\n \\n \\\"The failure of Wethermill to discover Mme. Dauvray's jewels,\\\" said \\n Ricardo at once. \\n \\n \\\"No, my friend,\\\" answered Hanaud. \\\"That made them keep Mlle. Celie \\n alive. It enabled us to save her when we had discovered the whereabouts\",\n \"upon yachts in the Solent or on grouse-moors in Scotland, or on \\n golf-links at North Berwick. He alone of them all was tracking \\n malefactors to their doom by Leman's Lake. \\n \\n From these agreeable reflections Ricardo was shaken. Lemerre stopped. \\n The raiders had reached the angle made by the side wall of the garden \\n and the house. A whisper was exchanged, and the party turned and moved \\n along the house wall towards the lighted window on the ground floor. As\",\n \"qualities he had stipulated in the criminal. Ricardo now for the first \\n time understood the trend of all Hanaud's talk at that luncheon. He was \\n putting Harry Wethermill upon his guard, he was immobilising him, he \\n was fettering him in precautions; with a subtle skill he was forcing \\n him to isolate himself. And he was doing it deliberately to save the \\n life of Celia Harland in Geneva. Once Ricardo lifted himself up with\",\n \"instances she proclaimed herself a dupe. She threw down a challenge to \\n every criminal to come and rob her. For seven years Helene Vauquier \\n stands at her elbow and protects her from serious trouble. Suddenly \\n there is added to her--your young friend, and she is robbed and \\n murdered. And, follow this, M. Wethermill, our thieves are, I think, \\n more brutal to their victims than is the case with you.\\\" \\n\",\n \"\\\"Would he have dared?\\\" asked Harry Wethermill. \\n \\n Hanaud leaned across and tapped his fingers on the table to emphasise \\n his answer. \\n \\n \\\"All through this crime there are two things visible--brains and \\n daring; clever brains and extraordinary daring. Would he have dared? He \\n dared to be at the corner close to the Villa Rose at daylight. Why else \\n should he have returned except to put back the car? Consider! The\",\n \"\\\"It is not surprising,\\\" said Hanaud. \\\"Some one within the house was an \\n accomplice--we start with that fact. The house had not been broken \\n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \\n and a record obviously true. There was the fact that she had got rid of \\n Servettaz. There was the maid upstairs very ill from the chloroform. \\n What more likely than that Mlle. Celie had arranged a seance, and then\",\n \"\\\"It is terrible,\\\" he said. \\\"The poor woman! It was I who brought her to \\n Aix. It was through my carelessness. But who would have thought--?\\\" He \\n snatched his hands from his face and stood up. \\\"I should have thought,\\\" \\n he said solemnly. \\\"Extraordinary daring--that was one of the qualities \\n of my criminal. I knew it, and I disregarded it. Now we have a second \\n crime.\\\" \\n \\n \\\"The skewer may lead you to the criminal,\\\" said Mr. Ricardo.\",\n \"into the recess and see him. And then the real truth flashed in upon \\n her blindingly. He had jerked the cord, but he had jerked it \\n deliberately. He was already winding it up in a coil as it slid \\n noiselessly across the polished floor beneath the curtains towards him. \\n He had given a signal to Adele Rossignol. All that woman's scepticism \\n and precaution against trickery had been a mere blind, under cover of\",\n \"confusion. It was as though a tornado raged in the room overhead. \\n Furniture was tossed about and over the room, feet stamped and ran, \\n locks were smashed in with heavy blows. For many minutes the storm \\n raged. Then it ceased, and she heard the accomplices clattering down \\n the stairs without a thought of the noise they made. They burst into \\n the room. Harry Wethermill was laughing hysterically, like a man off \\n his head. He had been wearing a long dark overcoat when he entered the\",\n \"For it was Ricardo's best effort in the whole of this business. \\n \\n The three men went straight to Harry Wethermill's apartment, which \\n consisted of a sitting-room and a bedroom on the first floor. A balcony \\n ran along outside. Hanaud stepped out on to it, looked about him, and \\n returned. \\n \\n \\\"It is as well to know that we cannot be overheard,\\\" he said. \\n \\n Harry Wethermill meanwhile had thrown himself into a chair. The mask he\",\n \"and do his dreadful work upon that night before twelve, if all had been \\n arranged beforehand, if all went as it had been arranged. And as he \\n thought upon the careful planning of that crime, and remembered \\n Wethermill's easy chatter as they had strolled from table to table in \\n the Villa des Fleurs, Ricardo shuddered. Though he encouraged a taste \\n for the bizarre, it was with an effort. He was naturally of an orderly \\n mind, and to touch the eerie or inhuman caused him a physical\",\n \"saw her again with me, and he heard what she said. I asked her to come \\n to the rooms on the next evening--yesterday, the night of the \\n crime--and her face changed, and she said, 'No, we have other plans for \\n to-morrow. But the night after I shall want you.'\\\" \\n \\n Hanaud sprang up from his chair. \\n \\n \\\"And YOU tell me these two things!\\\" he cried. \\n \\n \\\"Yes,\\\" said Wethermill. \\\"You were kind enough to say to me I was not a\",\n \"with his finger to his lips. Something gleamed darkly in his hand. It \\n was the barrel of his revolver. Cautiously the men disembarked and \\n crept up the bank. First came Lemerre, then Hanaud; Ricardo followed \\n him, and the fourth man, who had struck the match under the trees, \\n brought up the rear. The other three officers remained in the boat. \\n \\n Stooping under the shadow of the side wall of the garden, the invaders\",\n \"\\\"Helene,\\\" said Wethermill, \\\"get to bed. I'll come up with the \\n chloroform and put you to sleep.\\\" \\n \\n Helene Vauquier hurried upstairs. It was part of her plan that she \\n should be left alone in the villa chloroformed. Thus only could \\n suspicion be averted from herself. She did not shrink from the \\n completion of the plan now. She went, the strange woman, without a \\n tremor to her ordeal. Wethermill took the length of rope which had\"\n ],\n [\n \"\\\"And yet more kind to me,\\\" said Wethermill in a low voice which brought \\n the blood into Celia's cheeks. \\n \\n But even while he spoke he soon caught sight of Mme. Dauvray standing \\n by one of the tables; and near to her was Adele Tace. Adele had not yet \\n made Mme. Dauvray's acquaintance; that was evident. She was apparently \\n unaware of her; but she was gradually edging towards her. Wethermill\",\n \"\\\"She seems quite happy,\\\" he said; and, indeed, Mme. Dauvray was talking \\n volubly and with the utmost interest, the jewels sparkling about her \\n neck. She raised her head, saw Celia, nodded to her affectionately, and \\n then pointed her out to her companion. Adele Tace looked the girl over \\n with interest and smiled contentedly. There was nothing to be feared \\n from her. Her youth, her very daintiness, seemed to offer her as the \\n easiest of victims. \\n\",\n \"\\\"Are you ready to go, dear?\\\" she asked, and she turned to Adele Tace. \\n \\\"This is Celie, Mme. Rossignol,\\\" she said, and she spoke with a marked \\n significance and a note of actual exultation in her voice. \\n \\n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \\n her companion, and had a habit of showing her off, to the girl's \\n discomfort. The three women spoke a few words, and then Mme. Dauvray\",\n \"Wethermill stayed by the girl's side throughout the evening. Once again \\n he saw Mme. Dauvray and Adele Tace. But now they were together; now \\n they were talking. The first step had been taken. Adele Tace had \\n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \\n same moment. \\n \\n \\\"Oh, there is Mme. Dauvray,\\\" she cried, taking a step towards her. \\n \\n Wethermill detained the girl. \\n\",\n \"he had to say to me--\\\" and her voice broke upon the words. She \\n recovered herself with an effort. \\\"Then I went home with Mme. Dauvray.\\\" \\n \\n On the morning of Tuesday, however, there came a letter from Adele \\n Tace, of which no trace was afterwards discovered. The letter invited \\n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \\n hotel there. They could then return together to Aix. The proposal\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\",\n \"mademoiselle's big hats,\\\" she said. \\\"We will have mademoiselle as \\n modern as possible, so that, when the great ladies of the past appear \\n in the coiffure of their day, we may be sure it is not Mlle. Celie who \\n represents them.\\\" \\n \\n \\\"I will speak to Helene,\\\" said Mme. Dauvray, and Adele Tace was content. \\n \\n There was a particular new dress of which she knew, and it was very\",\n \"Celia sat with a face which WOULD grow red. She did not look, but none \\n the less she was aware that Mme. Dauvray was gazing at her with a \\n perplexed frown and some return of her suspicion showing in her eyes. \\n Adele Tace was not content to leave the subject there. \\n \\n \\\"Perhaps,\\\" she said, with a smile, \\\"Mlle. Celie dresses in that way for \\n a seance?\\\" \\n\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"At first Celia shrank away, fearing some new cruelty. But Adele's voice \\n came to her ears, speaking--and speaking with remorse. \\n \\n \\\"I can't endure it!\\\" she whispered. \\\"You are so young--too young to be \\n killed.\\\" \\n \\n The tears were rolling down Celia's cheeks. Her face was pitiful and \\n beseeching. \\n \\n \\\"Don't look at me like that, for God's sake, child!\\\" Adele went on, and\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"accident at the last moment would spoil her plan, that Adele Tace had \\n not learned her lesson, that Celie would take fright, that she would \\n not return. Now all those fears were over. She had her victims safe \\n within the villa. The charwoman had been sent home. She had them to \\n herself. She was still standing in the hall when Mme. Dauvray called \\n aloud impatiently: \\n \\n \\\"Helene! Helene!\\\" \\n\",\n \"no one else would hear you. But I should, and afterwards--we should no \\n longer be able to call you 'my pretty one,' eh?\\\" \\n \\n And with a horrible playfulness she pinched the girl's cheek. \\n \\n Then with old Jeanne's help she stripped Celia and told her to get into \\n bed. \\n \\n \\\"I'll give her something to keep her quiet,\\\" said Adele, and she \\n fetched her morphia-needle and injected a dose into Celia's arm. \\n\",\n \"word--to tell what she did not know. Meanwhile her name would be \\n execrated through Aix as the murderess of the woman who had saved her. \\n Then suddenly the car stopped. There were lights outside. Celia heard \\n voices. A man was speaking to Wethermill. She started and saw Adele \\n Tace's arm flash upwards. She sank back in terror; and the car rolled \\n on into the darkness. Adele Tace drew a breath of relief. The one point\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"stout, and Celia keeping pace with her. Thus it seemed natural that \\n Adele Tace should walk ahead, though a passer-by would not have thought \\n she was of their company. At the corner of the Rue du Casino Adele \\n waited for them and said quickly: \\n \\n \\\"Mademoiselle, you can get some cord, I think, at the shop there,\\\" and \\n she pointed to the shop of M. Corval. \\\"Madame and I will go slowly on;\",\n \"The two women stood and looked at her; and then Adele Rossignol burst \\n out laughing. Vauquier approached the girl, and Celia had a moment's \\n hope that she meant to free her altogether, but she only loosed the \\n cords which fixed her to the pillar and the high stool. \\n \\n \\\"Mademoiselle will pardon me for laughing,\\\" said Adele Rossignol \\n politely; \\\"but it was mademoiselle who invited me to try my hand. And\",\n \"Adele Rossignol looked the girl over and nodded her head with \\n satisfaction. She had no animosity towards Celia; she had really no \\n feeling of any kind for her or against her. Fortunately she was unaware \\n at this time that Harry Wethermill had been paying his court to her or \\n it would have gone worse with Mlle. Celie before the night was out. \\n Mlle. Celie was just a pawn in a very dangerous game which she happened \\n to be playing, and she had succeeded in engineering her pawn into the\"\n ],\n [\n \"\\\"And yet more kind to me,\\\" said Wethermill in a low voice which brought \\n the blood into Celia's cheeks. \\n \\n But even while he spoke he soon caught sight of Mme. Dauvray standing \\n by one of the tables; and near to her was Adele Tace. Adele had not yet \\n made Mme. Dauvray's acquaintance; that was evident. She was apparently \\n unaware of her; but she was gradually edging towards her. Wethermill\",\n \"\\\"She seems quite happy,\\\" he said; and, indeed, Mme. Dauvray was talking \\n volubly and with the utmost interest, the jewels sparkling about her \\n neck. She raised her head, saw Celia, nodded to her affectionately, and \\n then pointed her out to her companion. Adele Tace looked the girl over \\n with interest and smiled contentedly. There was nothing to be feared \\n from her. Her youth, her very daintiness, seemed to offer her as the \\n easiest of victims. \\n\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"Wethermill stayed by the girl's side throughout the evening. Once again \\n he saw Mme. Dauvray and Adele Tace. But now they were together; now \\n they were talking. The first step had been taken. Adele Tace had \\n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \\n same moment. \\n \\n \\\"Oh, there is Mme. Dauvray,\\\" she cried, taking a step towards her. \\n \\n Wethermill detained the girl. \\n\",\n \"Celia sat with a face which WOULD grow red. She did not look, but none \\n the less she was aware that Mme. Dauvray was gazing at her with a \\n perplexed frown and some return of her suspicion showing in her eyes. \\n Adele Tace was not content to leave the subject there. \\n \\n \\\"Perhaps,\\\" she said, with a smile, \\\"Mlle. Celie dresses in that way for \\n a seance?\\\" \\n\",\n \"he had to say to me--\\\" and her voice broke upon the words. She \\n recovered herself with an effort. \\\"Then I went home with Mme. Dauvray.\\\" \\n \\n On the morning of Tuesday, however, there came a letter from Adele \\n Tace, of which no trace was afterwards discovered. The letter invited \\n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \\n hotel there. They could then return together to Aix. The proposal\",\n \"At first Celia shrank away, fearing some new cruelty. But Adele's voice \\n came to her ears, speaking--and speaking with remorse. \\n \\n \\\"I can't endure it!\\\" she whispered. \\\"You are so young--too young to be \\n killed.\\\" \\n \\n The tears were rolling down Celia's cheeks. Her face was pitiful and \\n beseeching. \\n \\n \\\"Don't look at me like that, for God's sake, child!\\\" Adele went on, and\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\",\n \"mademoiselle's big hats,\\\" she said. \\\"We will have mademoiselle as \\n modern as possible, so that, when the great ladies of the past appear \\n in the coiffure of their day, we may be sure it is not Mlle. Celie who \\n represents them.\\\" \\n \\n \\\"I will speak to Helene,\\\" said Mme. Dauvray, and Adele Tace was content. \\n \\n There was a particular new dress of which she knew, and it was very\",\n \"\\\"Are you ready to go, dear?\\\" she asked, and she turned to Adele Tace. \\n \\\"This is Celie, Mme. Rossignol,\\\" she said, and she spoke with a marked \\n significance and a note of actual exultation in her voice. \\n \\n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \\n her companion, and had a habit of showing her off, to the girl's \\n discomfort. The three women spoke a few words, and then Mme. Dauvray\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"word--to tell what she did not know. Meanwhile her name would be \\n execrated through Aix as the murderess of the woman who had saved her. \\n Then suddenly the car stopped. There were lights outside. Celia heard \\n voices. A man was speaking to Wethermill. She started and saw Adele \\n Tace's arm flash upwards. She sank back in terror; and the car rolled \\n on into the darkness. Adele Tace drew a breath of relief. The one point\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"no one else would hear you. But I should, and afterwards--we should no \\n longer be able to call you 'my pretty one,' eh?\\\" \\n \\n And with a horrible playfulness she pinched the girl's cheek. \\n \\n Then with old Jeanne's help she stripped Celia and told her to get into \\n bed. \\n \\n \\\"I'll give her something to keep her quiet,\\\" said Adele, and she \\n fetched her morphia-needle and injected a dose into Celia's arm. \\n\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"Celia had no doubt who \\\"she\\\" was. She was Mme. de Montespan. \\n \\n \\\"Oh, no, madame!\\\" she stammered. \\\"Here, at Aix, we are not in the \\n spirit for such things.\\\" \\n \\n And then, in a voice of dread, Mme. Dauvray asked: \\\"Is it true, then, \\n what Adele said?\\\" \\n \\n And Celia started violently. Mme. Dauvray doubted. \\n\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"The two women stood and looked at her; and then Adele Rossignol burst \\n out laughing. Vauquier approached the girl, and Celia had a moment's \\n hope that she meant to free her altogether, but she only loosed the \\n cords which fixed her to the pillar and the high stool. \\n \\n \\\"Mademoiselle will pardon me for laughing,\\\" said Adele Rossignol \\n politely; \\\"but it was mademoiselle who invited me to try my hand. And\",\n \"refuse the tests Adele wished to impose upon her. But that was not all. \\n She took a subtle and ironic pleasure to-night in decking out her \\n victim's natural loveliness. Her face, her slender throat, her white \\n shoulders, should look their prettiest, her grace of limb and figure \\n should be more alluring than ever before. The same words, indeed, were \\n running through both women's minds. \\n \\n \\\"For the last time,\\\" said Celia to herself, thinking of these horrible\"\n ],\n [\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"\\\"And yet more kind to me,\\\" said Wethermill in a low voice which brought \\n the blood into Celia's cheeks. \\n \\n But even while he spoke he soon caught sight of Mme. Dauvray standing \\n by one of the tables; and near to her was Adele Tace. Adele had not yet \\n made Mme. Dauvray's acquaintance; that was evident. She was apparently \\n unaware of her; but she was gradually edging towards her. Wethermill\",\n \"he had to say to me--\\\" and her voice broke upon the words. She \\n recovered herself with an effort. \\\"Then I went home with Mme. Dauvray.\\\" \\n \\n On the morning of Tuesday, however, there came a letter from Adele \\n Tace, of which no trace was afterwards discovered. The letter invited \\n Mme. Dauvray and Celia to come out to Annecy and dine with her at an \\n hotel there. They could then return together to Aix. The proposal\",\n \"would excite Mme. Dauvray to a terrible suspicion. She drew on her \\n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \\n them. To free her hands with her fingers and wrists already hampered in \\n gloves would not be so easy a task. But there was no escape. Adele \\n Rossignol was watching her with a satiric smile. Mme. Dauvray was \\n urging her to be quick. Obeying a second order the girl raised her\",\n \"\\\"She seems quite happy,\\\" he said; and, indeed, Mme. Dauvray was talking \\n volubly and with the utmost interest, the jewels sparkling about her \\n neck. She raised her head, saw Celia, nodded to her affectionately, and \\n then pointed her out to her companion. Adele Tace looked the girl over \\n with interest and smiled contentedly. There was nothing to be feared \\n from her. Her youth, her very daintiness, seemed to offer her as the \\n easiest of victims. \\n\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"her lips with her tongue. But Helene Vauquier kept her mouth sealed. \\n \\n \\n \\n \\n CHAPTER XVII \\n \\n THE AFTERNOON OF TUESDAY \\n \\n \\n Mme. Dauvray and Celia found Adele Rossignol, to give Adele Tace the \\n name which she assumed, waiting for them impatiently in the garden of \\n an hotel at Annecy, on the Promenade du Paquier. She was a tall, lithe\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"accident at the last moment would spoil her plan, that Adele Tace had \\n not learned her lesson, that Celie would take fright, that she would \\n not return. Now all those fears were over. She had her victims safe \\n within the villa. The charwoman had been sent home. She had them to \\n herself. She was still standing in the hall when Mme. Dauvray called \\n aloud impatiently: \\n \\n \\\"Helene! Helene!\\\" \\n\",\n \"apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \\n at stake too. \\n \\n \\\"It must be from my lips that Harry learns what I have been,\\\" she said \\n to herself, and with the resolve she strengthened herself. \\n \\n \\\"I will wear what you please,\\\" she said, with a smile. \\\"I only wish \\n Mme. Rossignol to be satisfied.\\\" \\n \\n \\\"And I shall be,\\\" said Adele, \\\"if--\\\" She leaned forward in anxiety. She\",\n \"Wethermill stayed by the girl's side throughout the evening. Once again \\n he saw Mme. Dauvray and Adele Tace. But now they were together; now \\n they were talking. The first step had been taken. Adele Tace had \\n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \\n same moment. \\n \\n \\\"Oh, there is Mme. Dauvray,\\\" she cried, taking a step towards her. \\n \\n Wethermill detained the girl. \\n\",\n \"called her Adele, just simply Adele. That interested me, for Helene \\n Vauquier had called her Adele too when she was describing to us the \\n unknown visitor. 'Adele' was what Mme. Dauvray called her.\\\" \\n \\n \\\"Yes,\\\" said Ricardo. \\\"Helene Vauquier made a slip there. She should \\n have given her a false name.\\\" \\n \\n Hanaud nodded. \\n \\n \\\"It is the one slip she made in the whole of the business. Nor did she\",\n \"Celia had no doubt who \\\"she\\\" was. She was Mme. de Montespan. \\n \\n \\\"Oh, no, madame!\\\" she stammered. \\\"Here, at Aix, we are not in the \\n spirit for such things.\\\" \\n \\n And then, in a voice of dread, Mme. Dauvray asked: \\\"Is it true, then, \\n what Adele said?\\\" \\n \\n And Celia started violently. Mme. Dauvray doubted. \\n\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"Celia sat with a face which WOULD grow red. She did not look, but none \\n the less she was aware that Mme. Dauvray was gazing at her with a \\n perplexed frown and some return of her suspicion showing in her eyes. \\n Adele Tace was not content to leave the subject there. \\n \\n \\\"Perhaps,\\\" she said, with a smile, \\\"Mlle. Celie dresses in that way for \\n a seance?\\\" \\n\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"\\\"Madame shall see to-night,\\\" Celia stammered, and Camille Dauvray rather \\n sternly repeated her words. \\n \\n \\\"Yes, Adele shall see to-night. I myself will decide what you shall \\n wear, Celie.\\\" \\n \\n Adele Tace casually suggested the kind of dress which she would prefer. \\n \\n \\\"Something light in colour with a train, something which will hiss and \\n whisper if mademoiselle moves about the room--yes, and I think one of\",\n \"subjecting Celia to the severest tests. The rain ceased, and they took \\n their coffee on the terrace of the hotel. Mme. Dauvray had been really \\n pained by the conversation of Adele Tace. She had all the missionary \\n zeal of a fanatic. \\n \\n \\\"I do hope, Adele, that we shall make you believe. But we shall. Oh, I \\n am confident we shall.\\\" And her voice was feverish. \\n \\n Adele dropped for the moment her tone of raillery.\",\n \"her she saw mysteries beyond. She took up her part at once. Since for \\n the last time it had got to be played, there must be no fault in the \\n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \\n she must carry it off to-night with success. The suspicions of Adele \\n Rossignol must obtain no verification. She spoke in a quiet and most \\n serious voice. \\\"Under spirit-control no one is clever. One does the \\n bidding of the spirit which controls.\\\" \\n\",\n \"\\\"It is the murder of Mme. Dauvray,\\\" said Wethermill. \\n \\n Hanaud started. \\n \\n \\\"And in what way, monsieur,\\\" he asked, \\\"are you interested in the \\n murder of Mme. Dauvray?\\\" \\n \\n \\\"Her companion,\\\" said Wethermill, \\\"the young English girl--she is a \\n great friend of mine.\\\" \\n \\n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \\n\"\n ],\n [\n \"into the recess and see him. And then the real truth flashed in upon \\n her blindingly. He had jerked the cord, but he had jerked it \\n deliberately. He was already winding it up in a coil as it slid \\n noiselessly across the polished floor beneath the curtains towards him. \\n He had given a signal to Adele Rossignol. All that woman's scepticism \\n and precaution against trickery had been a mere blind, under cover of\",\n \"\\\"Every one in Geneva or near Geneva will know of this message by now.\\\" \\n \\n \\\"Who could have told?\\\" asked Ricardo blankly, and Hanaud laughed in his \\n face, but laughed without any merriment. \\n \\n \\\"At last!\\\" he cried, as the waiter brought the bill, and just as he had \\n paid it the light of a match flared up under the trees. \\n \\n \\\"The signal!\\\" said Lemerre. \\n \\n \\\"Not too quickly,\\\" whispered Hanaud. \\n\",\n \"These are facts, and, as I said, I can face facts. But there will be an \\n explanation--if only we can discover it.\\\" \\n \\n He buried his face for a moment in his hands. Then he took up the paper \\n again. \\n \\n \\\"As for the rest, Helene Vauquier lied,\\\" he cried violently, and he \\n tossed the paper to Hanaud. \\\"What do you make of it?\\\" \\n \\n Hanaud smiled and shook his head. \\n\",\n \"uneasily, uncomfortably, until darkness should come. \\n \\n \\\"Eat,\\\" he cried--\\\"eat, my friends,\\\" playing with his own barely tasted \\n food. \\n \\n And then, at a sentence from Lemerre, his knife and fork clattered on \\n his plate, and he sat with a face suddenly grown white. \\n \\n For Lemerre said, as though it was no more than a matter of ordinary \\n comment: \\n \\n \\\"So Mme. Dauvray's jewels were, after all, never stolen?\\\" \\n\",\n \"then I had no particular conviction about Geneva. I really wished to \\n see how Wethermill would take it. He was wonderful.\\\" \\n \\n \\\"He sprang up.\\\" \\n \\n \\\"He betrayed nothing but surprise. You showed no less surprise than he \\n did, my good friend. What I was looking for was one glance of fear. I \\n did not get it.\\\" \\n \\n \\\"Yet you suspected him--even then you spoke of brains and audacity. You \\n told him enough to hinder him from communicating with the red-haired\",\n \"With as much unconcern as each could counterfeit, the three men \\n descended the stairs and crossed the road. Under the trees a fourth man \\n joined them--he who had lighted his pipe. \\n \\n \\\"The coachman, Hippolyte,\\\" he whispered, \\\"bought an evening paper at \\n the front door of the house from a boy who came down the street \\n shouting the news. The coachman ran back into the house.\\\" \\n \\n \\\"When was this?\\\" asked Lemerre. \\n\",\n \"She spoke with a simplicity and a remorse which it was difficult to \\n disbelieve. M. Fleuriot, the judge, now at last convinced that the \\n Dreyfus affair was for nothing in the history of this crime, listened \\n to her with sympathy. \\n \\n \\\"That is your explanation, mademoiselle,\\\" he said gently. \\\"But I must \\n tell you that we have another.\\\" \\n \\n \\\"Yes, monsieur?\\\" Celia asked. \\n \\n \\\"Given by Helene Vauquier,\\\" said Fleuriot. \\n\",\n \"the slightest justification that people were pointing him out. \\\"That \\n man has been present at the investigation at the Villa Rose,\\\" he seemed \\n to hear people say. \\\"What strange things he could tell us if he would!\\\" \\n \\n And suddenly, Mr. Ricardo began to reflect. What, after all, could he \\n have told them? \\n \\n And that question he turned over in his mind while he ate his luncheon. \\n Hanaud wrote a letter between the courses. They were sitting at a\",\n \"secured her as Hanaud had found her, and, leaving her in the old \\n woman's charge, sent down Adele for her needle and Hippolyte to get \\n ready the boat. As Hippolyte opened the door he saw the launch of the \\n Chef de la Surete glide along the bank. \\n \\n \\n \\n \\n CHAPTER XXI \\n \\n HANAUD EXPLAINS \\n \\n \\n This is the story as Mr. Ricardo wrote it out from the statement of\",\n \"\\\"It is not surprising,\\\" said Hanaud. \\\"Some one within the house was an \\n accomplice--we start with that fact. The house had not been broken \\n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \\n and a record obviously true. There was the fact that she had got rid of \\n Servettaz. There was the maid upstairs very ill from the chloroform. \\n What more likely than that Mlle. Celie had arranged a seance, and then\",\n \"Wethermill stirred uneasily in his seat. His face flushed. To Mr. \\n Ricardo that had been from the beginning the most interesting problem \\n of the case. Was he to have the answer now? \\n \\n \\\"I do not know,\\\" answered Wethermill, with some hesitation, and then it \\n seemed that he was at once ashamed of his hesitation. His accent \\n gathered strength, and in a low but ringing voice, he added: \\\"But I say\",\n \"of the gang. It did not help us very much to lay our hands upon them. \\n No; the little accident which happened was the entrance of our friend \\n Perrichet into the garden while the murderers were still in the room. \\n Imagine that scene, M. Ricardo. The rage of the murderers at their \\n inability to discover the plunder for which they had risked their \\n necks, the old woman crumpled up on the floor against the wall, the \\n girl writing laboriously with fettered arms 'I do not know' under\",\n \"\\\"No. You came while I was still in bed. I have not thought of them till \\n now.\\\" \\n \\n Hanaud crossed to the table, and, looking down at the letters, uttered \\n a cry. \\n \\n \\\"There's one, the big envelope,\\\" he said, his voice shaking like his \\n hand. \\\"It has a Swiss stamp.\\\" \\n \\n He swallowed to moisten his throat. Ricardo sprang across the room and \\n tore open the envelope. There was a long letter enclosed in a\",\n \"But as he passed he caught a sentence spoken suddenly by Wethermill. \\n \\n \\\"Well, it is true; I must have money.\\\" And the agitated voice and words \\n remained fixed in his memory. He heard, too, a warning \\\"Hush!\\\" from the \\n maid. Then they passed out of his hearing. But he turned and saw that \\n Wethermill was talking volubly. What Harry Wethermill was saying he was \\n saying in a foolish burst of confidence. \\n\",\n \"towards Celia too. She wrenched herself from Hanaud's arms, she shrank \\n violently away. Her white face flushed scarlet and grew white again. \\n She screamed loudly, terribly; and after the scream she uttered a \\n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \\n as she fell. A light broke over his face. \\n \\n \\\"Now I understand!\\\" he cried. \\\"Good God! That's horrible.\\\" \\n \\n \\n \\n \\n CHAPTER XIII \\n\",\n \"his car there. Now, observe! It is no longer any use for him to pretend \\n that he and his friends did not disappear in that car. The murder is \\n already discovered, and with the murder the disappearance of the car. \\n So he no longer troubles his head about it. He does not remove the \\n traces of mould from the place where his feet rested, which otherwise, \\n no doubt, he would have done. It no longer matters. He has to run to \\n earth now before he is seen. That is all his business. And so the state\",\n \"\\\"She speaks, then! After all she speaks!\\\" Hanaud whispered in a voice \\n of awe. He ran to the door of the room, opened it suddenly, and, \\n shutting it again, locked it. \\\"Quick! We cannot bring that poor woman \\n back to life; but we may still--\\\" He did not finish his sentence. He \\n took the letter unceremoniously from Ricardo's hand and seated himself \\n at the table. Over his shoulder Mr. Ricardo, too, read Marthe Gobin's \\n letter. \\n\",\n \"A startled exclamation burst from Ricardo. Harry Wethermill sat slowly \\n down. For the first time that day there had come some colour into his \\n cheeks, a sparkle into his eye. \\n \\n \\\"But that is wonderful!\\\" he cried. \\\"How did you find that out?\\\" \\n \\n Hanaud leaned back in his chair and took a pull at his cigar. He was \\n obviously pleased with Wethermill's admiration. \\n \\n \\\"Yes, how did you find it out?\\\" Ricardo repeated. \\n\",\n \"imperceptible shrug. But Mr. Ricardo saw it, and construed it into one \\n word. He imagined a jury uttering the word \\\"Guilty.\\\" \\n \\n Helene Vauquier saw the movement too. \\n \\n \\\"Do not condemn her too quickly, monsieur,\\\" she, said, with an impulse \\n of remorse. \\\"And not upon my words. For, as I say, I--hated her.\\\" \\n \\n Hanaud nodded reassuringly, and she resumed: \\n\",\n \"searched for a telegram. Fortunately he did not examine your letters, \\n or Marthe Gobin would never have spoken to us as she did after she was \\n dead.\\\" \\n \\n \\\"Then what did he do?\\\" asked Ricardo eagerly; and, though Hanaud had \\n been with him at the entrance to the station all this while, he asked \\n the question in absolute confidence that the true answer would be given \\n to him. \\n \\n \\\"He returned to the verandah wondering what he should do. He saw us\"\n ],\n [\n \"same table, within a foot of them. But they made no more of her \\n presence than if she had been an old shoe. Only once did one of them \\n speak to her. \\n \\n \\\"Stop your whimpering,\\\" said Hippolyte roughly. \\\"We can hardly hear \\n ourselves talk.\\\" \\n \\n He was for finishing with the business altogether to-night. \\n \\n \\\"It's a mistake,\\\" he said. \\\"There's been a bungle, and the sooner we\",\n \"back into the living world. For when she slept she dreamed through \\n again that dark and dreadful night of Tuesday and the two days which \\n followed it, until at some moment endurance snapped and she woke up \\n screaming. But youth, a good constitution, and a healthy appetite had \\n their way with her in the end. \\n \\n She told her share of the story--she told what happened. There was \\n apparently one terrible scene when she was confronted with Harry \\n Wethermill in the office of Monsieur Fleuriot, the Juge d'instruction,\",\n \"flung out his arm as though he would dash his fist into her face. But \\n as he stood with his arm poised there came a singular change upon his \\n face. \\n \\n \\\"Did you hear anything?\\\" he asked in a whisper. \\n \\n All listened, and all heard in the quiet of the night a faint click, \\n and after an interval they heard it again, and after another but \\n shorter interval yet once more. \\n \\n \\\"That's the gate,\\\" said Wethermill in a whisper of fear, and a pulse of\",\n \"hiding them in this secret place. But I tell you--this is human. Yes, \\n it is interesting just because it is so human. Then picture to \\n yourselves last night, the murderers opening this safe and finding \\n nothing--oh, but nothing!--and ransacking the room in deadly haste, \\n kicking up the rugs, forcing open the drawers, and always finding \\n nothing--nothing--nothing. Think of their rage, their stupefaction, and \\n finally their fear! They must go, and with one pearl necklace, when\",\n \"The man pointed to a lad who leaned against the balustrade above the \\n lake, hot and panting for breath. \\n \\n \\\"He came on his bicycle. He has just arrived.\\\" \\n \\n \\\"Follow me,\\\" said Lemerre. \\n \\n Six yards from where they stood a couple of steps led down from the \\n embankment on to a wooden landing-stage, where boats were moored. \\n Lemerre, followed by the others, walked briskly down on to the\",\n \"\\\"There we are,\\\" he said, with his shrill, wavering laugh. \\\"I opened the \\n gate before.\\\" And suddenly Celia hung inert in his arms. \\n \\n The light went out in the salon. Adele Rossignol, carrying Celia's \\n cloak, stepped out at the side of the window. \\n \\n \\\"She has fainted,\\\" said Wethermill. \\\"Wipe the mould off her shoes and \\n off yours too--carefully. I don't want them to think this car has been\",\n \"of danger had been passed. They had crossed the Pont de la Caille, they \\n were in Switzerland. \\n \\n Some long while afterwards the car slackened its speed. By the side of \\n it Celia heard the sound of wheels and of the hooves of a horse. A \\n single-horsed closed landau had been caught up as it jogged along the \\n road. The motor-car stopped; close by the side of it the driver of the \\n landau reined in his horse. Wethermill jumped down from the chauffeur's\",\n \"yards, came suddenly upon a space in front of the villa. It was a small \\n toy pleasure-house, looking on to a green lawn gay with flower-beds. It \\n was built of yellow stone, and was almost square in shape. A couple of \\n ornate pillars flanked the door, and a gable roof, topped by a gilt \\n vane, surmounted it. To Ricardo it seemed impossible that so sordid and \\n sinister a tragedy had taken place within its walls during the last\",\n \"Near to him a woman sneered, and a man said, pityingly: \\\"She was \\n pretty, that little one. It is regrettable that she has lost.\\\" \\n \\n A few minutes afterwards Ricardo finished his cigar and strolled back \\n into the rooms, making his way to the big table just on the right hand \\n of the entrance, where the play as a rule runs high. It was clearly \\n running high to-night. For so deep a crowd thronged about the table that\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"Wethermill put his arm through hers. \\n \\n \\\"You'll have to take yourself away before you can do that,\\\" he \\n answered, and the couple walked together out of Ricardo's hearing. \\n \\n Ricardo was left to wonder about Celia. She was just one of those \\n problems which made Aix-les-Bains so unfailingly attractive to him. She \\n dwelt in some street of Bohemia; so much was clear. The frankness of \\n her pleasure, of her excitement, and even of her distress proved it.\",\n \"a villa. A hedge separated the garden of the villa from the road, and \\n above the hedge rose a board with the words \\\"To Let\\\" upon it. At the \\n gate a gendarme was standing, and just within the gate Ricardo saw \\n Louis Besnard, the Commissaire, and Servettaz, Mme. Dauvray's chauffeur. \\n \\n \\\"It is here,\\\" said Besnard, as the party descended from the cab, \\\"in \\n the coach-house of this empty villa.\\\" \\n\",\n \"quickly aside. He bent his eyes to the ground, lay prone, moved this \\n way and that to catch the light upon the floor, then with a spring he \\n rose upon his knees. He lifted his finger to his lips. In a dead \\n silence he drew a pen-knife quickly from his pocket and opened it. He \\n bent down again and inserted the blade between the cracks of the \\n blocks. The three men in the room watched him with an intense \\n excitement. A block of wood rose from the floor, he pulled it out, laid\",\n \"overwhelming terror. The carriage drove out from the town along the \\n western edge of the lake. \\n \\n \\\"Now listen,\\\" said Adele. \\\"As soon as the landau stops the door of the \\n house opposite to which it stops will open. I shall open the carriage \\n door myself and you will get out. You must stand close by the carriage \\n door until I have got out. I shall hold this flask ready in my hand. As \\n soon as I am out you will run across the pavement into the house. You \\n won't speak or scream.\\\"\",\n \"\\\"Do you see?\\\" he said. \\\"On the opposite side there are no houses; there \\n is only a wall. Behind the wall there are climbing gardens and the \\n ground falls steeply to the turn of the road below. There's a flight of \\n steps leading down which corresponds with the flight of steps from the \\n garden. Very often there's a SERJENT-DE-VILLE stationed on the top of \\n the steps. But there was not one there yesterday afternoon at three. \\n Behind us is the supporting wall of the hotel garden. Well, look about\",\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"in broad daylight. He must get rid of it, and at once, before people \\n are about to see it, and to see him in it. Imagine his feelings! It is \\n almost enough to make one pity him. Here he is in a car which convicts \\n him as a murderer, and he has nowhere to leave it. He drives through \\n Aix. Then on the outskirts of the town he finds an empty villa. He \\n drives in at the gate, forces the door of the coach-house, and leaves\",\n \"rose to get him some medicine. We slept in the front of the house, \\n monsieur, and while I was searching for the matches upon the table in \\n the middle of the room I heard the sound of carriage wheels in the \\n silent street. I went to the window, and, raising a corner of the \\n curtains, looked out. M. Gobin called to me fretfully from the bed to \\n know why I did not light the candle and get him what he wanted. I have \\n already told you how fretful sick men can be, always complaining if\",\n \"\\\"Listen!\\\" he said, in a low voice, and with a gravity which impressed \\n them all. \\\"There is something in this house which I do not understand. \\n I have told you so. I tell you something more now. I am afraid--I am \\n afraid.\\\" And the word startled his hearers like a thunderclap, though \\n it was breathed no louder than a whisper, \\\"Yes, my friends,\\\" he \\n repeated, nodding his head, \\\"terribly afraid.\\\" And upon the others fell\",\n \"dared not cry out. Her hands were helpless, her face at the mercy of \\n that grim flask. Just ahead of them the lights of Geneva were visible, \\n and from the lights a silver radiance overspread a patch of sky. \\n Wethermill placed her in the landau; Adele sprang in behind her and \\n closed the door. The transfer had taken no more than a few seconds. The \\n landau jogged into Geneva; the motor turned and sped back over the \\n fifty miles of empty road to Aix. \\n\"\n ],\n [\n \"Dauvray. \\n \\n Celia's father was a Captain Harland, of a marching regiment, who had \\n little beyond good looks and excellent manners wherewith to support his \\n position. He was extravagant in his tastes, and of an easy mind in the \\n presence of embarrassments. To his other disadvantages he added that of \\n falling in love with a pretty girl no better off than himself. They \\n married, and Celia was born. For nine years they managed, through the\",\n \"wife's constant devotion, to struggle along and to give their daughter \\n an education. Then, however, Celia's mother broke down under the strain \\n and died. Captain Harland, a couple of years later, went out of the \\n service with discredit, passed through the bankruptcy court, and turned \\n showman. His line was thought-reading; he enlisted the services of his \\n daughter, taught her the tricks of his trade, and became \\\"The Great \\n Fortinbras\\\" of the music-halls. Captain Harland would move amongst the\",\n \"(1) Celia Harland made her entrance into Mme. Dauvray's household under \\n very doubtful circumstances. \\n \\n (2) By methods still more doubtful she acquired an extraordinary \\n ascendency over Mme. Dauvray's mind. \\n \\n (3) If proof were needed how complete that ascendency was, a glance at \\n Celia Harland's wardrobe would suffice; for she wore the most expensive \\n clothes. \\n\",\n \"(4) It was Celia Harland who arranged that Servettaz, the chauffeur, \\n should be absent at Chambery on the Tuesday night--the night of the \\n murder. \\n \\n (5) It was Celia Harland who bought the cord with which Mme. Dauvray \\n was strangled and Helene Vauquier bound. \\n \\n (6) The footsteps outside the salon show that Celia Harland ran from \\n the salon to the motor-car. \\n\",\n \"members. But Celia Harland is not one of them.\\\" \\n \\n \\\"Ah!\\\" said Fleuriot; and there was something of disappointment, \\n something, too, of incredulity, in his voice. \\\"Well, you will come and \\n report to me when you have made your investigation.\\\" And he passed on \\n without another question or remark. \\n \\n The group of men watched him go, and it was not until he was out of \\n earshot that Besnard turned with a deprecating gesture to Hanaud. \\n\",\n \"any question. I was not troubled about it until I came to Aix.\\\" \\n \\n A startling exposure, however, at Cambridge discredited the craze for \\n spiritualism, and Captain Harland's fortunes declined. He crossed with \\n his daughter to France and made a disastrous tour in that country, \\n wasted the last of his resources in the Casino at Dieppe, and died in \\n that town, leaving Celia just enough money to bury him and to pay her \\n third-class fare to Paris. \\n\",\n \"the question which had so perplexed him: how a girl of so much \\n distinction as Celia Harland came to be living with a woman of so \\n common a type as Mme. Dauvray. \\n \\n \\\"Well, one night in June,\\\" said Helene Vauquier, \\\"madame went with a \\n party to supper at the Abbaye Restaurant in Montmartre. And she brought \\n home for the first time Mlle. Celie. But you should have seen her! She\",\n \"must guess at once that she saw Celie Harland enter their house, that \\n she is travelling to Aix with the information of her whereabouts. At \\n all costs she must be prevented from giving that information. At all \\n risks, therefore, the warning telegram must be sent to Harry \\n Wethermill.\\\" \\n \\n Ricardo recognised the force of the argument. \\n \\n \\\"If only you had heard of the telegram yesterday in time!\\\" he cried. \\n\",\n \"Wethermill put his arm through hers. \\n \\n \\\"You'll have to take yourself away before you can do that,\\\" he \\n answered, and the couple walked together out of Ricardo's hearing. \\n \\n Ricardo was left to wonder about Celia. She was just one of those \\n problems which made Aix-les-Bains so unfailingly attractive to him. She \\n dwelt in some street of Bohemia; so much was clear. The frankness of \\n her pleasure, of her excitement, and even of her distress proved it.\",\n \"rose from the music-halls to the assembly rooms of provincial towns. \\n The performance became genteel, and ladies flocked to the matinees. \\n \\n The Great Fortinbras dropped his pseudonym and became once more Captain \\n Harland. \\n \\n As Celia grew up, he tried a yet higher flight--he became a \\n spiritualist, with Celia for his medium. The thought-reading \\n entertainments became thrilling seances, and the beautiful child, now \\n grown into a beautiful girl of seventeen, created a greater sensation\",\n \"took a step forward. His face seemed to narrow to a greater sharpness. \\n In a moment, to Mr. Ricardo's thought, he ceased to be the judge; he \\n dropped from his high office; he dwindled into a fanatic. \\n \\n \\\"She is a Jewess, this Celia Harland?\\\" he cried. \\n \\n \\\"No, M. Fleuriot, she is not,\\\" replied Wethermill. \\\"I do not speak in \\n disparagement of that race, for I count many friends amongst its\",\n \"seat, opened the door of the landau, and then put his head in at the \\n window of the car. \\n \\n \\\"Are you ready? Be quick!\\\" \\n \\n Adele turned to Celia. \\n \\n \\\"Not a word, remember!\\\" \\n \\n Wethermill flung open the door of the car. Adele took the girl's feet \\n and drew them down to the step of the car. Then she pushed her out. \\n Wethermill caught her in his arms and carried her to the landau. Celia\",\n \"\\\"Send your valet away,\\\" he said. And as soon as they were alone he \\n produced a newspaper, which he flourished in Mr. Ricardo's face and \\n then dropped into his hands. \\n \\n Ricardo saw staring him in the face a full description of Celia \\n Harland, of her appearance and her dress, of everything except her \\n name, coupled with an intimation that a reward of four thousand francs \\n would be paid to any one who could give information leading to the\",\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"IN THE HOUSE AT GENEVA \\n \\n \\n It was well, Mr. Ricardo thought, that some one understood. For \\n himself, he frankly admitted that he did not. Indeed, in his view the \\n first principles of reasoning seemed to be set at naught. It was \\n obvious from the solicitude with which Celia Harland was surrounded \\n that every one except himself was convinced of her innocence. Yet it \\n was equally obvious that any one who bore in mind the eight points he\",\n \"\\\"You will stay here to-night to arrange for their transfer to Aix?\\\" \\n \\n \\\"I will leave Durette behind,\\\" said Hanaud. \\\"I am needed at Aix. We \\n will make a formal application for the prisoners.\\\" He was kneeling by \\n Celia's side and awkwardly dabbing her forehead with a wet \\n handkerchief. He raised a warning hand. Celia Harland moved and opened \\n her eyes. She sat up on the sofa, shivering, and looked with dazed and\",\n \"Then Ricardo's thoughts turned as he tossed upon his bed to Celia \\n Harland, a tragic and a lonely figure. He recalled the look of \\n tenderness upon her face when her eyes had met Harry Wethermill's \\n across the baccarat-table in the Villa des Fleurs. He gained some \\n insight into the reason why she had clung so desperately to Hanaud's \\n coat-sleeve yesterday. Not merely had he saved her life. She was lying \\n with all her world of trust and illusion broken about her, and Hanaud\",\n \"of danger had been passed. They had crossed the Pont de la Caille, they \\n were in Switzerland. \\n \\n Some long while afterwards the car slackened its speed. By the side of \\n it Celia heard the sound of wheels and of the hooves of a horse. A \\n single-horsed closed landau had been caught up as it jogged along the \\n road. The motor-car stopped; close by the side of it the driver of the \\n landau reined in his horse. Wethermill jumped down from the chauffeur's\",\n \"knew of Celia Harland or not. But before he had decided a knock came \\n upon the door. \\n \\n \\\"Here is Perrichet,\\\" said Hanaud, taking up his hat. \\\"We will go down \\n to the Villa Rose.\\\" \\n \\n \\n \\n \\n CHAPTER III \\n \\n PERRICHET'S STORY \\n \\n \\n Perrichet was a young, thick-set man, with a red, fair face, and a \\n moustache and hair so pale in colour that they were almost silver. He\",\n \"Celia's room. While she brushed Celia's hair she told her that \\n Servettaz's parents lived at Chambery, and that he would like to see \\n them. \\n \\n \\\"But the poor man is afraid to ask for a day,\\\" she said. \\\"He has been \\n so short a time with madame.\\\" \\n \\n \\\"Of course madame will give him a holiday if he asks,\\\" replied Celia \\n with a smile. \\\"I will speak to her myself to-morrow.\\\" \\n\"\n ],\n [\n \"seance swelling into a positive disgust. More than once she had felt \\n driven by some uncontrollable power to rise up at the table and cry out \\n to Adele: \\n \\n \\\"You are right! It IS trickery. There is no truth in it.\\\" \\n \\n But she had mastered herself. For opposite to her sat her patroness, \\n her good friend, the woman who had saved her. The flush upon Mme. \\n Dauvray's cheeks and the agitation of her manner warned Celia how much\",\n \"remember all the names, and very likely I do not pronounce them \\n properly. Then the voices would cease and the lights be turned up, and \\n Mlle. Celie would be found in a trance just in the same place and \\n attitude as she had been when the lights were turned out. Imagine, \\n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \\n She was made for them. She believed in them implicitly. The words of \\n the great ladies from the past--she would remember and repeat them, and\",\n \"Mme. Dauvray spoke in a hushed, awestruck voice. \\n \\n \\\"There is a presence in the room.\\\" \\n \\n It was horrible to Celia that the poor woman was speaking the jargon \\n which she herself had taught to her. \\n \\n \\\"I will speak to it,\\\" said Mme. Dauvray, and raising her voice a \\n little, she asked: \\\"Who are you that come to us from the spirit-world?\\\" \\n \\n No answer came, but all the while Celia knew that Wethermill was\",\n \"the colours of her belief, she would hold a seance at the Villa Rose. \\n \\n Mme. Dauvray told the news to Helene Vauquier when they reached the \\n villa. \\n \\n \\\"You will be present, Helene,\\\" she cried excitedly. \\\"It will be \\n Tuesday. There will be the three of us.\\\" \\n \\n \\\"Certainly, if madame wishes,\\\" said Helene submissively. She looked \\n round the room. \\\"Mlle. Celie can be placed on a chair in that recess\",\n \"seances, and at once, to add fuel to her hatred, she found herself \\n stripped of those gifts and commissions which she had exacted from the \\n herd of common tricksters who had been wont to make their harvest out \\n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \\n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \\n grew into a very delirium. But it was a delirium she had the cunning to\",\n \"Celie practised seances. That is very strange. We will hear about them. \\n Who knows what thread may lead us to the truth?\\\" \\n \\n Helene Vauquier shook her head. \\n \\n \\\"Monsieur, it is not right that you should seek the truth from me. For, \\n consider this! I cannot speak with justice of Mlle. Celie. No, I \\n cannot! I did not like her. I was jealous--yes, jealous. Monsieur, you\",\n \"Dauvray. \\\"And I do not wonder.\\\" \\n \\n Celia saw upon the old woman's foolish and excited face a look of \\n veritable consternation. \\n \\n \\\"Are you afraid, Celie?\\\" she asked. \\n \\n There was anger, there was menace in the voice, but above all these \\n there was fear--fear that her illusions were to tumble about her. Celia \\n heard that note and was quelled by it. This folly of belief, these\",\n \"Dauvray's voice rang shrill and irritable up the stairs. \\n \\n \\\"Celie! Celie!\\\" \\n \\n \\\"Quick, Helene,\\\" said Celia. For she herself was now anxious to have \\n the seance over and done with. \\n \\n But Helene did not hurry. The more irritable Mme. Dauvray became, the \\n more impatient with Mlle. Celie, the less would Mlle. Celie dare to\",\n \"Celia had no doubt who \\\"she\\\" was. She was Mme. de Montespan. \\n \\n \\\"Oh, no, madame!\\\" she stammered. \\\"Here, at Aix, we are not in the \\n spirit for such things.\\\" \\n \\n And then, in a voice of dread, Mme. Dauvray asked: \\\"Is it true, then, \\n what Adele said?\\\" \\n \\n And Celia started violently. Mme. Dauvray doubted. \\n\",\n \"Within a fortnight Mme. Dauvray confided to Celia that there was a new \\n fortune-teller come to Paris, who, by looking into a crystal, could \\n tell the most wonderful things about the future. The old woman's eyes \\n kindled as she spoke. She took Celia to the fortune-teller's rooms next \\n day, and the girl quickly understood the ruling passion of the woman \\n who had befriended her. It took very little time then for Celia to\",\n \"anxious to speak with the spirit of Mme. de Montespan. Yes, yes! She \\n had read all the memoirs about that lady. Very likely Mlle. Celie had \\n put the notion into Mme. Dauvray's head, for madame was not a scholar. \\n But she was dying to hear that famous woman's voice and to catch a dim \\n glimpse of her face. Well, she was never gratified. Always she hoped. \\n Always Mlle. Celie tantalised her with the hope. But she would not\",\n \"conceal. She lived at white heat, but to all the world she had lost \\n nothing of her calm. \\n \\n Celia did not foresee the hatred she was arousing; nor, on the other \\n hand, did she foresee the overwhelming effect of these spiritualistic \\n seances on Mme. Dauvray. Celia had never been brought quite close to \\n the credulous before. \\n \\n \\\"There had always been the row of footlights,\\\" she said. \\\"I was on the\",\n \"That was her explanation of Helene Vauquier's treachery; and believing \\n that error, she believed yet another--that she had reached the terrible \\n climax of her troubles. She was only at the beginning of them. \\n \\n \\\"Helene!\\\" cried Mme. Dauvray sharply. \\\"What are you doing?\\\" \\n \\n The maid instantly slid back into the room. \\n \\n \\\"Mademoiselle has not moved,\\\" she said. \\n \\n Celia heard the women settle in their chairs about the table. \\n\",\n \"\\\"It is not surprising,\\\" said Hanaud. \\\"Some one within the house was an \\n accomplice--we start with that fact. The house had not been broken \\n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \\n and a record obviously true. There was the fact that she had got rid of \\n Servettaz. There was the maid upstairs very ill from the chloroform. \\n What more likely than that Mlle. Celie had arranged a seance, and then\",\n \"Celia sat with a face which WOULD grow red. She did not look, but none \\n the less she was aware that Mme. Dauvray was gazing at her with a \\n perplexed frown and some return of her suspicion showing in her eyes. \\n Adele Tace was not content to leave the subject there. \\n \\n \\\"Perhaps,\\\" she said, with a smile, \\\"Mlle. Celie dresses in that way for \\n a seance?\\\" \\n\",\n \"silk curtains swung across the opening, leaving Celia in darkness. \\n Quickly and noiselessly the poor girl began to twist and work her \\n hands. But she only bruised her wrists. This was to be the last of the \\n seances. But it must succeed! So much of Mme. Dauvray's happiness, so \\n much of her own, hung upon its success. Let her fail to-night, she \\n would be surely turned from the door. The story of her trickery and her\",\n \"would make spirits appear and speak!\\\" \\n \\n \\\"Really! And she was never caught out! But Mlle. Celie must have been a \\n remarkably clever girl.\\\" \\n \\n \\\"Oh, she was of an address which was surprising. Sometimes madame and I \\n were alone. Sometimes there were others, whom madame in her pride had \\n invited. For she was very proud, monsieur, that her companion could \\n introduce her to the spirits of dead people. But never was Mlle. Celie\",\n \"\\\"I believe it would break my heart, my dear, if I were to think that; \\n if I were to know that you had tricked me,\\\" she said, with a trembling \\n voice. \\n \\n Celia covered her face with her hands. It would be true. She had \\n no doubt of it. Mme. Dauvray would never forgive herself--would never \\n forgive Celia. Her infatuation had grown so to engross her that the \\n rest of her life would surely be embittered. It was not merely a\",\n \"passion--it was a creed as well. Celia shrank from the renewal of these \\n seances. Every fibre in her was in revolt. They were so unworthy--so \\n unworthy of Harry Wethermill, and of herself as she now herself wished \\n to be. But she had to pay now; the moment for payment had come. \\n \\n \\\"Celie,\\\" said Mme. Dauvray, \\\"it isn't true! Surely it isn't true?\\\" \\n \\n Celia drew her hands away from her face. \\n\",\n \"It appeared that at five o'clock in the afternoon Mme. Dauvray and \\n Mlle. Celie prepared to leave the house on foot. It was their custom to \\n walk down at this hour to the Villa des Fleurs, pass an hour or so \\n there, dine in a restaurant, and return to the Rooms to spend the \\n evening. On this occasion, however, Mme. Dauvray informed Helene that \\n they should be back early and bring with them a friend who was \\n interested in, but entirely sceptical of, spiritualistic\"\n ],\n [\n \"That was her explanation of Helene Vauquier's treachery; and believing \\n that error, she believed yet another--that she had reached the terrible \\n climax of her troubles. She was only at the beginning of them. \\n \\n \\\"Helene!\\\" cried Mme. Dauvray sharply. \\\"What are you doing?\\\" \\n \\n The maid instantly slid back into the room. \\n \\n \\\"Mademoiselle has not moved,\\\" she said. \\n \\n Celia heard the women settle in their chairs about the table. \\n\",\n \"upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \\n would have laughed if any one had told her that this respectable and \\n respectful middle-aged woman, who was so attentive, so neat, so \\n grateful for any kindness, was really nursing a rancorous hatred \\n against her. Celia had sprung from Montmartre suddenly; therefore \\n Helene Vauquier despised her. Celia had taken her place in Mme.\",\n \"the horrors of the night's adventure. She lay back and cried quietly in \\n the darkness of the carriage. The car dashed through Annecy. It seemed \\n incredible to Celia that less than six hours ago she had been dining \\n with Mme. Dauvray and the woman opposite, who was now her jailer. Mme. \\n Dauvray lay dead in the little salon, and she herself--she dared not \\n think what lay in front of her. She was to be persuaded--that was the\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"and the curtains drawn, whilst we--madame and madame's friend and \\n I--can sit round this table under the side windows.\\\" \\n \\n \\\"Yes,\\\" said Celia, \\\"that will do very well.\\\" \\n \\n It was Madame Dauvray's habit when she was particularly pleased with \\n Celia to dismiss her maid quickly, and to send her to brush the girl's \\n hair at night; and in a little while on this night Helene went to\",\n \"Yet another day had gone, but in that dark cupboard Celia had no means \\n of judging time. In the afternoon the newspaper came out with the \\n announcement that Mme. Dauvray's jewellery had been discovered under \\n the boards. Hippolyte brought in the newspaper, and, cursing their \\n stupidity, they sat down to decide upon Celia's fate. That, however, \\n was soon arranged. They would dress her in everything which she wore \\n when she came, so that no trace of her might be discovered. They would\",\n \"\\\"No, indeed,\\\" replied Mme. Dauvray. \\\"We shall all three dine together \\n early in Aix and return here.\\\" \\n \\n \\\"Then I will tell him he may go to-morrow,\\\" said Celia. \\n \\n For this conversation took place on the Monday, and in the evening Mme. \\n Dauvray and Celia went as usual to the Villa des Fleurs and dined there. \\n \\n \\\"I was in a bad mind,\\\" said Celia, when asked by the Juge d'Instruction\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"It appeared that at five o'clock in the afternoon Mme. Dauvray and \\n Mlle. Celie prepared to leave the house on foot. It was their custom to \\n walk down at this hour to the Villa des Fleurs, pass an hour or so \\n there, dine in a restaurant, and return to the Rooms to spend the \\n evening. On this occasion, however, Mme. Dauvray informed Helene that \\n they should be back early and bring with them a friend who was \\n interested in, but entirely sceptical of, spiritualistic\",\n \"a high stool without a back, taken from the hall, had been placed, and \\n the back legs of the stool had been lashed with cord firmly to the \\n pillar, so that it could not be moved. The round table had been put in \\n position, with three chairs about it. Mme. Dauvray waited impatiently. \\n Celia stood apparently unconcerned, apparently lost to all that was \\n going on. Her eyes saw no one. Adele looked up at Celia, and laughed \\n maliciously. \\n\",\n \"\\\"Mademoiselle, I see, is in the very mood to produce the most wonderful \\n phenomena. But it will be better, I think, madame,\\\" she said, turning \\n to Mme. Dauvray, \\\"that Mlle. Celie should put on those gloves which I \\n see she has thrown on to a chair. It will be a little more difficult \\n for mademoiselle to loosen these cords, should she wish to do so.\\\" \\n \\n The argument silenced Celia. If she refused this condition now she\",\n \"accident at the last moment would spoil her plan, that Adele Tace had \\n not learned her lesson, that Celie would take fright, that she would \\n not return. Now all those fears were over. She had her victims safe \\n within the villa. The charwoman had been sent home. She had them to \\n herself. She was still standing in the hall when Mme. Dauvray called \\n aloud impatiently: \\n \\n \\\"Helene! Helene!\\\" \\n\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"the question which had so perplexed him: how a girl of so much \\n distinction as Celia Harland came to be living with a woman of so \\n common a type as Mme. Dauvray. \\n \\n \\\"Well, one night in June,\\\" said Helene Vauquier, \\\"madame went with a \\n party to supper at the Abbaye Restaurant in Montmartre. And she brought \\n home for the first time Mlle. Celie. But you should have seen her! She\",\n \"seances, and at once, to add fuel to her hatred, she found herself \\n stripped of those gifts and commissions which she had exacted from the \\n herd of common tricksters who had been wont to make their harvest out \\n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \\n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \\n grew into a very delirium. But it was a delirium she had the cunning to\",\n \"fixed Celia to the pillar. \\n \\n \\\"I'll follow,\\\" he said, and as he turned he stumbled over the body of \\n Mme. Dauvray. With a shrill cry he kicked it out of his way and crept \\n up the stairs. Adele Rossignol quickly set the room in order. She \\n removed the stool from its position in the recess, and carried it to \\n its place in the hall. She put Celia's shoes upon her feet, loosening\",\n \"\\\"You will stay here to-night to arrange for their transfer to Aix?\\\" \\n \\n \\\"I will leave Durette behind,\\\" said Hanaud. \\\"I am needed at Aix. We \\n will make a formal application for the prisoners.\\\" He was kneeling by \\n Celia's side and awkwardly dabbing her forehead with a wet \\n handkerchief. He raised a warning hand. Celia Harland moved and opened \\n her eyes. She sat up on the sofa, shivering, and looked with dazed and\",\n \"was concerned in hiding from them. It is not rash to guess, then, that \\n it was some piece of the plunder of which the other two would have \\n claimed their share--and a piece of plunder belonging to Mlle. Celie. \\n Well, she has nothing but the diamond eardrops. Suppose Vauquier is \\n left alone to guard Mlle. Celie while the other two ransack Mme. \\n Dauvray's room. She sees her chance. The girl cannot stir hand or foot\",\n \"Dauvray's voice rang shrill and irritable up the stairs. \\n \\n \\\"Celie! Celie!\\\" \\n \\n \\\"Quick, Helene,\\\" said Celia. For she herself was now anxious to have \\n the seance over and done with. \\n \\n But Helene did not hurry. The more irritable Mme. Dauvray became, the \\n more impatient with Mlle. Celie, the less would Mlle. Celie dare to\"\n ],\n [\n \"\\\"To be sure,\\\" said the judge, with a savage sarcasm. \\\"In decent \\n conversation there is always a reticence. Something is left to be \\n understood.\\\" \\n \\n And it is difficult to understand how murder could not have been an \\n essential part of their plan, since---But let us see what happened. \\n \\n \\n \\n \\n CHAPTER XVI \\n \\n THE FIRST MOVE \\n \\n \\n On the Friday before the crime was committed Mme. Dauvray and Celia\",\n \"\\\"It is the murder of Mme. Dauvray,\\\" said Wethermill. \\n \\n Hanaud started. \\n \\n \\\"And in what way, monsieur,\\\" he asked, \\\"are you interested in the \\n murder of Mme. Dauvray?\\\" \\n \\n \\\"Her companion,\\\" said Wethermill, \\\"the young English girl--she is a \\n great friend of mine.\\\" \\n \\n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \\n\",\n \"this. You have told me, M. Hanaud, of women who looked innocent and \\n were guilty. But you know also of women and girls who can live \\n untainted and unspoilt amidst surroundings which are suspicious.\\\" \\n \\n Hanaud listened, but he neither agreed nor denied. He took up a second \\n slip of paper. \\n \\n \\\"I shall tell you something now of Mme. Dauvray,\\\" he said. \\\"We will not \\n take up her early history. It might not be edifying and, poor woman,\",\n \"often never played at all. If she won a few louis, she was as delighted \\n with her gains and as afraid to lose them again at the tables as if she \\n were of the poorest, and she stopped at once. No, monsieur; twenty or \\n thirty louis--there was never more than that in the house.\\\" \\n \\n \\\"Then it was certainly for her famous collection of jewellery that \\n Madame Dauvray was murdered?\\\" \\n \\n \\\"Certainly, monsieur.\\\" \\n\",\n \"Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \\n her generosity, her desire to converse with Mme. de Montespan and the \\n great ladies of the past, and her love of a young, fresh face about \\n her; Helene Vauquier, the maid with her six years of confidential \\n service, who finds herself suddenly supplanted and made to tend and \\n dress in dainty frocks the girl who has supplanted her; the young girl\",\n \"Celia had no doubt who \\\"she\\\" was. She was Mme. de Montespan. \\n \\n \\\"Oh, no, madame!\\\" she stammered. \\\"Here, at Aix, we are not in the \\n spirit for such things.\\\" \\n \\n And then, in a voice of dread, Mme. Dauvray asked: \\\"Is it true, then, \\n what Adele said?\\\" \\n \\n And Celia started violently. Mme. Dauvray doubted. \\n\",\n \"gratify it. She would not spoil her fine affairs by making these treats \\n too common. And she acquired--how should she not?--a power over Mme. \\n Dauvray which was unassailable. The fortune-tellers had no more to say \\n to Mme. Dauvray. She did nothing but felicitate herself upon the happy \\n chance which had sent her Mlle. Celie. And now she lies in her room \\n murdered!\\\" \\n \\n Once more Helene's voice broke upon the words. But Hanaud poured her\",\n \"you. She carried a lace scarf which she could drape about her head, and \\n in a moment she would be, in the dim light, an old, old woman, with a \\n voice so altered that no one could know it. Indeed, you said rightly, \\n monsieur--she was clever.\\\" \\n \\n To all who listened Helene Vauquier's story carried its conviction. \\n Mme. Dauvray rose vividly before their minds as a living woman. Celie's\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"That was her explanation of Helene Vauquier's treachery; and believing \\n that error, she believed yet another--that she had reached the terrible \\n climax of her troubles. She was only at the beginning of them. \\n \\n \\\"Helene!\\\" cried Mme. Dauvray sharply. \\\"What are you doing?\\\" \\n \\n The maid instantly slid back into the room. \\n \\n \\\"Mademoiselle has not moved,\\\" she said. \\n \\n Celia heard the women settle in their chairs about the table. \\n\",\n \"to madame.\\\" \\n \\n \\\"Quite so,\\\" said Hanaud. \\\"Now, when did Mme. Dauvray tell you that you \\n might have Tuesday?\\\" \\n \\n Servettaz hesitated. His face became troubled. When he spoke, he spoke \\n reluctantly. \\n \\n \\\"It was not Mme. Dauvray, monsieur, who told me that I might go on \\n Tuesday,\\\" he said. \\n \\n \\\"Not Mme. Dauvray! Who was it, then?\\\" Hanaud asked sharply.\",\n \"a chair overturned upon the floor, and to my right, below the middle \\n one of the three windows in the right-hand side wall, a woman lying \\n huddled upon the floor. It was Mme. Dauvray. She was dressed. There was \\n a little mud upon her shoes, as though she had walked after the rain \\n had ceased. Monsieur will remember that two heavy showers fell last \\n evening between six and eight.\\\" \\n \\n \\\"Yes,\\\" said Hanaud, nodding his approval. \\n\",\n \"Dauvray's confidence, had deposed her unwittingly, had turned the \\n confidential friend into a mere servant; therefore Helene Vauquier \\n hated her. And her hatred reached out beyond the girl, and embraced the \\n old, superstitious, foolish woman, whom a young and pretty face could \\n so easily beguile. Helene Vauquier despised them both, hated them both, \\n and yet must nurse her rancour in silence and futility. Then came the\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \\n would have laughed if any one had told her that this respectable and \\n respectful middle-aged woman, who was so attentive, so neat, so \\n grateful for any kindness, was really nursing a rancorous hatred \\n against her. Celia had sprung from Montmartre suddenly; therefore \\n Helene Vauquier despised her. Celia had taken her place in Mme.\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"notice how easily Mme. Dauvray was duped, how perpetually she was \\n robbed. Celia turned the problem over in her mind. \\n \\n \\\"Madame had been very good to me. She was kind and simple,\\\" said Celia, \\n with a very genuine affection in her voice. \\\"The people whom we knew \\n laughed at her, and were ungenerous. But there are many women whom the \\n world respects who are worse than ever was poor Mme. Dauvray. I was\",\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"had had the courage to tell him yesterday, he would have forgiven, \\n surely he would! The tears gathered in her eyes and rolled down her \\n cheeks. What would become of her now? She was in pain besides. The \\n cords about her arms and ankles tortured her. And she feared--yes, \\n desperately she feared the effect of the exposure upon Mme. Dauvray. \\n She had been treated as a daughter; now she was in return to rob Mme. \\n Dauvray of the belief which had become the passion of her life.\",\n \"Hanaud smiled. \\n \\n \\\"But that is a fine suggestion,\\\" he cried. \\\"We must think over that,\\\" \\n and he clapped his hand to his forehead with a gesture of \\n self-reproach. \\\"Why did not such a fine idea occur to me, fool that I \\n am! However, we will call the head waiter.\\\" \\n \\n The head waiter was sent for and appeared before them. \\n \\n \\\"You knew Mme. Dauvray?\\\" Hanaud asked. \\n\"\n ],\n [\n \"\\\"It is the murder of Mme. Dauvray,\\\" said Wethermill. \\n \\n Hanaud started. \\n \\n \\\"And in what way, monsieur,\\\" he asked, \\\"are you interested in the \\n murder of Mme. Dauvray?\\\" \\n \\n \\\"Her companion,\\\" said Wethermill, \\\"the young English girl--she is a \\n great friend of mine.\\\" \\n \\n Hanaud's face grew stern. Then came a sparkle of anger in his eyes. \\n\",\n \"to madame.\\\" \\n \\n \\\"Quite so,\\\" said Hanaud. \\\"Now, when did Mme. Dauvray tell you that you \\n might have Tuesday?\\\" \\n \\n Servettaz hesitated. His face became troubled. When he spoke, he spoke \\n reluctantly. \\n \\n \\\"It was not Mme. Dauvray, monsieur, who told me that I might go on \\n Tuesday,\\\" he said. \\n \\n \\\"Not Mme. Dauvray! Who was it, then?\\\" Hanaud asked sharply.\",\n \"gratify it. She would not spoil her fine affairs by making these treats \\n too common. And she acquired--how should she not?--a power over Mme. \\n Dauvray which was unassailable. The fortune-tellers had no more to say \\n to Mme. Dauvray. She did nothing but felicitate herself upon the happy \\n chance which had sent her Mlle. Celie. And now she lies in her room \\n murdered!\\\" \\n \\n Once more Helene's voice broke upon the words. But Hanaud poured her\",\n \"this. You have told me, M. Hanaud, of women who looked innocent and \\n were guilty. But you know also of women and girls who can live \\n untainted and unspoilt amidst surroundings which are suspicious.\\\" \\n \\n Hanaud listened, but he neither agreed nor denied. He took up a second \\n slip of paper. \\n \\n \\\"I shall tell you something now of Mme. Dauvray,\\\" he said. \\\"We will not \\n take up her early history. It might not be edifying and, poor woman,\",\n \"the way he shall tell us exactly what he discovered and how he \\n discovered it. At the villa we shall find Monsieur Fleuriot, the Juge \\n d'instruction, who has already begun his examination, and the \\n Commissaire of Police. In company with them we will inspect the villa. \\n Except for the removal of Mme. Dauvray's body from the salon to her \\n bedroom and the opening of the windows, the house remains exactly as it \\n was.\\\" \\n\",\n \"\\\"To be sure,\\\" said the judge, with a savage sarcasm. \\\"In decent \\n conversation there is always a reticence. Something is left to be \\n understood.\\\" \\n \\n And it is difficult to understand how murder could not have been an \\n essential part of their plan, since---But let us see what happened. \\n \\n \\n \\n \\n CHAPTER XVI \\n \\n THE FIRST MOVE \\n \\n \\n On the Friday before the crime was committed Mme. Dauvray and Celia\",\n \"friends, and searched. Upon her is found the pot of cream, and in the \\n cream Mlle. Celie's eardrops. She has slipped into Mlle. Celie's room, \\n as, if my theory was correct, she would be sure to do, and put the pot \\n of cream into her pocket. So I am now fairly sure that she is concerned \\n in the murder. \\n \\n \\\"We then went to Mme. Dauvray's room and discovered her brilliants and\",\n \"\\\"I have told him to fetch a cab,\\\" he said, \\\"and convey Helene Vauquier \\n to her friends.\\\" Then he looked at Ricardo, and from Ricardo to the \\n Commissaire, while he rubbed his hand backwards and forwards across his \\n shaven chin. \\n \\n \\\"I tell you,\\\" he said, \\\"I find this sinister little drama very \\n interesting to me. The sordid, miserable struggle for mastery in this \\n household of Mme. Dauvray--eh? Yes, very interesting. Just as much\",\n \"Hanaud smiled. \\n \\n \\\"But that is a fine suggestion,\\\" he cried. \\\"We must think over that,\\\" \\n and he clapped his hand to his forehead with a gesture of \\n self-reproach. \\\"Why did not such a fine idea occur to me, fool that I \\n am! However, we will call the head waiter.\\\" \\n \\n The head waiter was sent for and appeared before them. \\n \\n \\\"You knew Mme. Dauvray?\\\" Hanaud asked. \\n\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"often never played at all. If she won a few louis, she was as delighted \\n with her gains and as afraid to lose them again at the tables as if she \\n were of the poorest, and she stopped at once. No, monsieur; twenty or \\n thirty louis--there was never more than that in the house.\\\" \\n \\n \\\"Then it was certainly for her famous collection of jewellery that \\n Madame Dauvray was murdered?\\\" \\n \\n \\\"Certainly, monsieur.\\\" \\n\",\n \"you. She carried a lace scarf which she could drape about her head, and \\n in a moment she would be, in the dim light, an old, old woman, with a \\n voice so altered that no one could know it. Indeed, you said rightly, \\n monsieur--she was clever.\\\" \\n \\n To all who listened Helene Vauquier's story carried its conviction. \\n Mme. Dauvray rose vividly before their minds as a living woman. Celie's\",\n \"want the truth--I hated her!\\\" And the woman's face flushed and she \\n clenched her hand upon the arm of her chair. \\\"Yes, I hated her. How \\n could I help it?\\\" she asked. \\n \\n \\\"Why?\\\" asked Hanaud gently. \\\"Why could you not help it?\\\" \\n \\n Helene Vauquier leaned back again, her strength exhausted, and smiled \\n languidly. \\n \\n \\\"I will tell you. But remember it is a woman speaking to you, and\",\n \"a chair overturned upon the floor, and to my right, below the middle \\n one of the three windows in the right-hand side wall, a woman lying \\n huddled upon the floor. It was Mme. Dauvray. She was dressed. There was \\n a little mud upon her shoes, as though she had walked after the rain \\n had ceased. Monsieur will remember that two heavy showers fell last \\n evening between six and eight.\\\" \\n \\n \\\"Yes,\\\" said Hanaud, nodding his approval. \\n\",\n \"struggle. Not a chair was broken, and only a chair upset. Yes, there \\n were brains behind that murder. We know that. But what do we know of \\n the plan? How far can we build it up? Let us see. First, there was an \\n accomplice in the house--perhaps two.\\\" \\n \\n \\\"No!\\\" cried Harry Wethermill. \\n \\n Hanaud took no notice of the interruption. \\n \\n \\\"Secondly the woman came to the house with Mme. Dauvray and Mlle. Celie\",\n \"And, indeed, how should she notice anything if the salon were dark, and \\n Mme. Dauvray's body lay under the windows at the side?\\\" \\n \\n Ricardo leaned forward eagerly. \\n \\n \\\"That must be the truth,\\\" he cried; and Wethermill's voice broke \\n hastily in: \\n \\n \\\"It is not the truth and I will tell you why. Celia Harland was to have \\n married me this week.\\\" \\n \\n There was so much pain and misery in his voice that Ricardo was moved\",\n \"\\\"The murder was discovered at twelve o'clock at night by the \\n sergent-de-ville Perrichet, to whose intelligence more than a word of \\n praise is due, and it is obvious from the absence of all marks upon the \\n door and windows that the murderer was admitted from within the villa. \\n Meanwhile Mme. Dauvray's motor-car has disappeared, and with it a young \\n Englishwoman who came to Aix with her as her companion. The motive of\",\n \"truth to madame, she would have been so angry that I had been a party \\n to tricking her that again I would have lost my place. And so the \\n seances went on.\\\" \\n \\n \\\"Yes,\\\" said Hanaud. \\\"I understand that your position was very \\n difficult. We shall not, I think,\\\" and he turned to the Commissaire \\n confidently for corroboration of his words, \\\"be disposed to blame you.\\\" \\n \\n \\\"Certainly not,\\\" said the Commissaire. \\\"After all, life is not so easy.\\\"\",\n \"\\\"No, indeed,\\\" replied Mme. Dauvray. \\\"We shall all three dine together \\n early in Aix and return here.\\\" \\n \\n \\\"Then I will tell him he may go to-morrow,\\\" said Celia. \\n \\n For this conversation took place on the Monday, and in the evening Mme. \\n Dauvray and Celia went as usual to the Villa des Fleurs and dined there. \\n \\n \\\"I was in a bad mind,\\\" said Celia, when asked by the Juge d'Instruction\",\n \"the crime leaps to the eyes. Mme. Dauvray was famous in Aix for her \\n jewels, which she wore with too little prudence. The condition of the \\n house shows that a careful search was made for them, and they have \\n disappeared. It is anticipated that a description of the young \\n Englishwoman, with a reward for her apprehension, will be issued \\n immediately. And it is not too much to hope that the citizens of Aix, \\n and indeed of France, will be cleared of all participation in so cruel\"\n ],\n [\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"At first Celia shrank away, fearing some new cruelty. But Adele's voice \\n came to her ears, speaking--and speaking with remorse. \\n \\n \\\"I can't endure it!\\\" she whispered. \\\"You are so young--too young to be \\n killed.\\\" \\n \\n The tears were rolling down Celia's cheeks. Her face was pitiful and \\n beseeching. \\n \\n \\\"Don't look at me like that, for God's sake, child!\\\" Adele went on, and\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"but she did not bolt it. She came back into the room; she looked at \\n Celia, as she lay back upon the settee, with a long glance of \\n indecision. And then, to Celia's surprise--for she had given up all \\n hope--the indecision in her eyes became pity. She suddenly ran across \\n the room and knelt down before Celia. With quick and feverish hands she \\n untied the cord which fastened the train of her skirt about her knees. \\n\",\n \"Wethermill opened the wooden door, while Celia's heart raced in her \\n bosom. \\n \\n \\\"I will go down and open the gate,\\\" he whispered. \\\"Are you ready?\\\" \\n \\n \\\"Yes.\\\" \\n \\n Wethermill disappeared; and this time he left the door open. Adele \\n helped Celia to her feet. For a moment she tottered; then she stood \\n firm. \\n \\n \\\"Now run!\\\" whispered Adele. \\\"Run, child, for your life!\\\" \\n\",\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"Celia a respite, perhaps more than a respite. Helene set the flask down \\n upon the table. Her avarice had got the better of her hatred. She \\n roughly plucked the earrings out of the girl's ears. She hid them \\n quickly in the bosom of her dress with her eye upon the door. She did \\n not see a drop of blood gather on the lobe of Celia's ear and fall into \\n the cushion on which her face was pressed. She had hardly hidden them\",\n \"towards Celia too. She wrenched herself from Hanaud's arms, she shrank \\n violently away. Her white face flushed scarlet and grew white again. \\n She screamed loudly, terribly; and after the scream she uttered a \\n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \\n as she fell. A light broke over his face. \\n \\n \\\"Now I understand!\\\" he cried. \\\"Good God! That's horrible.\\\" \\n \\n \\n \\n \\n CHAPTER XIII \\n\",\n \"here.\\\" \\n \\n \\\"No!\\\" cried Celia decisively, and she again laid hold of his coat, with \\n a pretty imperiousness, as though he belonged to her. \\n \\n \\\"But I must,\\\" said Hanaud with a laugh. \\n \\n \\\"Then I will come too,\\\" said Celia, and she opened the door and set a \\n foot upon the step. \\n \\n \\\"You will not, mademoiselle,\\\" said Hanaud, with a laugh. \\\"Will you take\",\n \"upon their expedition of rescue. Into that short interval of time so \\n much that was eventful had been crowded. \\n \\n Hanaud leaned across the table to Celia and said in a low voice: \\n \\n \\\"Mademoiselle, if I may suggest it, it would be as well if you put on \\n your gloves; otherwise they may notice your wrists.\\\" \\n \\n Celia followed his advice. She ate some food and drank a glass of \\n champagne. A little colour returned to her cheeks. \\n\",\n \"extraordinary relief. The genuine, heartfelt cry restored her \\n confidence in Celia. \\n \\n \\\"Some one--who means harm!\\\" she whispered, trembling with excitement. \\n \\n \\\"Ah, mademoiselle is already under control,\\\" said Helene, using the \\n jargon which she had learnt from Celia's lips. \\n \\n Adele Rossignol grinned. \\n \\n \\\"Yes, LA PETITE is under control,\\\" she repeated, with a sneer; and all\",\n \"Then Ricardo's thoughts turned as he tossed upon his bed to Celia \\n Harland, a tragic and a lonely figure. He recalled the look of \\n tenderness upon her face when her eyes had met Harry Wethermill's \\n across the baccarat-table in the Villa des Fleurs. He gained some \\n insight into the reason why she had clung so desperately to Hanaud's \\n coat-sleeve yesterday. Not merely had he saved her life. She was lying \\n with all her world of trust and illusion broken about her, and Hanaud\",\n \"have been thinking of what will become of Mlle. Celie. I wrote to my \\n sister, and here is her reply. Mlle. Celie will be very welcome.\\\" \\n \\n Hanaud stretched out his hand and shook Ricardo's warmly. \\n \\n \\\"She will not, I think, be for very long a burden. She is young. She \\n will recover from this shock. She is very pretty, very gentle. If--if \\n no one comes forward whom she loves and who loves her--I--yes, I\",\n \"\\\"Is it two days?\\\" she asked. \\\"I was in the dark there. I did not know. \\n A little bread, a little water.\\\" \\n \\n \\\"That's what is wrong,\\\" said Hanaud. \\\"Come, let us go from here!\\\" \\n \\n \\\"Yes, yes!\\\" Celia cried eagerly. She rose to her feet, and tottered. \\n Hanaud put his arm about her. \\\"You are very kind,\\\" she said in a low \\n voice, and again doubt looked out from her face and disappeared. \\\"I am\",\n \"Celie. No; you have seen too much to-night. And every one will think \\n that Mlle. Celie helped to murder and rob her benefactress. They are \\n certain to suspect some one, so why not you, pretty one?\\\" \\n \\n Celia made no movement. She lay trying to believe that no crime had \\n been committed, that that lifeless body did not lie against the wall. \\n And then she heard in the room above a bed wheeled roughly from its \\n place. \\n\",\n \"\\\"You can trust Marie,\\\" said Hanaud. And Celia turned as she stood upon \\n the ground and gave her hands to the two men. \\n \\n \\\"Thank you! Thank you both!\\\" she said in a trembling voice. She looked \\n at Hanaud and nodded her head. \\\"You understand why I thank you so very \\n much?\\\" \\n \\n \\\"Yes,\\\" said Hanaud. \\\"But, mademoiselle\\\"--and he bent over the car and \\n spoke to her quietly, holding her hand--\\\"there is ALWAYS a big\",\n \"\\\"It seems impossible to me,\\\" she said in a low voice, \\\"that I am here, \\n in the open air, and free.\\\" \\n \\n Hanaud looked at his watch. \\n \\n \\\"Mlle. Celie, it is past ten o'clock. M. Ricardo's car is waiting there \\n under the trees. I want you to drive back to Aix. I have taken rooms \\n for you at an hotel, and there will be a nurse from the hospital to \\n look after you.\\\" \\n\",\n \"sure that I can trust you.\\\" \\n \\n Ricardo fetched her cloak and slipped it on her shoulders. Then he \\n brought her hat, and she pinned it on. She turned to Hanaud; \\n unconsciously familiar words rose to her lips. \\n \\n \\\"Is it straight?\\\" she asked. And Hanaud laughed outright, and in a \\n moment Celia smiled herself. \\n \\n Supported by Hanaud she stumbled down the stairs to the garden. As they \\n passed the open door of the lighted parlour at the back of the house\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"with her, she placed it carelessly round her shoulders. \\n \\n \\\"Wait!\\\" Helene Vauquier whispered in Celia's ear. \\n \\n To the cord about Celia's waist Adele was fastening a longer line. \\n \\n \\\"I shall keep my foot on the other end of this,\\\" she said, \\\"when the \\n lights are out, and I shall know then if our little one frees herself.\\\" \\n \\n The three women went out of the recess. And the next moment the heavy\"\n ],\n [\n \"here.\\\" \\n \\n \\\"No!\\\" cried Celia decisively, and she again laid hold of his coat, with \\n a pretty imperiousness, as though he belonged to her. \\n \\n \\\"But I must,\\\" said Hanaud with a laugh. \\n \\n \\\"Then I will come too,\\\" said Celia, and she opened the door and set a \\n foot upon the step. \\n \\n \\\"You will not, mademoiselle,\\\" said Hanaud, with a laugh. \\\"Will you take\",\n \"front of him. An old hag of a woman was sitting in a chair with her \\n back towards them. She was mending with a big needle the holes in an \\n old sack, and while she bent over her work she crooned to herself some \\n French song. Every now and then she raised her eyes, for in front of \\n her, under her charge, Mlle. Celie, the girl of whom Hanaud was in \\n search, lay helpless upon a sofa. The train of her delicate green frock\",\n \"had raised her up. She had found some one whom she trusted--the big \\n Newfoundland dog, as she expressed it. Mr. Ricardo was still thinking \\n of Celia Harland when the morning came. He fell asleep, and awoke to \\n find Hanaud by his bed. \\n \\n \\\"You will be wanted to-day,\\\" said Hanaud. \\n \\n Ricardo got up and walked down from the hotel with the detective. The \\n front door faces the hillside of Mont Revard, and on this side Mr.\",\n \"Celia's door and opened it He burst into the room, stood for a second, \\n then ran to the window. He hid behind the curtain, looking out. With \\n his hand he waved to his companions to keep back. The sound of wheels \\n creaking and rasping rose to their ears. The cab had just come out into \\n the road. Durette upon the box turned and looked towards the house. \\n Just for a moment Hanaud leaned from the window, as Besnard, the\",\n \"Celia covered her face with her hands for a few moments. Then she drew \\n them away and said simply: \\n \\n \\\"Yes, monsieur, I will tell you.\\\" \\n \\n Hanaud bowed to her with a genuine deference. \\n \\n \\\"Thank you, mademoiselle,\\\" he said, and in his voice there was a strong \\n ring of sympathy. \\n \\n They went downstairs and entered Ricardo's motor car. \\n \\n \\\"I want to send a telephone message,\\\" said Hanaud, \\\"if you will wait\",\n \"triumphantly, Hanaud had not noticed everything, and as he made the \\n reflection Hanaud's voice broke in to corroborate him. \\n \\n \\\"We have seen everything here; let us go upstairs,\\\" he said. \\\"We will \\n first visit the room of Mlle. Celie. Then we will question the maid, \\n Helene Vauquier.\\\" \\n \\n The four men, followed by Perrichet, passed out by the door into the \\n hall and mounted the stairs. Celia's room was in the southwest angle of\",\n \"\\\"You can trust Marie,\\\" said Hanaud. And Celia turned as she stood upon \\n the ground and gave her hands to the two men. \\n \\n \\\"Thank you! Thank you both!\\\" she said in a trembling voice. She looked \\n at Hanaud and nodded her head. \\\"You understand why I thank you so very \\n much?\\\" \\n \\n \\\"Yes,\\\" said Hanaud. \\\"But, mademoiselle\\\"--and he bent over the car and \\n spoke to her quietly, holding her hand--\\\"there is ALWAYS a big\",\n \"\\\"Oh, thank you! thank you!\\\" cried Hanaud in a voice which shook--surely \\n with emotion. He wrung Ricardo's hand. He wiped an imaginary tear from \\n his eye. \\n \\n And still Celia slept. M. Ricardo looked at her. He said to Hanaud in a \\n whisper: \\n \\n \\\"Yet I do not understand. The car, though no serious search was made, \\n must still have stopped at the Pont de La Caille on the Swiss side. Why\",\n \"upon their expedition of rescue. Into that short interval of time so \\n much that was eventful had been crowded. \\n \\n Hanaud leaned across the table to Celia and said in a low voice: \\n \\n \\\"Mademoiselle, if I may suggest it, it would be as well if you put on \\n your gloves; otherwise they may notice your wrists.\\\" \\n \\n Celia followed his advice. She ate some food and drank a glass of \\n champagne. A little colour returned to her cheeks. \\n\",\n \"innocent of a share in Mme. Dauvray's murder. But Hanaud evidently \\n thought she was. And since Hanaud thought so, why, it was better to say \\n nothing if one was sensitive to gibes. So Ricardo sat and talked with \\n her while Hanaud ran back into the restaurant. It mattered very little, \\n however, what he said, for Celia's eyes were fixed upon the doorway \\n through which Hanaud had disappeared. And when he came back she was \\n quick to turn the handle of the door.\",\n \"\\\"You will stay here to-night to arrange for their transfer to Aix?\\\" \\n \\n \\\"I will leave Durette behind,\\\" said Hanaud. \\\"I am needed at Aix. We \\n will make a formal application for the prisoners.\\\" He was kneeling by \\n Celia's side and awkwardly dabbing her forehead with a wet \\n handkerchief. He raised a warning hand. Celia Harland moved and opened \\n her eyes. She sat up on the sofa, shivering, and looked with dazed and\",\n \"wondering eyes from one to another of the strangers who surrounded her. \\n She searched in vain for a familiar face. \\n \\n \\\"You are amongst good friends, Mlle. Celie,\\\" said Hanaud with great \\n gentleness. \\n \\n \\\"Oh, I wonder! I wonder!\\\" she cried piteously. \\n \\n \\\"Be very sure of it,\\\" he said heartily, and she clung to the sleeve of \\n his coat with desperate hands. \\n \\n \\\"I suppose you ARE friends,\\\" she said; \\\"else why--?\\\" and she moved her\",\n \"over the balustrade he called him up from the hall. \\n \\n \\\"We will now,\\\" said Hanaud, \\\"have a glance into this poor murdered \\n woman's room.\\\" \\n \\n The room was opposite to Celia's. Besnard produced the key and unlocked \\n the door. Hanaud took off his hat upon the threshold and then passed \\n into the room with his companions. Upon the bed, outlined under a \\n sheet, lay the rigid form of Mme. Dauvray. Hanaud stepped gently to the\",\n \"towards Celia too. She wrenched herself from Hanaud's arms, she shrank \\n violently away. Her white face flushed scarlet and grew white again. \\n She screamed loudly, terribly; and after the scream she uttered a \\n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \\n as she fell. A light broke over his face. \\n \\n \\\"Now I understand!\\\" he cried. \\\"Good God! That's horrible.\\\" \\n \\n \\n \\n \\n CHAPTER XIII \\n\",\n \"of her own delicate self upon it. Wethermill stood upon the threshold \\n watching with a sullen face the violation of this chamber by the \\n officers of the police. \\n \\n No such feelings, however, troubled Hanaud. He went over to the \\n dressing-room and opened a few small leather cases which held Celia's \\n ornaments. In one or two of them a trinket was visible; others were \\n empty. One of these latter Hanaud held open in his hand, and for so \\n long that Besnard moved impatiently.\",\n \"\\\"You are very kind to me, you and monsieur your friend,\\\" she said, with \\n a smile towards Ricardo. \\\"But for you--\\\" and her voice shook. \\n \\n \\\"Hush!\\\" said Hanaud--\\\"all that is over; we will not speak of it.\\\" \\n \\n Celia looked out across the road on to the trees, of which the dark \\n foliage was brightened and made pale by the lights of the restaurant. \\n Out on the water some one was singing. \\n\",\n \"\\\"It is not surprising,\\\" said Hanaud. \\\"Some one within the house was an \\n accomplice--we start with that fact. The house had not been broken \\n into. There was Mlle. Celie's record as Helene Vauquier gave it to us, \\n and a record obviously true. There was the fact that she had got rid of \\n Servettaz. There was the maid upstairs very ill from the chloroform. \\n What more likely than that Mlle. Celie had arranged a seance, and then\",\n \"Yet another day had gone, but in that dark cupboard Celia had no means \\n of judging time. In the afternoon the newspaper came out with the \\n announcement that Mme. Dauvray's jewellery had been discovered under \\n the boards. Hippolyte brought in the newspaper, and, cursing their \\n stupidity, they sat down to decide upon Celia's fate. That, however, \\n was soon arranged. They would dress her in everything which she wore \\n when she came, so that no trace of her might be discovered. They would\",\n \"of the gang. We might have suspected Wethermill; we should hardly have \\n secured him, and we should very likely never have known of the Tace \\n family. That mistake was, as you no doubt are fully aware--\\\" \\n \\n \\\"The failure of Wethermill to discover Mme. Dauvray's jewels,\\\" said \\n Ricardo at once. \\n \\n \\\"No, my friend,\\\" answered Hanaud. \\\"That made them keep Mlle. Celie \\n alive. It enabled us to save her when we had discovered the whereabouts\",\n \"\\\"Those were her words, monsieur.\\\" \\n \\n \\\"'I was right, Alphonse. Madame has a kind heart'?\\\" \\n \\n \\\"Yes, monsieur.\\\" \\n \\n \\\"Then Mlle. Celie had spoken to you before about this visit of yours to \\n Chambery,\\\" said Hanaud, with his eyes fixed steadily upon the \\n chauffeur's face. The distress upon Servettaz's face increased. \\n Suddenly Hanaud's voice rang sharply. \\\"You hesitate. Begin at the\"\n ],\n [\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"Yet another day had gone, but in that dark cupboard Celia had no means \\n of judging time. In the afternoon the newspaper came out with the \\n announcement that Mme. Dauvray's jewellery had been discovered under \\n the boards. Hippolyte brought in the newspaper, and, cursing their \\n stupidity, they sat down to decide upon Celia's fate. That, however, \\n was soon arranged. They would dress her in everything which she wore \\n when she came, so that no trace of her might be discovered. They would\",\n \"At first Celia shrank away, fearing some new cruelty. But Adele's voice \\n came to her ears, speaking--and speaking with remorse. \\n \\n \\\"I can't endure it!\\\" she whispered. \\\"You are so young--too young to be \\n killed.\\\" \\n \\n The tears were rolling down Celia's cheeks. Her face was pitiful and \\n beseeching. \\n \\n \\\"Don't look at me like that, for God's sake, child!\\\" Adele went on, and\",\n \"sound most dreadful. They were murdering her--murdering an old, kind \\n woman silently and methodically in the darkness. The girl strained and \\n twisted against the pillar furiously, like an animal in a trap. But the \\n coils of rope held her; the scarf suffocated her. The scuffling became \\n a spasmodic sound, with intervals between, and then ceased altogether. \\n A voice spoke--a man's voice--Wethermill's. But Celia would never have\",\n \"Celie. No; you have seen too much to-night. And every one will think \\n that Mlle. Celie helped to murder and rob her benefactress. They are \\n certain to suspect some one, so why not you, pretty one?\\\" \\n \\n Celia made no movement. She lay trying to believe that no crime had \\n been committed, that that lifeless body did not lie against the wall. \\n And then she heard in the room above a bed wheeled roughly from its \\n place. \\n\",\n \"for a second. \\\"I only say perhaps as to that. But certainly they were \\n going to sew her up in that sack, row her well out across the lake, fix \\n a weight to her feet, and drop her quietly overboard. She was to wear \\n everything which she had brought with her to the house. Mlle. Celie \\n would have disappeared for ever, and left not even a ripple upon the \\n water to trace her by!\\\" \\n \\n Ricardo clenched his hands. \\n\",\n \"no one else would hear you. But I should, and afterwards--we should no \\n longer be able to call you 'my pretty one,' eh?\\\" \\n \\n And with a horrible playfulness she pinched the girl's cheek. \\n \\n Then with old Jeanne's help she stripped Celia and told her to get into \\n bed. \\n \\n \\\"I'll give her something to keep her quiet,\\\" said Adele, and she \\n fetched her morphia-needle and injected a dose into Celia's arm. \\n\",\n \"tried to scream; she could not utter a sound. She stared at Helene with \\n incredulous, horror-stricken eyes. Helene nodded at her with a cruel \\n grin of satisfaction, and Celia realised, though she did not \\n understand, something of the rancour and the hatred which seethed \\n against her in the heart of the woman whom she had supplanted. Helene \\n Vauquier meant to expose her to-night; Celia had not a doubt of it.\",\n \"not intended for playing the piano. Nor, indeed, for the ballroom. It \\n leaps to one's eyes that dancing would be difficult. Nor is it intended \\n for much conversation. It is a costume for a mood of quiet reflection. \\n But I assure mademoiselle that for pretty young ladies who are the \\n favourites of rich old women it is the style most recommended by the \\n criminal classes.\\\" \\n \\n All the woman's bitter rancour against Celia, hidden for months beneath\",\n \"we are here. Come, go and get the jewels. The key of the door's on the \\n mantelshelf. While you are away we two will arrange the pretty baby in \\n there.\\\" \\n \\n She pointed to the recess; her voice rang with contempt. Wethermill \\n staggered across the room like a drunkard, and picked up the key in \\n trembling fingers. Celia heard it turn in the lock, and the door bang. \\n Wethermill had gone upstairs. \\n\",\n \"The garden of the house ran down to the lake. A means of disposing of \\n Mlle. Celie was close at hand. And the night had fallen. As it was, we \\n arrived just in time, and no earlier than just in time. The paper had \\n been bought, the message had reached the house, Mlle. Celie was no \\n longer of any use, and every hour she stayed in that house was of \\n course an hour of danger to her captors.\\\" \\n \\n \\\"What were they going to do?\\\" asked Ricardo. \\n\",\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"shoulders for you. How would you like that?\\\" \\n \\n Celia shuddered from head to foot, and, burying her face in the \\n cushion, lay trembling. She would have begged for death upon her knees \\n rather than suffer this horror. She felt Vauquier's fingers lingering \\n with a dreadful caressing touch upon her shoulders and about her \\n throat. She was within an ace of the torture, the disfigurement, and \\n she knew it. She could not pray for mercy. She could only lie quite\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"And the next moment Celia winced and had to bite her lip to prevent a \\n cry. The thin cord was wound twice about her wrists, drawn cruelly \\n tight and then cunningly knotted. For one second Celia was thankful for \\n her gloves; the next, more than ever she regretted that she wore them. \\n It would have been difficult enough for her to free her hands now, even \\n without them. And upon that a worse thing befell her. \\n\",\n \"\\\"Mademoiselle, I see, is in the very mood to produce the most wonderful \\n phenomena. But it will be better, I think, madame,\\\" she said, turning \\n to Mme. Dauvray, \\\"that Mlle. Celie should put on those gloves which I \\n see she has thrown on to a chair. It will be a little more difficult \\n for mademoiselle to loosen these cords, should she wish to do so.\\\" \\n \\n The argument silenced Celia. If she refused this condition now she\",\n \"towards Celia too. She wrenched herself from Hanaud's arms, she shrank \\n violently away. Her white face flushed scarlet and grew white again. \\n She screamed loudly, terribly; and after the scream she uttered a \\n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \\n as she fell. A light broke over his face. \\n \\n \\\"Now I understand!\\\" he cried. \\\"Good God! That's horrible.\\\" \\n \\n \\n \\n \\n CHAPTER XIII \\n\"\n ],\n [\n \"wondering eyes from one to another of the strangers who surrounded her. \\n She searched in vain for a familiar face. \\n \\n \\\"You are amongst good friends, Mlle. Celie,\\\" said Hanaud with great \\n gentleness. \\n \\n \\\"Oh, I wonder! I wonder!\\\" she cried piteously. \\n \\n \\\"Be very sure of it,\\\" he said heartily, and she clung to the sleeve of \\n his coat with desperate hands. \\n \\n \\\"I suppose you ARE friends,\\\" she said; \\\"else why--?\\\" and she moved her\",\n \"\\\"We go together, then. I, too, am staying there,\\\" said the young man, \\n and they climbed the steep streets together. Ricardo was dying to put \\n some questions about Wethermill's young friend of the night before, but \\n discretion kept him reluctantly silent. They chatted for a few moments \\n in the hall upon indifferent topics and so separated for the night. Mr. \\n Ricardo, however, was to learn something more of Celia the next \\n morning; for while he was fixing his tie before the mirror Wethermill\",\n \"her--men in evening dress, women in bright frocks and jewels. No one \\n noticed her. She had shrunk into a corner, rather hoping not to be \\n noticed, now that she had come. But the novelty of her surroundings \\n wore off. She knew that for want of food she was almost fainting. There \\n were two girls engaged by the management to dance amongst the tables \\n while people had supper--one dressed as a page in blue satin, and the \\n other as a Spanish dancer. Both girls were kind. They spoke to Celia\",\n \"have been thinking of what will become of Mlle. Celie. I wrote to my \\n sister, and here is her reply. Mlle. Celie will be very welcome.\\\" \\n \\n Hanaud stretched out his hand and shook Ricardo's warmly. \\n \\n \\\"She will not, I think, be for very long a burden. She is young. She \\n will recover from this shock. She is very pretty, very gentle. If--if \\n no one comes forward whom she loves and who loves her--I--yes, I\",\n \"Wethermill stayed by the girl's side throughout the evening. Once again \\n he saw Mme. Dauvray and Adele Tace. But now they were together; now \\n they were talking. The first step had been taken. Adele Tace had \\n scraped acquaintance with Mme. Dauvray. Celia saw them almost at the \\n same moment. \\n \\n \\\"Oh, there is Mme. Dauvray,\\\" she cried, taking a step towards her. \\n \\n Wethermill detained the girl. \\n\",\n \"\\\"Are you ready to go, dear?\\\" she asked, and she turned to Adele Tace. \\n \\\"This is Celie, Mme. Rossignol,\\\" she said, and she spoke with a marked \\n significance and a note of actual exultation in her voice. \\n \\n Celia, however, was not unused to this tone. Mme. Dauvray was proud of \\n her companion, and had a habit of showing her off, to the girl's \\n discomfort. The three women spoke a few words, and then Mme. Dauvray\",\n \"\\\"It would be kind of mademoiselle,\\\" said Helene Vauquier. \\\"But \\n perhaps--\\\" She stopped. \\n \\n \\\"Well,\\\" said Celia. \\n \\n \\\"Perhaps mademoiselle would do better still to speak to Servattaz \\n himself and encourage him to ask with his own lips. Madame has her \\n moods, is it not so? She does not always like it to be forgotten that \\n she is the mistress.\\\" \\n \\n On the next day accordingly Celia did speak to Servettaz, and Servettaz\",\n \"Celia's room. While she brushed Celia's hair she told her that \\n Servettaz's parents lived at Chambery, and that he would like to see \\n them. \\n \\n \\\"But the poor man is afraid to ask for a day,\\\" she said. \\\"He has been \\n so short a time with madame.\\\" \\n \\n \\\"Of course madame will give him a holiday if he asks,\\\" replied Celia \\n with a smile. \\\"I will speak to her myself to-morrow.\\\" \\n\",\n \"Adele Rossignol looked the girl over and nodded her head with \\n satisfaction. She had no animosity towards Celia; she had really no \\n feeling of any kind for her or against her. Fortunately she was unaware \\n at this time that Harry Wethermill had been paying his court to her or \\n it would have gone worse with Mlle. Celie before the night was out. \\n Mlle. Celie was just a pawn in a very dangerous game which she happened \\n to be playing, and she had succeeded in engineering her pawn into the\",\n \"\\\"She seems quite happy,\\\" he said; and, indeed, Mme. Dauvray was talking \\n volubly and with the utmost interest, the jewels sparkling about her \\n neck. She raised her head, saw Celia, nodded to her affectionately, and \\n then pointed her out to her companion. Adele Tace looked the girl over \\n with interest and smiled contentedly. There was nothing to be feared \\n from her. Her youth, her very daintiness, seemed to offer her as the \\n easiest of victims. \\n\",\n \"Then Ricardo's thoughts turned as he tossed upon his bed to Celia \\n Harland, a tragic and a lonely figure. He recalled the look of \\n tenderness upon her face when her eyes had met Harry Wethermill's \\n across the baccarat-table in the Villa des Fleurs. He gained some \\n insight into the reason why she had clung so desperately to Hanaud's \\n coat-sleeve yesterday. Not merely had he saved her life. She was lying \\n with all her world of trust and illusion broken about her, and Hanaud\",\n \"Even after these days Celia could not hear that woman's name without a \\n shudder of fear and a flinching of her whole body. Her face grew white, \\n her lips dry. \\n \\n \\\"I know, monsieur, that Helene Vauquier is not my friend,\\\" she said. \\\"I \\n was taught that very cruelly.\\\" \\n \\n \\\"Listen, mademoiselle, to what she says,\\\" said the judge, and he read \\n out to Celia an extract or two from Hanaud's report of his first\",\n \"smiled, and Celia caught the smile. \\n \\n \\\"What is it?\\\" she asked, and her head began to turn in the direction of \\n Mme. Dauvray. \\n \\n \\\"Why, I like your frock--that's all,\\\" said Wethermill at once; and \\n Celia's eyes went down to it. \\n \\n \\\"Do you?\\\" she said, with a pleased smile. It was a dress of dark blue \\n which suited her well. \\\"I am glad. I think it is pretty.\\\" And they \\n passed on.\",\n \"upon Mme. Dauvray. Celia had no suspicions of Helene Vauquier. She \\n would have laughed if any one had told her that this respectable and \\n respectful middle-aged woman, who was so attentive, so neat, so \\n grateful for any kindness, was really nursing a rancorous hatred \\n against her. Celia had sprung from Montmartre suddenly; therefore \\n Helene Vauquier despised her. Celia had taken her place in Mme.\",\n \"\\\"Let us take our seats at the table,\\\" she heard Mme. Dauvray say. \\n \\\"Helene, you are by the switch of the electric light. Will you turn it \\n off?\\\" And upon that Helene whispered, yet so that the whisper reached \\n to Celia and awakened hope: \\n \\n \\\"Wait! I will see what she is doing.\\\" \\n \\n The curtains opened, and Helene Vauquier slipped to the girl's side. \\n \\n Celia checked her tears. She smiled imploringly, gratefully.\",\n \"between their dances. They let her waltz with them. Still no one \\n noticed her. She had no jewels, no fine clothes, no CHIC--the three \\n indispensable things. She had only youth and a pretty face. \\n \\n \\\"But,\\\" said Celia, \\\"without jewels and fine clothes and CHIC these go \\n for nothing in Paris. At last, however, Mme. Dauvray came in with a \\n party of friends from a theatre, and saw how unhappy I was, and gave me\",\n \"new friend had talked. \\\"And she laughed. ... I could not bear it.\\\" \\n \\n Celia was silent, and Mme. Dauvray went on in a voice of awe: \\n \\n \\\"I told her of the wonderful things which happened when I sat with \\n Helene in the dark--how the room filled with strange sounds, how \\n ghostly fingers touched my forehead and my eyes. She laughed--Adele \\n Rossignol laughed, Celie. I told her of the spirits with whom we held\",\n \"And there she met Harry Wethermill on the second day after her arrival, \\n and proceeded straightway for the first time to fall in love. To Celia \\n it seemed that at last that had happened for which she had so longed. \\n She began really to live as she understood life at this time. The day, \\n until she met Harry Wethermill, was one flash of joyous expectation; \\n the hours when they were together a time of contentment which thrilled \\n with some chance meeting of the hands into an exquisite happiness. Mme.\",\n \"sure that I can trust you.\\\" \\n \\n Ricardo fetched her cloak and slipped it on her shoulders. Then he \\n brought her hat, and she pinned it on. She turned to Hanaud; \\n unconsciously familiar words rose to her lips. \\n \\n \\\"Is it straight?\\\" she asked. And Hanaud laughed outright, and in a \\n moment Celia smiled herself. \\n \\n Supported by Hanaud she stumbled down the stairs to the garden. As they \\n passed the open door of the lighted parlour at the back of the house\",\n \"Mme. Dauvray was not with them. \\n \\n \\\"We will find her easily,\\\" said Harry. \\n \\n \\\"Of course,\\\" replied Celia. \\n \\n \\\"There is, after all, no hurry,\\\" said Wethermill, with a laugh; \\\"and \\n perhaps she was not unwilling to leave us together.\\\" \\n \\n Celia dimpled to a smile. \\n \\n \\\"Mme. Dauvray is kind to me,\\\" she said, with a very pretty timidity. \\n\"\n ],\n [\n \"Mme. Dauvray spoke in a hushed, awestruck voice. \\n \\n \\\"There is a presence in the room.\\\" \\n \\n It was horrible to Celia that the poor woman was speaking the jargon \\n which she herself had taught to her. \\n \\n \\\"I will speak to it,\\\" said Mme. Dauvray, and raising her voice a \\n little, she asked: \\\"Who are you that come to us from the spirit-world?\\\" \\n \\n No answer came, but all the while Celia knew that Wethermill was\",\n \"with a satirical smile. But Mme. Dauvray came to the girl's help. \\n \\n \\\"She is right, Adele. Light is the great barrier between us and the \\n spirit-world,\\\" she said solemnly. \\n \\n Meanwhile, in the hall Helene Vauquier locked and bolted the front \\n door. Then she stood motionless, with a smile upon her face and a heart \\n beating high. All through that afternoon she had been afraid that some\",\n \"remember all the names, and very likely I do not pronounce them \\n properly. Then the voices would cease and the lights be turned up, and \\n Mlle. Celie would be found in a trance just in the same place and \\n attitude as she had been when the lights were turned out. Imagine, \\n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \\n She was made for them. She believed in them implicitly. The words of \\n the great ladies from the past--she would remember and repeat them, and\",\n \"her she saw mysteries beyond. She took up her part at once. Since for \\n the last time it had got to be played, there must be no fault in the \\n playing. For her own sake, for the sake of Mme. Dauvray's happiness, \\n she must carry it off to-night with success. The suspicions of Adele \\n Rossignol must obtain no verification. She spoke in a quiet and most \\n serious voice. \\\"Under spirit-control no one is clever. One does the \\n bidding of the spirit which controls.\\\" \\n\",\n \"platform; the audience was in the hall; or, if it was at a house, my \\n father made the arrangements. I only came in at the last moment, played \\n my part, and went away. It was never brought home to me that some \\n amongst these people really and truly believed. I did not think about \\n it. Now, however, when I saw Mme. Dauvray so feverish, so excited, so \\n firmly convinced that great ladies from the spirit world came and spoke\",\n \"anxious to speak with the spirit of Mme. de Montespan. Yes, yes! She \\n had read all the memoirs about that lady. Very likely Mlle. Celie had \\n put the notion into Mme. Dauvray's head, for madame was not a scholar. \\n But she was dying to hear that famous woman's voice and to catch a dim \\n glimpse of her face. Well, she was never gratified. Always she hoped. \\n Always Mlle. Celie tantalised her with the hope. But she would not\",\n \"amusements. She had kept her eyes open. She had seen that it was from \\n the denizens of the dull streets in these towns that the quack \\n religions won their recruits. Mme. Dauvray's life had been a \\n featureless sort of affair until these experiments had come to colour \\n it. Madame Dauvray must at any rate preserve the memory of that colour. \\n \\n \\\"No,\\\" she said boldly; \\\"I am not afraid,\\\" and after that she moved no \\n more. \\n\",\n \"be very proud that such great ladies had come back to the world merely \\n to tell her--Mme. Dauvray--about their lives. She would have had \\n seances all day, but Mlle. Celie pleaded that she was left exhausted at \\n the end of them. But Mlle. Celie was of an address! For instance--it \\n will seem very absurd and ridiculous to you, gentlemen, but you must \\n remember what Mme. Dauvray was--for instance, madame was particularly\",\n \"new friend had talked. \\\"And she laughed. ... I could not bear it.\\\" \\n \\n Celia was silent, and Mme. Dauvray went on in a voice of awe: \\n \\n \\\"I told her of the wonderful things which happened when I sat with \\n Helene in the dark--how the room filled with strange sounds, how \\n ghostly fingers touched my forehead and my eyes. She laughed--Adele \\n Rossignol laughed, Celie. I told her of the spirits with whom we held\",\n \"to her, I became terrified. I had aroused a passion which I had not \\n suspected. I tried to stop the seances, but I was not allowed. I had \\n aroused a passion which I could not control. I was afraid that Mme. \\n Dauvray's whole life--it seems absurd to those who did not know her, \\n but those who did will understand--yes, her whole life and happiness \\n would be spoilt if she discovered that what she believed in was all a \\n trick.\\\" \\n\",\n \"the colours of her belief, she would hold a seance at the Villa Rose. \\n \\n Mme. Dauvray told the news to Helene Vauquier when they reached the \\n villa. \\n \\n \\\"You will be present, Helene,\\\" she cried excitedly. \\\"It will be \\n Tuesday. There will be the three of us.\\\" \\n \\n \\\"Certainly, if madame wishes,\\\" said Helene submissively. She looked \\n round the room. \\\"Mlle. Celie can be placed on a chair in that recess\",\n \"whirled, flecked with fire. She would have fallen, but she could not \\n fall. Then, in the silence, a tambourine jangled. There was to be a \\n seance to-night, then, and the seance had begun. In a dreadful suspense \\n she heard Mme. Dauvray speak. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n HELENE EXPLAINS \\n \\n \\n And what she heard made her blood run cold. \\n\",\n \"Celia had no doubt who \\\"she\\\" was. She was Mme. de Montespan. \\n \\n \\\"Oh, no, madame!\\\" she stammered. \\\"Here, at Aix, we are not in the \\n spirit for such things.\\\" \\n \\n And then, in a voice of dread, Mme. Dauvray asked: \\\"Is it true, then, \\n what Adele said?\\\" \\n \\n And Celia started violently. Mme. Dauvray doubted. \\n\",\n \"of soft-soled slippers without heels, which she wore so that she might \\n not be heard, and tambourines would rattle as you say, and fingers \\n touch the forehead and the neck, and strange voices would sound from \\n corners of the room, and dim apparitions would appear--the spirits of \\n great ladies of the past, who would talk with Mme. Dauvray. Such ladies \\n as Mme. de Castiglione, Marie Antoinette, Mme. de Medici--I do not\",\n \"Dauvray. \\\"And I do not wonder.\\\" \\n \\n Celia saw upon the old woman's foolish and excited face a look of \\n veritable consternation. \\n \\n \\\"Are you afraid, Celie?\\\" she asked. \\n \\n There was anger, there was menace in the voice, but above all these \\n there was fear--fear that her illusions were to tumble about her. Celia \\n heard that note and was quelled by it. This folly of belief, these\",\n \"conceal. She lived at white heat, but to all the world she had lost \\n nothing of her calm. \\n \\n Celia did not foresee the hatred she was arousing; nor, on the other \\n hand, did she foresee the overwhelming effect of these spiritualistic \\n seances on Mme. Dauvray. Celia had never been brought quite close to \\n the credulous before. \\n \\n \\\"There had always been the row of footlights,\\\" she said. \\\"I was on the\",\n \"It appeared that at five o'clock in the afternoon Mme. Dauvray and \\n Mlle. Celie prepared to leave the house on foot. It was their custom to \\n walk down at this hour to the Villa des Fleurs, pass an hour or so \\n there, dine in a restaurant, and return to the Rooms to spend the \\n evening. On this occasion, however, Mme. Dauvray informed Helene that \\n they should be back early and bring with them a friend who was \\n interested in, but entirely sceptical of, spiritualistic\",\n \"Within a fortnight Mme. Dauvray confided to Celia that there was a new \\n fortune-teller come to Paris, who, by looking into a crystal, could \\n tell the most wonderful things about the future. The old woman's eyes \\n kindled as she spoke. She took Celia to the fortune-teller's rooms next \\n day, and the girl quickly understood the ruling passion of the woman \\n who had befriended her. It took very little time then for Celia to\",\n \"through the gates of the spirit-world--that is wonderful.\\\" \\n \\n To Celia the sound of the jargon learnt from her own lips, used by \\n herself so thoughtlessly in past times, was odious. \\\"For the last \\n time,\\\" she pleaded to herself. All her life was going to change; though \\n no word had yet been spoken by Harry Wethermill, she was sure of it. \\n Just for this one last time, then, so that she might leave Mme. Dauvray\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\"\n ],\n [\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"the comparative. Everything in his life was a trifle overdone, from the \\n fastidious arrangement of his neckties to the feminine nicety of his \\n little dinner-parties. In age Mr. Ricardo was approaching the fifties; \\n in condition he was a widower--a state greatly to his liking, for he \\n avoided at once the irksomeness of marriage and the reproaches justly \\n levelled at the bachelor; finally, he was rich, having amassed a\",\n \"fortune in Mincing Lane, which he had invested in profitable securities. \\n \\n Ten years of ease, however, had not altogether obliterated in him the \\n business look. Though he lounged from January to December, he lounged \\n with the air of a financier taking a holiday; and when he visited, as \\n he frequently did, the studio of a painter, a stranger would have \\n hesitated to decide whether he had been drawn thither by a love of art \\n or by the possibility of an investment. His \\\"acquaintances\\\" have been\",\n \"woman who stays at your hotel, M. Ricardo. Yet she must be going to \\n your hotel, for the road ends. The driver is nodding on his box, \\n refusing to pay any heed to his fare lest again she should bid him \\n hurry. His horse is moving at a walk. Wethermill puts his head in at \\n the window and asks if she has come to see M. Ricardo. Anxious for her \\n four thousand francs, she answers 'Yes.' Perhaps he steps into the cab,\",\n \"a man of wealth. A gambler, with no inexpensive tastes, he had been \\n always in need of money. The rights in his patent he had mortgaged long \\n ago. He was not an idler; he was no sham foisted as a great man on an \\n ignorant public. He had really some touch of genius, and he cultivated \\n it assiduously. But the harder he worked, the greater was his need of \\n gaiety and extravagance. Gifted with good looks and a charm of manner,\",\n \"Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \\n her generosity, her desire to converse with Mme. de Montespan and the \\n great ladies of the past, and her love of a young, fresh face about \\n her; Helene Vauquier, the maid with her six years of confidential \\n service, who finds herself suddenly supplanted and made to tend and \\n dress in dainty frocks the girl who has supplanted her; the young girl\",\n \"stones--oh, but a large fortune! By the ostentation of her jewels she \\n paraded her wealth here, at Monte Carlo, in Paris. Besides that, she \\n was kind-hearted and most impressionable. Finally, she was, like so \\n many of her class, superstitious to the degree of folly.\\\" \\n \\n Suddenly Mr. Ricardo started in his chair. Superstitious! The word was \\n a sudden light upon his darkness. Now he knew what had perplexed him\",\n \"Near to him a woman sneered, and a man said, pityingly: \\\"She was \\n pretty, that little one. It is regrettable that she has lost.\\\" \\n \\n A few minutes afterwards Ricardo finished his cigar and strolled back \\n into the rooms, making his way to the big table just on the right hand \\n of the entrance, where the play as a rule runs high. It was clearly \\n running high to-night. For so deep a crowd thronged about the table that\",\n \"\\\"Never speak of Mme. Dauvray's wealth, monsieur, if you would keep the \\n favour of Mlle. Celie. She is young, but she knows her world.\\\" \\n \\n \\\"I have not spoken of money to her,\\\" replied Wethermill; and then he \\n burst out laughing. \\\"But why should you think that I--I, of all \\n men--want money?\\\" he asked. \\n \\n And Helene answered him again enigmatically. \\n\",\n \"Ricardo could only by standing on tiptoe see the faces of the players. \\n Of the banker he could not catch a glimpse. But though the crowd \\n remained, its units were constantly changing, and it was not long \\n before Ricardo found himself standing in the front rank of the \\n spectators, just behind the players seated in the chairs. The oval \\n green table was spread out beneath him littered with bank-notes. \\n Ricardo turned his eyes to the left, and saw seated at the middle of\",\n \"the table the man who was holding the bank. Ricardo recognised him with \\n a start of surprise. He was a young Englishman, Harry Wethermill, who, \\n after a brilliant career at Oxford and at Munich, had so turned his \\n scientific genius to account that he had made a fortune for himself at \\n the age of twenty-eight. \\n \\n He sat at the table with the indifferent look of the habitual player \\n upon his cleanly chiselled face. But it was plain that his good fortune\",\n \"Before the astonished eyes of his companions he opened them. Ropes of \\n pearls, collars of diamonds, necklaces of emeralds, rings of \\n pigeon-blood rubies, bracelets of gold studded with opals--Mme. \\n Dauvray's various jewellery was disclosed. \\n \\n \\\"But that is astounding,\\\" said Besnard, in an awe-struck voice. \\n \\n \\\"Then she was never robbed after all?\\\" cried Ricardo. \\n\",\n \"she is dead. Let us not go back beyond her marriage seventeen years ago \\n to a wealthy manufacturer of Nancy, whom she had met in Paris. Seven \\n years ago M. Dauvray died, leaving his widow a very rich woman. She had \\n a passion for jewellery, which she was now able to gratify. She \\n collected jewels. A famous necklace, a well-known stone--she was not, \\n as you say, happy till she got it. She had a fortune in precious\",\n \"herself, that poor child, with her love of fine clothes, the Bohemian \\n who, brought up amidst trickeries and practising them as a profession, \\n looking upon them and upon misery and starvation and despair as the \\n commonplaces of life, keeps a simplicity and a delicacy and a freshness \\n which would have withered in a day had she been brought up otherwise; \\n Harry Wethermill, the courted and successful man of genius. \\n \\n \\\"Just imagine if you can what his feelings must have been, when in Mme.\",\n \"for so big a man, obviously engrossed, obviously reading here and there \\n some detail, some custom of the inhabitants of that room. \\n \\n Ricardo leaned with careful artistry against the wall. \\n \\n \\\"Now, what has this room to say to me?\\\" he asked importantly. Nobody \\n paid the slightest attention to his question, and it was just as well. \\n For the room had very little information to give him. He ran his eye \\n over the white Louis Seize furniture, the white panels of the wall, the\",\n \"a little more picturesque than most girls of her age, and she was \\n certainly a good deal more soignee than many, and she had the \\n Frenchwoman's knack of putting on her clothes. But those would be all \\n the differences, leaving out the frankness. Ricardo wondered in what \\n street of Bohemia she dwelt. He wondered still more when he saw her \\n again half an hour afterwards at the entrance to the Villa des Fleurs. \\n She came down the long hall with Harry Wethermill at her side. The\",\n \"\\\"Oh!\\\" cried Besnard tragically. \\\"What have you done?\\\" \\n \\n Hanaud's face flushed. He had been guilty of a clumsiness--even he. \\n \\n Mr. Ricardo took up the tale. \\n \\n \\\"Yes,\\\" he exclaimed, \\\"what have you done?\\\" \\n \\n Hanaud looked at Ricardo in amazement at his audacity. \\n \\n \\\"Well, what have I done?\\\" he asked. \\\"Come! tell me!\\\" \\n\",\n \"Ricardo remembered. For by the light of it Marthe Gobin had seen Celia \\n Harland run so nimbly into this house. \\n \\n For a moment the men in the passage held their breath. Some one strode \\n heavily by on the pavement outside--to Mr. Ricardo's ear a most \\n companionable sound. Then a clock upon a church struck the half-hour \\n musically, distantly. It was half-past eight. And a second afterwards a\",\n \"\\\"When M. Ricardo has put that away,\\\" he said, \\\"we will hear what Helene \\n Vauquier has to tell us.\\\" \\n \\n He passed out of the door last, and, locking it, placed the key in his \\n pocket. \\n \\n \\\"Helene Vauquier's room is, I think, upstairs,\\\" he said. And he moved \\n towards the staircase. \\n \\n But as he did so a man in plain clothes, who had been waiting upon the\",\n \"But as he passed he caught a sentence spoken suddenly by Wethermill. \\n \\n \\\"Well, it is true; I must have money.\\\" And the agitated voice and words \\n remained fixed in his memory. He heard, too, a warning \\\"Hush!\\\" from the \\n maid. Then they passed out of his hearing. But he turned and saw that \\n Wethermill was talking volubly. What Harry Wethermill was saying he was \\n saying in a foolish burst of confidence. \\n\"\n ],\n [\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"dressing-table or the mantel-shelf--anywhere. But in the morning the \\n keys were no longer where she had left them. She had put them secretly \\n away.\\\" \\n \\n Hanaud turned to another point. \\n \\n \\\"I suppose that Mademoiselle Celie knew of the safe and that the jewels \\n were kept there?\\\" \\n \\n \\\"Oh yes! Mademoiselle indeed was often in Madame Dauvray's room when \\n she was dressing or undressing. She must often have seen madame take\",\n \"Mme. Dauvray, the old, rich, ignorant woman, with her superstitions and \\n her generosity, her desire to converse with Mme. de Montespan and the \\n great ladies of the past, and her love of a young, fresh face about \\n her; Helene Vauquier, the maid with her six years of confidential \\n service, who finds herself suddenly supplanted and made to tend and \\n dress in dainty frocks the girl who has supplanted her; the young girl\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"recognised them both, and--smiled to himself with some amusement. What \\n was Wethermill doing in company with Mme. Dauvray's maid? Ruel had no \\n doubt. Ruel had seen Wethermill often enough these recent days with \\n Mme. Dauvray's pretty companion. Ruel had all a Frenchman's sympathy \\n with lovers. He wished them well, those two young and attractive \\n people, and hoped that the maid would help their plans. \\n\",\n \"was concerned in hiding from them. It is not rash to guess, then, that \\n it was some piece of the plunder of which the other two would have \\n claimed their share--and a piece of plunder belonging to Mlle. Celie. \\n Well, she has nothing but the diamond eardrops. Suppose Vauquier is \\n left alone to guard Mlle. Celie while the other two ransack Mme. \\n Dauvray's room. She sees her chance. The girl cannot stir hand or foot\",\n \"would excite Mme. Dauvray to a terrible suspicion. She drew on her \\n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \\n them. To free her hands with her fingers and wrists already hampered in \\n gloves would not be so easy a task. But there was no escape. Adele \\n Rossignol was watching her with a satiric smile. Mme. Dauvray was \\n urging her to be quick. Obeying a second order the girl raised her\",\n \"That was her explanation of Helene Vauquier's treachery; and believing \\n that error, she believed yet another--that she had reached the terrible \\n climax of her troubles. She was only at the beginning of them. \\n \\n \\\"Helene!\\\" cried Mme. Dauvray sharply. \\\"What are you doing?\\\" \\n \\n The maid instantly slid back into the room. \\n \\n \\\"Mademoiselle has not moved,\\\" she said. \\n \\n Celia heard the women settle in their chairs about the table. \\n\",\n \"and the curtains drawn, whilst we--madame and madame's friend and \\n I--can sit round this table under the side windows.\\\" \\n \\n \\\"Yes,\\\" said Celia, \\\"that will do very well.\\\" \\n \\n It was Madame Dauvray's habit when she was particularly pleased with \\n Celia to dismiss her maid quickly, and to send her to brush the girl's \\n hair at night; and in a little while on this night Helene went to\",\n \"the crime leaps to the eyes. Mme. Dauvray was famous in Aix for her \\n jewels, which she wore with too little prudence. The condition of the \\n house shows that a careful search was made for them, and they have \\n disappeared. It is anticipated that a description of the young \\n Englishwoman, with a reward for her apprehension, will be issued \\n immediately. And it is not too much to hope that the citizens of Aix, \\n and indeed of France, will be cleared of all participation in so cruel\",\n \"difficult, I will find a way to help you,\\\" said Helene Vauquier, and as \\n she spoke she handed Celia a long pair of white gloves. \\n \\n \\\"I shall not want them,\\\" said Celia. \\n \\n \\\"Mme. Dauvray ordered me to give them to you,\\\" replied Helene. \\n \\n Celia took them hurriedly, picked up a white scarf of tulle, and ran \\n down the stairs. Helene Vauquier listened at the door and heard \\n madame's voice in feverish anger. \\n\",\n \"often never played at all. If she won a few louis, she was as delighted \\n with her gains and as afraid to lose them again at the tables as if she \\n were of the poorest, and she stopped at once. No, monsieur; twenty or \\n thirty louis--there was never more than that in the house.\\\" \\n \\n \\\"Then it was certainly for her famous collection of jewellery that \\n Madame Dauvray was murdered?\\\" \\n \\n \\\"Certainly, monsieur.\\\" \\n\",\n \"England. Helene Vauquier has served Mme. Dauvray for seven years. She \\n has been the confidential friend rather than the maid. And mark this, \\n M. Wethermill! During those seven years how many opportunities has she \\n had of conniving at last night's crime? She was found chloroformed and \\n bound. There is no doubt that she was chloroformed. Upon that point Dr. \\n Peytin is quite, quite certain. He saw her before she recovered\",\n \"Downstairs, in the salon, only a chair had been overturned. Here there \\n was every sign of violence and disorder. An empty safe stood open in \\n one corner; the rugs upon the polished floor had been tossed aside; \\n every drawer had been torn open, every wardrobe burst; the very bed had \\n been moved from its position. \\n \\n \\\"It was in this safe that Madame Dauvray hid her jewels each night,\\\" \\n said the Commissaire as Hanaud gazed about the room. \\n\",\n \"need not trouble you any more about Mademoiselle Celie.\\\" He folded the \\n paper up, slipped it into his letter-case, and put it away in his \\n pocket. \\\"Let us consider that poor Madame Dauvray! Did she keep much \\n money in the house?\\\" \\n \\n \\\"No, monsieur; very little. She was well known in Aix and her cheques \\n were everywhere accepted without question. It was a high pleasure to \\n serve madame, her credit was so good,\\\" said Helene Vauquier, raising\",\n \"had had the courage to tell him yesterday, he would have forgiven, \\n surely he would! The tears gathered in her eyes and rolled down her \\n cheeks. What would become of her now? She was in pain besides. The \\n cords about her arms and ankles tortured her. And she feared--yes, \\n desperately she feared the effect of the exposure upon Mme. Dauvray. \\n She had been treated as a daughter; now she was in return to rob Mme. \\n Dauvray of the belief which had become the passion of her life.\",\n \"which she had been able to pack the girl away securely without arousing \\n her suspicions. Helene Vauquier was in the plot, too. The scarf at \\n Celia's mouth was proof of that. As if to add proof to proof, she heard \\n Adele Rossignol speak in answer to the signal. \\n \\n \\\"Are we all ready? Have you got Mme. Dauvray's left hand, Helene?\\\" \\n \\n \\\"Yes, madame,\\\" answered the maid. \\n\",\n \"\\\"Oh, was it so?\\\" Hanaud asked slowly. It seemed to Ricardo that he read \\n something in the aspect of this room too, which troubled his mind and \\n increased his perplexity. \\n \\n \\\"Yes,\\\" said Besnard confidently. \\\"Every night Mme. Dauvray locked her \\n jewels away in this safe. Vauquier told us so this morning. Every night \\n she was never too tired for that. Besides, here\\\"--and putting his hand\"\n ],\n [\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"for a second. \\\"I only say perhaps as to that. But certainly they were \\n going to sew her up in that sack, row her well out across the lake, fix \\n a weight to her feet, and drop her quietly overboard. She was to wear \\n everything which she had brought with her to the house. Mlle. Celie \\n would have disappeared for ever, and left not even a ripple upon the \\n water to trace her by!\\\" \\n \\n Ricardo clenched his hands. \\n\",\n \"Yet another day had gone, but in that dark cupboard Celia had no means \\n of judging time. In the afternoon the newspaper came out with the \\n announcement that Mme. Dauvray's jewellery had been discovered under \\n the boards. Hippolyte brought in the newspaper, and, cursing their \\n stupidity, they sat down to decide upon Celia's fate. That, however, \\n was soon arranged. They would dress her in everything which she wore \\n when she came, so that no trace of her might be discovered. They would\",\n \"we are here. Come, go and get the jewels. The key of the door's on the \\n mantelshelf. While you are away we two will arrange the pretty baby in \\n there.\\\" \\n \\n She pointed to the recess; her voice rang with contempt. Wethermill \\n staggered across the room like a drunkard, and picked up the key in \\n trembling fingers. Celia heard it turn in the lock, and the door bang. \\n Wethermill had gone upstairs. \\n\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"seat, opened the door of the landau, and then put his head in at the \\n window of the car. \\n \\n \\\"Are you ready? Be quick!\\\" \\n \\n Adele turned to Celia. \\n \\n \\\"Not a word, remember!\\\" \\n \\n Wethermill flung open the door of the car. Adele took the girl's feet \\n and drew them down to the step of the car. Then she pushed her out. \\n Wethermill caught her in his arms and carried her to the landau. Celia\",\n \"tried to scream; she could not utter a sound. She stared at Helene with \\n incredulous, horror-stricken eyes. Helene nodded at her with a cruel \\n grin of satisfaction, and Celia realised, though she did not \\n understand, something of the rancour and the hatred which seethed \\n against her in the heart of the woman whom she had supplanted. Helene \\n Vauquier meant to expose her to-night; Celia had not a doubt of it.\",\n \"Celie. No; you have seen too much to-night. And every one will think \\n that Mlle. Celie helped to murder and rob her benefactress. They are \\n certain to suspect some one, so why not you, pretty one?\\\" \\n \\n Celia made no movement. She lay trying to believe that no crime had \\n been committed, that that lifeless body did not lie against the wall. \\n And then she heard in the room above a bed wheeled roughly from its \\n place. \\n\",\n \"out of the garage at all.\\\" \\n \\n Adele stooped and obeyed. Wethermill opened the door of the car and \\n flung Celia into a seat. Adele followed and took her seat opposite the \\n girl. Wethermill stepped carefully again on to the grass, and with the \\n toe of his shoe scraped up and ploughed the impressions which he and \\n Adele Rossignol had made on the ground, leaving those which Celia had \\n made. He came back to the window. \\n\",\n \"with her. But in the morning she must get rid of them, and a nurse is \\n with her. Hence the excuse to go to Mlle. Celie's room. If the eardrops \\n are found in the pot of cold cream, it would only be thought that Mlle. \\n Celie had herself hidden them there for safety. Again it is conjecture, \\n and I wish to make sure. So I tell Vauquier she can go away, and I \\n leave her unwatched. I have her driven to the depot instead of to her\",\n \"The garden of the house ran down to the lake. A means of disposing of \\n Mlle. Celie was close at hand. And the night had fallen. As it was, we \\n arrived just in time, and no earlier than just in time. The paper had \\n been bought, the message had reached the house, Mlle. Celie was no \\n longer of any use, and every hour she stayed in that house was of \\n course an hour of danger to her captors.\\\" \\n \\n \\\"What were they going to do?\\\" asked Ricardo. \\n\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"not intended for playing the piano. Nor, indeed, for the ballroom. It \\n leaps to one's eyes that dancing would be difficult. Nor is it intended \\n for much conversation. It is a costume for a mood of quiet reflection. \\n But I assure mademoiselle that for pretty young ladies who are the \\n favourites of rich old women it is the style most recommended by the \\n criminal classes.\\\" \\n \\n All the woman's bitter rancour against Celia, hidden for months beneath\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"\\\"Mademoiselle, I see, is in the very mood to produce the most wonderful \\n phenomena. But it will be better, I think, madame,\\\" she said, turning \\n to Mme. Dauvray, \\\"that Mlle. Celie should put on those gloves which I \\n see she has thrown on to a chair. It will be a little more difficult \\n for mademoiselle to loosen these cords, should she wish to do so.\\\" \\n \\n The argument silenced Celia. If she refused this condition now she\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"and put them into a pocket-bag which was slung at her waist. \\n \\n \\\"Hippolyte shall turn these things into money,\\\" she said. \\\"He shall set \\n about it to-morrow. We shall have to keep the girl now--until she tells \\n us where the rest is hidden.\\\" \\n \\n \\\"Yes, keep her,\\\" said Helene. \\\"We will come over to Geneva in a few \\n days, as soon as we can. We will persuade her to tell.\\\" She glanced \\n darkly at the girl. Celia shivered.\",\n \"Wethermill opened the wooden door, while Celia's heart raced in her \\n bosom. \\n \\n \\\"I will go down and open the gate,\\\" he whispered. \\\"Are you ready?\\\" \\n \\n \\\"Yes.\\\" \\n \\n Wethermill disappeared; and this time he left the door open. Adele \\n helped Celia to her feet. For a moment she tottered; then she stood \\n firm. \\n \\n \\\"Now run!\\\" whispered Adele. \\\"Run, child, for your life!\\\" \\n\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\"\n ],\n [\n \"she is dead. Let us not go back beyond her marriage seventeen years ago \\n to a wealthy manufacturer of Nancy, whom she had met in Paris. Seven \\n years ago M. Dauvray died, leaving his widow a very rich woman. She had \\n a passion for jewellery, which she was now able to gratify. She \\n collected jewels. A famous necklace, a well-known stone--she was not, \\n as you say, happy till she got it. She had a fortune in precious\",\n \"must needs listen to it. Ricardo dared not glance at him. \\n \\n \\\"But hardly any one would dance with her in her rags, and no one would \\n give her supper except madame. Madame did. Madame listened to her story \\n of hunger and distress. Madame believed it, and brought her home. \\n Madame was so kind, so careless in her kindness. And now she lies \\n murdered for a reward!\\\" An hysterical sob checked the woman's \\n utterances, her face began to work, her hands to twitch.\",\n \"woman who stays at your hotel, M. Ricardo. Yet she must be going to \\n your hotel, for the road ends. The driver is nodding on his box, \\n refusing to pay any heed to his fare lest again she should bid him \\n hurry. His horse is moving at a walk. Wethermill puts his head in at \\n the window and asks if she has come to see M. Ricardo. Anxious for her \\n four thousand francs, she answers 'Yes.' Perhaps he steps into the cab,\",\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"wife's constant devotion, to struggle along and to give their daughter \\n an education. Then, however, Celia's mother broke down under the strain \\n and died. Captain Harland, a couple of years later, went out of the \\n service with discredit, passed through the bankruptcy court, and turned \\n showman. His line was thought-reading; he enlisted the services of his \\n daughter, taught her the tricks of his trade, and became \\\"The Great \\n Fortinbras\\\" of the music-halls. Captain Harland would move amongst the\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"\\\"If I am wrong, monsieur, I am sorry, but you can help me too,\\\" she \\n said, in her submissive voice. And she passed on, leaving Wethermill \\n rooted to the ground. \\n \\n It was a bargain she proposed--the impertinence of it! It was a bargain \\n she proposed--the value of it! In that shape ran Harry Wethermill's \\n thoughts. He was in desperate straits, though to the world's eye he was\",\n \"herself, that poor child, with her love of fine clothes, the Bohemian \\n who, brought up amidst trickeries and practising them as a profession, \\n looking upon them and upon misery and starvation and despair as the \\n commonplaces of life, keeps a simplicity and a delicacy and a freshness \\n which would have withered in a day had she been brought up otherwise; \\n Harry Wethermill, the courted and successful man of genius. \\n \\n \\\"Just imagine if you can what his feelings must have been, when in Mme.\",\n \"of joy at her heart. He was coming to her hand. \\n \\n \\\"Monsieur,\\\" she said, \\\"you do not go the right way.\\\" And again her \\n strange smile illuminated her face. \\\"Mlle. Celie sets a guard about \\n Mme. Dauvray. She will not give to people the opportunity to find \\n madame generous.\\\" \\n \\n \\\"Oh,\\\" said Wethermill slowly. \\\"Is that so?\\\" And he turned and walked by \\n Helene Vauquier's side. \\n\",\n \"for the woman who nurses them. So, as I am in the house most of the \\n day, I find what amusement I can in watching the doings of my \\n neighbours. You will not blame me. \\n \\n \\\"A month ago the house almost directly opposite to us was taken \\n furnished for the summer by a Mme. Rossignol. She is a widow, but \\n during the last fortnight a young gentleman has come several times in \\n the afternoon to see her, and it is said in the street that he is going\",\n \"\\\"You put your finger on a sore place, M. Ricardo. I was sure, but I \\n still wanted evidence to convict. I left him free, hoping for that \\n evidence. I left him free, hoping that he would commit himself. He did, \\n but--well, let us talk of some one else. What of Mlle. Celie?\\\" \\n \\n Ricardo drew a letter from his pocket. \\n \\n \\\"I have a sister in London, a widow,\\\" he said. \\\"She is kind. I, too,\",\n \"\\\"Indeed I do,\\\" said Hanaud, with a laugh. \\n \\n \\\"Well, after mademoiselle had been with us three weeks, she said to me \\n one morning when I was dressing her hair that it was a pity madame was \\n always running round the fortune-tellers, that she herself could do \\n something much more striking and impressive, and that if only I would \\n help her we could rescue madame from their clutches. Sir, I did not\",\n \"\\\"And nothing gained!\\\" cried the older woman furiously. \\\"And we have \\n hardly a five-franc piece in the house.\\\" \\n \\n \\\"Yes, something,\\\" said Adele. \\\"A necklace--a good one--some good rings, \\n and bracelets. And we shall find out where the rest is hid--from her.\\\" \\n And she nodded at Celia. \\n \\n The three people ate their supper, and, while they ate it, discussed \\n Celia's fate. She was lying with her head bowed upon her arms at the\",\n \"took a step forward. His face seemed to narrow to a greater sharpness. \\n In a moment, to Mr. Ricardo's thought, he ceased to be the judge; he \\n dropped from his high office; he dwindled into a fanatic. \\n \\n \\\"She is a Jewess, this Celia Harland?\\\" he cried. \\n \\n \\\"No, M. Fleuriot, she is not,\\\" replied Wethermill. \\\"I do not speak in \\n disparagement of that race, for I count many friends amongst its\",\n \"to marry her. But I cannot believe it myself. Monsieur is a young man \\n of perhaps thirty, with smooth, black hair. He wears a moustache, a \\n little black moustache, and is altogether captivating. Mme. Rossignol \\n is five or six years older, I should think--a tall woman, with red hair \\n and a bold sort of coarse beauty. I was not attracted by her. She \\n seemed not quite of the same world as that charming monsieur who was\",\n \"been, the confidential maid of an elderly woman. On her face there was \\n now an aspect of eager appeal. \\n \\n \\\"Oh, monsieur!\\\" she began, \\\"let me go from here--anywhere--into prison \\n if you like. But to stay here--where in years past we were so \\n happy--and with madame lying in the room below. No, it is \\n insupportable.\\\" \\n \\n She sank into her chair, and Hanaud came over to her side. \\n\",\n \"\\\"By my Normandy peasant-woman, M. Ricardo,\\\" said Hanaud. \\\"Yes, there's \\n the dominating figure--cruel, masterful, relentless--that strange \\n woman, Helene Vauquier. You are surprised? You will see! It is not the \\n man of intellect and daring; it's my peasant-woman who is at the bottom \\n of it all.\\\" \\n \\n \\\"But she's free!\\\" exclaimed Ricardo. \\\"You let her go free!\\\" \\n\",\n \"And, indeed, how should she notice anything if the salon were dark, and \\n Mme. Dauvray's body lay under the windows at the side?\\\" \\n \\n Ricardo leaned forward eagerly. \\n \\n \\\"That must be the truth,\\\" he cried; and Wethermill's voice broke \\n hastily in: \\n \\n \\\"It is not the truth and I will tell you why. Celia Harland was to have \\n married me this week.\\\" \\n \\n There was so much pain and misery in his voice that Ricardo was moved\",\n \"the comparative. Everything in his life was a trifle overdone, from the \\n fastidious arrangement of his neckties to the feminine nicety of his \\n little dinner-parties. In age Mr. Ricardo was approaching the fifties; \\n in condition he was a widower--a state greatly to his liking, for he \\n avoided at once the irksomeness of marriage and the reproaches justly \\n levelled at the bachelor; finally, he was rich, having amassed a\",\n \"same table, within a foot of them. But they made no more of her \\n presence than if she had been an old shoe. Only once did one of them \\n speak to her. \\n \\n \\\"Stop your whimpering,\\\" said Hippolyte roughly. \\\"We can hardly hear \\n ourselves talk.\\\" \\n \\n He was for finishing with the business altogether to-night. \\n \\n \\\"It's a mistake,\\\" he said. \\\"There's been a bungle, and the sooner we\"\n ],\n [\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"At first Celia shrank away, fearing some new cruelty. But Adele's voice \\n came to her ears, speaking--and speaking with remorse. \\n \\n \\\"I can't endure it!\\\" she whispered. \\\"You are so young--too young to be \\n killed.\\\" \\n \\n The tears were rolling down Celia's cheeks. Her face was pitiful and \\n beseeching. \\n \\n \\\"Don't look at me like that, for God's sake, child!\\\" Adele went on, and\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"but she did not bolt it. She came back into the room; she looked at \\n Celia, as she lay back upon the settee, with a long glance of \\n indecision. And then, to Celia's surprise--for she had given up all \\n hope--the indecision in her eyes became pity. She suddenly ran across \\n the room and knelt down before Celia. With quick and feverish hands she \\n untied the cord which fastened the train of her skirt about her knees. \\n\",\n \"Wethermill opened the wooden door, while Celia's heart raced in her \\n bosom. \\n \\n \\\"I will go down and open the gate,\\\" he whispered. \\\"Are you ready?\\\" \\n \\n \\\"Yes.\\\" \\n \\n Wethermill disappeared; and this time he left the door open. Adele \\n helped Celia to her feet. For a moment she tottered; then she stood \\n firm. \\n \\n \\\"Now run!\\\" whispered Adele. \\\"Run, child, for your life!\\\" \\n\",\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"Celia a respite, perhaps more than a respite. Helene set the flask down \\n upon the table. Her avarice had got the better of her hatred. She \\n roughly plucked the earrings out of the girl's ears. She hid them \\n quickly in the bosom of her dress with her eye upon the door. She did \\n not see a drop of blood gather on the lobe of Celia's ear and fall into \\n the cushion on which her face was pressed. She had hardly hidden them\",\n \"towards Celia too. She wrenched herself from Hanaud's arms, she shrank \\n violently away. Her white face flushed scarlet and grew white again. \\n She screamed loudly, terribly; and after the scream she uttered a \\n strange, weak sigh, and so fell sideways in a swoon. Hanaud caught her \\n as she fell. A light broke over his face. \\n \\n \\\"Now I understand!\\\" he cried. \\\"Good God! That's horrible.\\\" \\n \\n \\n \\n \\n CHAPTER XIII \\n\",\n \"here.\\\" \\n \\n \\\"No!\\\" cried Celia decisively, and she again laid hold of his coat, with \\n a pretty imperiousness, as though he belonged to her. \\n \\n \\\"But I must,\\\" said Hanaud with a laugh. \\n \\n \\\"Then I will come too,\\\" said Celia, and she opened the door and set a \\n foot upon the step. \\n \\n \\\"You will not, mademoiselle,\\\" said Hanaud, with a laugh. \\\"Will you take\",\n \"upon their expedition of rescue. Into that short interval of time so \\n much that was eventful had been crowded. \\n \\n Hanaud leaned across the table to Celia and said in a low voice: \\n \\n \\\"Mademoiselle, if I may suggest it, it would be as well if you put on \\n your gloves; otherwise they may notice your wrists.\\\" \\n \\n Celia followed his advice. She ate some food and drank a glass of \\n champagne. A little colour returned to her cheeks. \\n\",\n \"extraordinary relief. The genuine, heartfelt cry restored her \\n confidence in Celia. \\n \\n \\\"Some one--who means harm!\\\" she whispered, trembling with excitement. \\n \\n \\\"Ah, mademoiselle is already under control,\\\" said Helene, using the \\n jargon which she had learnt from Celia's lips. \\n \\n Adele Rossignol grinned. \\n \\n \\\"Yes, LA PETITE is under control,\\\" she repeated, with a sneer; and all\",\n \"Then Ricardo's thoughts turned as he tossed upon his bed to Celia \\n Harland, a tragic and a lonely figure. He recalled the look of \\n tenderness upon her face when her eyes had met Harry Wethermill's \\n across the baccarat-table in the Villa des Fleurs. He gained some \\n insight into the reason why she had clung so desperately to Hanaud's \\n coat-sleeve yesterday. Not merely had he saved her life. She was lying \\n with all her world of trust and illusion broken about her, and Hanaud\",\n \"have been thinking of what will become of Mlle. Celie. I wrote to my \\n sister, and here is her reply. Mlle. Celie will be very welcome.\\\" \\n \\n Hanaud stretched out his hand and shook Ricardo's warmly. \\n \\n \\\"She will not, I think, be for very long a burden. She is young. She \\n will recover from this shock. She is very pretty, very gentle. If--if \\n no one comes forward whom she loves and who loves her--I--yes, I\",\n \"\\\"Is it two days?\\\" she asked. \\\"I was in the dark there. I did not know. \\n A little bread, a little water.\\\" \\n \\n \\\"That's what is wrong,\\\" said Hanaud. \\\"Come, let us go from here!\\\" \\n \\n \\\"Yes, yes!\\\" Celia cried eagerly. She rose to her feet, and tottered. \\n Hanaud put his arm about her. \\\"You are very kind,\\\" she said in a low \\n voice, and again doubt looked out from her face and disappeared. \\\"I am\",\n \"Celie. No; you have seen too much to-night. And every one will think \\n that Mlle. Celie helped to murder and rob her benefactress. They are \\n certain to suspect some one, so why not you, pretty one?\\\" \\n \\n Celia made no movement. She lay trying to believe that no crime had \\n been committed, that that lifeless body did not lie against the wall. \\n And then she heard in the room above a bed wheeled roughly from its \\n place. \\n\",\n \"\\\"You can trust Marie,\\\" said Hanaud. And Celia turned as she stood upon \\n the ground and gave her hands to the two men. \\n \\n \\\"Thank you! Thank you both!\\\" she said in a trembling voice. She looked \\n at Hanaud and nodded her head. \\\"You understand why I thank you so very \\n much?\\\" \\n \\n \\\"Yes,\\\" said Hanaud. \\\"But, mademoiselle\\\"--and he bent over the car and \\n spoke to her quietly, holding her hand--\\\"there is ALWAYS a big\",\n \"\\\"It seems impossible to me,\\\" she said in a low voice, \\\"that I am here, \\n in the open air, and free.\\\" \\n \\n Hanaud looked at his watch. \\n \\n \\\"Mlle. Celie, it is past ten o'clock. M. Ricardo's car is waiting there \\n under the trees. I want you to drive back to Aix. I have taken rooms \\n for you at an hotel, and there will be a nurse from the hospital to \\n look after you.\\\" \\n\",\n \"sure that I can trust you.\\\" \\n \\n Ricardo fetched her cloak and slipped it on her shoulders. Then he \\n brought her hat, and she pinned it on. She turned to Hanaud; \\n unconsciously familiar words rose to her lips. \\n \\n \\\"Is it straight?\\\" she asked. And Hanaud laughed outright, and in a \\n moment Celia smiled herself. \\n \\n Supported by Hanaud she stumbled down the stairs to the garden. As they \\n passed the open door of the lighted parlour at the back of the house\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"with her, she placed it carelessly round her shoulders. \\n \\n \\\"Wait!\\\" Helene Vauquier whispered in Celia's ear. \\n \\n To the cord about Celia's waist Adele was fastening a longer line. \\n \\n \\\"I shall keep my foot on the other end of this,\\\" she said, \\\"when the \\n lights are out, and I shall know then if our little one frees herself.\\\" \\n \\n The three women went out of the recess. And the next moment the heavy\"\n ],\n [\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"\\\"Mademoiselle, I see, is in the very mood to produce the most wonderful \\n phenomena. But it will be better, I think, madame,\\\" she said, turning \\n to Mme. Dauvray, \\\"that Mlle. Celie should put on those gloves which I \\n see she has thrown on to a chair. It will be a little more difficult \\n for mademoiselle to loosen these cords, should she wish to do so.\\\" \\n \\n The argument silenced Celia. If she refused this condition now she\",\n \"with her, she placed it carelessly round her shoulders. \\n \\n \\\"Wait!\\\" Helene Vauquier whispered in Celia's ear. \\n \\n To the cord about Celia's waist Adele was fastening a longer line. \\n \\n \\\"I shall keep my foot on the other end of this,\\\" she said, \\\"when the \\n lights are out, and I shall know then if our little one frees herself.\\\" \\n \\n The three women went out of the recess. And the next moment the heavy\",\n \"She was placed in a chair. Adele passed a cord round her ankles, and \\n the mere touch of it quickened Celia to a spasm of revolt. Her last \\n little remnant of liberty was being taken from her. She raised herself, \\n or rather would have raised herself. But Helene with gentle hands held \\n her in the chair, and whispered under her breath: \\n \\n \\\"Have no fear! Madame is watching.\\\" \\n \\n Adele looked fiercely up into the girl's face. \\n\",\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"And the next moment Celia winced and had to bite her lip to prevent a \\n cry. The thin cord was wound twice about her wrists, drawn cruelly \\n tight and then cunningly knotted. For one second Celia was thankful for \\n her gloves; the next, more than ever she regretted that she wore them. \\n It would have been difficult enough for her to free her hands now, even \\n without them. And upon that a worse thing befell her. \\n\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"Yet another day had gone, but in that dark cupboard Celia had no means \\n of judging time. In the afternoon the newspaper came out with the \\n announcement that Mme. Dauvray's jewellery had been discovered under \\n the boards. Hippolyte brought in the newspaper, and, cursing their \\n stupidity, they sat down to decide upon Celia's fate. That, however, \\n was soon arranged. They would dress her in everything which she wore \\n when she came, so that no trace of her might be discovered. They would\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"slipped in behind. He lifted up Celia with Rossignol's help, and made \\n her sit in the middle of the sofa with her feet upon the ground. He \\n unbound her wrists and fingers, and Vauquier placed the writing-pad and \\n the paper on the girl's knees. Her arms were still pinioned above the \\n elbows; she could not raise her hands high enough to snatch the scarf \\n from her lips. But with the pad held up to her she could write. \\n\",\n \"The two women stood and looked at her; and then Adele Rossignol burst \\n out laughing. Vauquier approached the girl, and Celia had a moment's \\n hope that she meant to free her altogether, but she only loosed the \\n cords which fixed her to the pillar and the high stool. \\n \\n \\\"Mademoiselle will pardon me for laughing,\\\" said Adele Rossignol \\n politely; \\\"but it was mademoiselle who invited me to try my hand. And\",\n \"we are here. Come, go and get the jewels. The key of the door's on the \\n mantelshelf. While you are away we two will arrange the pretty baby in \\n there.\\\" \\n \\n She pointed to the recess; her voice rang with contempt. Wethermill \\n staggered across the room like a drunkard, and picked up the key in \\n trembling fingers. Celia heard it turn in the lock, and the door bang. \\n Wethermill had gone upstairs. \\n\",\n \"Wethermill opened the wooden door, while Celia's heart raced in her \\n bosom. \\n \\n \\\"I will go down and open the gate,\\\" he whispered. \\\"Are you ready?\\\" \\n \\n \\\"Yes.\\\" \\n \\n Wethermill disappeared; and this time he left the door open. Adele \\n helped Celia to her feet. For a moment she tottered; then she stood \\n firm. \\n \\n \\\"Now run!\\\" whispered Adele. \\\"Run, child, for your life!\\\" \\n\",\n \"not intended for playing the piano. Nor, indeed, for the ballroom. It \\n leaps to one's eyes that dancing would be difficult. Nor is it intended \\n for much conversation. It is a costume for a mood of quiet reflection. \\n But I assure mademoiselle that for pretty young ladies who are the \\n favourites of rich old women it is the style most recommended by the \\n criminal classes.\\\" \\n \\n All the woman's bitter rancour against Celia, hidden for months beneath\",\n \"and Celia left the rooms and walked to the entrance-doors. But as they \\n walked Celia became alarmed. \\n \\n She was by nature extraordinarily sensitive to impressions. It was to \\n that quick receptivity that the success of \\\"The Great Fortinbras\\\" had \\n been chiefly due. She had a gift of rapid comprehension. It was not \\n that she argued, or deducted, or inferred. But she felt. To take a \\n metaphor from the work of the man she loved, she was a natural\",\n \"too, had been carelessly left unbolted. The man stepped without a sound \\n over the sill into the room. And, as he stepped, fear for herself drove \\n out for the moment from Celia's thoughts fear for the three women in \\n the black room. If only he did not see her! She pressed herself against \\n the pillar. He might overlook her, perhaps! His eyes would not be so \\n accustomed to the darkness of the recess as hers. He might pass her\",\n \"hope stirred within Celia. \\n \\n He seized her wrists, crushed them together behind her, and swiftly \\n fastened them once more. Adele Rossignol sat down upon the floor, took \\n the girl's feet upon her lap, and quietly wrenched off her shoes. \\n \\n \\\"The light,\\\" cried Wethermill in an agonised voice, and Helena Vauquier \\n flew across the room and turned it off. \\n \\n All three stood holding their breath, straining their ears in the dark\",\n \"middle of the room, her back to the recess, her face to the mirror, \\n where all could see her. \\n \\n \\\"Now, Celie\\\"--she had dropped the \\\"Mlle.\\\" and the ironic suavity of her \\n manner--\\\"try to free yourself.\\\" \\n \\n For a moment the girl's shoulders worked, her hands fluttered. But they \\n remained helplessly bound. \\n \\n \\\"Ah, you will be content, Adele, to-night,\\\" cried Mme. Dauvray eagerly. \\n\"\n ],\n [\n \"Celia did not stop to think whither she should run, or how she should \\n escape from Wethermill's search. She could not ask that her lips and \\n her hands might be freed. She had but a few seconds. She had one \\n thought--to hide herself in the darkness of the garden. Celia fled \\n across the room, sprang wildly over the sill, ran, tripped over her \\n skirt, steadied herself, and was swung off the ground by the arms of \\n Harry Wethermill. \\n\",\n \"Celia leaned back, her heart fainting within her. Arrange! It was her \\n turn now. She was to be \\\"arranged.\\\" She had no doubt what sinister \\n meaning that innocent word concealed. The dry, choking sound, the \\n horrid scuffling of feet upon the floor, were in her ears. And it had \\n taken so long--so terribly long! \\n \\n She heard the door open again and shut again. Then steps approached the \\n recess. The curtains were flung back, and the two women stood in front\",\n \"we are here. Come, go and get the jewels. The key of the door's on the \\n mantelshelf. While you are away we two will arrange the pretty baby in \\n there.\\\" \\n \\n She pointed to the recess; her voice rang with contempt. Wethermill \\n staggered across the room like a drunkard, and picked up the key in \\n trembling fingers. Celia heard it turn in the lock, and the door bang. \\n Wethermill had gone upstairs. \\n\",\n \"seat, opened the door of the landau, and then put his head in at the \\n window of the car. \\n \\n \\\"Are you ready? Be quick!\\\" \\n \\n Adele turned to Celia. \\n \\n \\\"Not a word, remember!\\\" \\n \\n Wethermill flung open the door of the car. Adele took the girl's feet \\n and drew them down to the step of the car. Then she pushed her out. \\n Wethermill caught her in his arms and carried her to the landau. Celia\",\n \"Celie. No; you have seen too much to-night. And every one will think \\n that Mlle. Celie helped to murder and rob her benefactress. They are \\n certain to suspect some one, so why not you, pretty one?\\\" \\n \\n Celia made no movement. She lay trying to believe that no crime had \\n been committed, that that lifeless body did not lie against the wall. \\n And then she heard in the room above a bed wheeled roughly from its \\n place. \\n\",\n \"the door. Celia sprang out on to the pavement. She sprang so quickly \\n that Adele Rossignol caught and held the train of her dress. But it was \\n the fear of the vitriol which had made her spring so nimbly. It was \\n that, too, which made her run so lightly and quickly into the house. \\n The old woman who acted as servant, Jeanne Tace, received her. Celia \\n offered no resistance. The fear of vitriol had made her supple as a\",\n \"the elegance of her velvet gown was unable to hide her any longer from \\n Celia's knowledge. Her grin had betrayed her. She was of the dregs. But \\n Helene Vauquier whispered: \\n \\n \\\"Keep still, mademoiselle. I shall help you.\\\" \\n \\n Vauquier carried the girl into the recess and placed her upon the \\n stool. With a long cord Adele bound her by the arms and the waist to\",\n \"little ostentatious in her present predicament. They are a provocation \\n to thieves. Will mademoiselle permit me to remove them?\\\" \\n \\n She caught her by the neck and lifted her up. She pushed the lace scarf \\n up at the side of Celia's head. Celia began to struggle furiously, \\n convulsively. She kicked and writhed, and a little tearing sound was \\n heard. One of her shoe-buckles had caught in the thin silk covering of\",\n \"Wethermill opened the wooden door, while Celia's heart raced in her \\n bosom. \\n \\n \\\"I will go down and open the gate,\\\" he whispered. \\\"Are you ready?\\\" \\n \\n \\\"Yes.\\\" \\n \\n Wethermill disappeared; and this time he left the door open. Adele \\n helped Celia to her feet. For a moment she tottered; then she stood \\n firm. \\n \\n \\\"Now run!\\\" whispered Adele. \\\"Run, child, for your life!\\\" \\n\",\n \"however, and her feet were free. She started forward, and Adele \\n Rossignol spoke sternly from the seat opposite. \\n \\n \\\"Keep still. I am holding the flask in my hand. If you scream, if you \\n make a movement to escape, I shall fling the vitriol in your face,\\\" she \\n said. \\n \\n Celia shrank back, shivering. \\n \\n \\\"I won't! I won't!\\\" she whispered piteously. Her spirit was broken by\",\n \"As the motor-car rolled away, courage returned for a moment to Celia. \\n The man--the murderer--had gone. She was alone with Adele Rossignol in \\n a carriage moving no faster than an ordinary trot. Her ankles were \\n free, the gag had been taken from her lips. If only she could free her \\n hands and choose a moment when Adele was off her guard she might open \\n the door and spring out on to the road. She saw Adele draw down the\",\n \"hope stirred within Celia. \\n \\n He seized her wrists, crushed them together behind her, and swiftly \\n fastened them once more. Adele Rossignol sat down upon the floor, took \\n the girl's feet upon her lap, and quietly wrenched off her shoes. \\n \\n \\\"The light,\\\" cried Wethermill in an agonised voice, and Helena Vauquier \\n flew across the room and turned it off. \\n \\n All three stood holding their breath, straining their ears in the dark\",\n \"\\\"I will tell you what we are going to do with you, Mlle. Celie. Adele \\n Rossignol and that kind gentleman, M. Wethermill, are going to take you \\n away with them. You will be glad to go, won't you, dearie? For you love \\n M. Wethermill, don't you? Oh, they won't keep you long enough for you \\n to get tired of them. Do not fear! But you will not come back, Mile.\",\n \"And the next moment Celia winced and had to bite her lip to prevent a \\n cry. The thin cord was wound twice about her wrists, drawn cruelly \\n tight and then cunningly knotted. For one second Celia was thankful for \\n her gloves; the next, more than ever she regretted that she wore them. \\n It would have been difficult enough for her to free her hands now, even \\n without them. And upon that a worse thing befell her. \\n\",\n \"She was placed in a chair. Adele passed a cord round her ankles, and \\n the mere touch of it quickened Celia to a spasm of revolt. Her last \\n little remnant of liberty was being taken from her. She raised herself, \\n or rather would have raised herself. But Helene with gentle hands held \\n her in the chair, and whispered under her breath: \\n \\n \\\"Have no fear! Madame is watching.\\\" \\n \\n Adele looked fiercely up into the girl's face. \\n\",\n \"she chafed the girl's ankles for a moment. \\n \\n \\\"Can you stand?\\\" she asked. \\n \\n Celia nodded her head gratefully. After all, then, she was not to die. \\n It seemed to her hardly possible. But before she could rise a subdued \\n whirr of machinery penetrated into the room, and the motor-car came \\n slowly to the front of the villa. \\n \\n \\\"Keep still!\\\" said Adele hurriedly, and she placed herself in front of \\n Celia. \\n\",\n \"with her, she placed it carelessly round her shoulders. \\n \\n \\\"Wait!\\\" Helene Vauquier whispered in Celia's ear. \\n \\n To the cord about Celia's waist Adele was fastening a longer line. \\n \\n \\\"I shall keep my foot on the other end of this,\\\" she said, \\\"when the \\n lights are out, and I shall know then if our little one frees herself.\\\" \\n \\n The three women went out of the recess. And the next moment the heavy\",\n \"could warn them. And she could not. Her struggles were mere efforts to \\n struggle, futile, a shiver from head to foot, and noiseless as a \\n shiver. Adele Rossignol had done her work well and thoroughly. Celia's \\n arms, her waist, her ankles were pinioned; only the bandage over her \\n mouth seemed to be loosening. Then upon horror, horror was added. The \\n man touched the glass doors, and they swung silently inwards. They,\",\n \"rise to her feet. Adele Rossignol held her legs firmly. She was \\n powerless. She sat with one desperate hope that, whoever it was who was \\n in the garden, he would break in. Were it even another murderer, he \\n might have more pity than the callous brutes who held her now; he could \\n have no less. But the footsteps moved away. It was the withdrawal of \\n all hope. Celia heard Wethermill behind her draw a long breath of \\n relief. That seemed to Celia almost the cruellest part of the whole\",\n \"\\\"Mademoiselle, I see, is in the very mood to produce the most wonderful \\n phenomena. But it will be better, I think, madame,\\\" she said, turning \\n to Mme. Dauvray, \\\"that Mlle. Celie should put on those gloves which I \\n see she has thrown on to a chair. It will be a little more difficult \\n for mademoiselle to loosen these cords, should she wish to do so.\\\" \\n \\n The argument silenced Celia. If she refused this condition now she\"\n ],\n [\n \"\\\"I suppose Mme. Dauvray is very rich?\\\" \\n \\n \\\"She has a great fortune in jewels,\\\" said Helene Vauquier. \\n \\n Wethermill started. He was agitated that evening, the woman saw. His \\n hands shook, his face twitched. Clearly he was hard put to it. For he \\n seldom betrayed himself. She thought it time to strike. \\n \\n \\\"Jewels which she keeps in the safe in her bedroom,\\\" she added. \\n\",\n \"would excite Mme. Dauvray to a terrible suspicion. She drew on her \\n gloves ruefully and slowly, smoothed them over her elbows, and buttoned \\n them. To free her hands with her fingers and wrists already hampered in \\n gloves would not be so easy a task. But there was no escape. Adele \\n Rossignol was watching her with a satiric smile. Mme. Dauvray was \\n urging her to be quick. Obeying a second order the girl raised her\",\n \"remember all the names, and very likely I do not pronounce them \\n properly. Then the voices would cease and the lights be turned up, and \\n Mlle. Celie would be found in a trance just in the same place and \\n attitude as she had been when the lights were turned out. Imagine, \\n messieurs, the effect of such seances upon a woman like Mme. Dauvray. \\n She was made for them. She believed in them implicitly. The words of \\n the great ladies from the past--she would remember and repeat them, and\",\n \"often never played at all. If she won a few louis, she was as delighted \\n with her gains and as afraid to lose them again at the tables as if she \\n were of the poorest, and she stopped at once. No, monsieur; twenty or \\n thirty louis--there was never more than that in the house.\\\" \\n \\n \\\"Then it was certainly for her famous collection of jewellery that \\n Madame Dauvray was murdered?\\\" \\n \\n \\\"Certainly, monsieur.\\\" \\n\",\n \"seances, and at once, to add fuel to her hatred, she found herself \\n stripped of those gifts and commissions which she had exacted from the \\n herd of common tricksters who had been wont to make their harvest out \\n of Mme. Dauvray. Helene Vauquier was avaricious and greedy, like so \\n many of her class. Her hatred of Celia, her contempt for Mme. Dauvray, \\n grew into a very delirium. But it was a delirium she had the cunning to\",\n \"\\\"What does monsieur want of Mme. Dauvray?\\\" she asked. And the question \\n was her answer. \\n \\n Wethermill stood silent. Then he said abruptly: \\n \\n \\\"Nothing, of course; nothing.\\\" And he walked away. \\n \\n But the smile remained on Helene Vauquier's face. What did they all \\n want of Mme. Dauvray? She knew very well. It was what she herself \\n wanted--with other things. It was money--always money. Wethermill was\",\n \"amusements. She had kept her eyes open. She had seen that it was from \\n the denizens of the dull streets in these towns that the quack \\n religions won their recruits. Mme. Dauvray's life had been a \\n featureless sort of affair until these experiments had come to colour \\n it. Madame Dauvray must at any rate preserve the memory of that colour. \\n \\n \\\"No,\\\" she said boldly; \\\"I am not afraid,\\\" and after that she moved no \\n more. \\n\",\n \"and the curtains drawn, whilst we--madame and madame's friend and \\n I--can sit round this table under the side windows.\\\" \\n \\n \\\"Yes,\\\" said Celia, \\\"that will do very well.\\\" \\n \\n It was Madame Dauvray's habit when she was particularly pleased with \\n Celia to dismiss her maid quickly, and to send her to brush the girl's \\n hair at night; and in a little while on this night Helene went to\",\n \"Within a fortnight Mme. Dauvray confided to Celia that there was a new \\n fortune-teller come to Paris, who, by looking into a crystal, could \\n tell the most wonderful things about the future. The old woman's eyes \\n kindled as she spoke. She took Celia to the fortune-teller's rooms next \\n day, and the girl quickly understood the ruling passion of the woman \\n who had befriended her. It took very little time then for Celia to\",\n \"her mother, were practised criminals. They had taken the house in \\n Geneva deliberately in order to carry out some robberies from the great \\n villas on the lake-side. But they had not been fortunate; and a \\n description of Mme. Dauvray's jewellery in the woman's column of a \\n Geneva newspaper had drawn Adele Tace over to Aix. She had set about \\n the task of seducing Mme. Dauvray's maid, and found a master, not an \\n instrument. \\n\",\n \"to her, I became terrified. I had aroused a passion which I had not \\n suspected. I tried to stop the seances, but I was not allowed. I had \\n aroused a passion which I could not control. I was afraid that Mme. \\n Dauvray's whole life--it seems absurd to those who did not know her, \\n but those who did will understand--yes, her whole life and happiness \\n would be spoilt if she discovered that what she believed in was all a \\n trick.\\\" \\n\",\n \"And Celia, as she ran up the stairs, heard Mme. Dauvray discussing with \\n her maid what frock she should wear. She was hot, and she took a \\n hurried bath. When she came from her bathroom she saw with dismay that \\n it was her new pale-green evening gown which had been laid out. It was \\n the last which she would have chosen. But she dared not refuse it. She \\n must still any suspicion. She must succeed. She gave herself into \\n Helene's hands. Celia remembered afterwards one or two points which\",\n \"able she was to concentrate her mind upon them, to will them to favour \\n her. Mme. Dauvray's suspicions, she was sure, were still awake. She \\n could not quell them. There was a stronger personality than hers at \\n work in the room. The cord bit through her thin stockings into her \\n ankles. She dared not complain. It was savagely tied. She made no \\n remonstrance. And then Helene Vauquier raised her up from the chair and\",\n \"like a ragged petticoat under a satin dress. That was never the case \\n with Madame Dauvray.\\\" \\n \\n \\\"So that she was under no necessity to have ready money always in her \\n pocket,\\\" said Hanaud. \\\"I understand that. But at times perhaps she won \\n at the Villa des Fleurs?\\\" \\n \\n Helene Vauquier shook her head. \\n \\n \\\"She loved the Villa des Fleurs, but she never played for high sums and\",\n \"\\\"I believe it would break my heart, my dear, if I were to think that; \\n if I were to know that you had tricked me,\\\" she said, with a trembling \\n voice. \\n \\n Celia covered her face with her hands. It would be true. She had \\n no doubt of it. Mme. Dauvray would never forgive herself--would never \\n forgive Celia. Her infatuation had grown so to engross her that the \\n rest of her life would surely be embittered. It was not merely a\",\n \"Mme. Dauvray was indignant. Celia, for her part, felt humiliated and \\n small. They sat down to their dinner in the garden, but the rain began \\n to fall and drove them indoors. There were a few people dining at the \\n same hour, but none near enough to overhear them. Alike in the garden \\n and the dining-room, Adele Tace kept up the same note of ridicule and \\n disbelief. She had been carefully tutored for her work. She was able to\",\n \"\\\"You see Mme. Dauvray does not want you,\\\" said Harry Wethermill. \\\"Let \\n us go and play CHEMIN-DE-FER\\\"; and they did, moving off into one of the \\n further rooms. \\n \\n It was not until another hour had passed that Celia rose and went in \\n search of Mme. Dauvray. She found her still talking earnestly to Adele \\n Tace. Mme. Dauvray got up at once. \\n\",\n \"apart altogether from Mme. Dauvray's happiness, her own, it seemed, was \\n at stake too. \\n \\n \\\"It must be from my lips that Harry learns what I have been,\\\" she said \\n to herself, and with the resolve she strengthened herself. \\n \\n \\\"I will wear what you please,\\\" she said, with a smile. \\\"I only wish \\n Mme. Rossignol to be satisfied.\\\" \\n \\n \\\"And I shall be,\\\" said Adele, \\\"if--\\\" She leaned forward in anxiety. She\",\n \"\\\"Oh, monsieur,\\\" Vauquier answered, \\\"it was not difficult to begin them. \\n Mme. Dauvray had a passion for fortune-tellers and rogues of that kind. \\n Any one with a pack of cards and some nonsense about a dangerous woman \\n with black hair or a man with a limp--Monsieur knows the stories they \\n string together in dimly lighted rooms to deceive the credulous--any \\n one could make a harvest out of madame's superstitions. But monsieur \\n knows the type.\\\"\",\n \"had had the courage to tell him yesterday, he would have forgiven, \\n surely he would! The tears gathered in her eyes and rolled down her \\n cheeks. What would become of her now? She was in pain besides. The \\n cords about her arms and ankles tortured her. And she feared--yes, \\n desperately she feared the effect of the exposure upon Mme. Dauvray. \\n She had been treated as a daughter; now she was in return to rob Mme. \\n Dauvray of the belief which had become the passion of her life.\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Where Celia Harland used to live?","What Madame Dauvray was addicted to?","Who was Adele Tace?","Who was helping Madame Dauvray in staging for the seances of her benefactrix?","Who master-minded the criminal gang?","Why Adele Tace included Celia in her plan?","Why Adele Tace involved Celia in her scheme?","Why Adele Tace wanted to kill Madame Dauvray?","Who unrevealed the conspiracy?","Where does the story take place?","Where is Celia Harland from?","When participating in the seance that leads to Madame Dauvary's death, who is Celia tricked by?","Where is Celia taken hostage to after the murder of Madame Dauvary?","Who is, in turn, framed from Madame Dauvary's murder?","Who is responsible for finding out the truth about the murder of Madame Dauvary?","Who rescues Celia?","Where does Inspector Hanaud find Celia in just enough time to rescue her?","How was Celia going to be killed?","Who befriends Celia?","What is Madame Dauvray fully aware of regarding the events of the spirit world?","Who is rich?","What does Madame Dauvray's maid want to steal from Madame?","Where was Celia going to be dumped into?","Who is a widow?","Who rescues Celia?","What was Celia confined to in order to avoid her escape?","Where is Celia abducted to?","What is Madame Dauvray addicted to?"],"string":"[\n \"Where Celia Harland used to live?\",\n \"What Madame Dauvray was addicted to?\",\n \"Who was Adele Tace?\",\n \"Who was helping Madame Dauvray in staging for the seances of her benefactrix?\",\n \"Who master-minded the criminal gang?\",\n \"Why Adele Tace included Celia in her plan?\",\n \"Why Adele Tace involved Celia in her scheme?\",\n \"Why Adele Tace wanted to kill Madame Dauvray?\",\n \"Who unrevealed the conspiracy?\",\n \"Where does the story take place?\",\n \"Where is Celia Harland from?\",\n \"When participating in the seance that leads to Madame Dauvary's death, who is Celia tricked by?\",\n \"Where is Celia taken hostage to after the murder of Madame Dauvary?\",\n \"Who is, in turn, framed from Madame Dauvary's murder?\",\n \"Who is responsible for finding out the truth about the murder of Madame Dauvary?\",\n \"Who rescues Celia?\",\n \"Where does Inspector Hanaud find Celia in just enough time to rescue her?\",\n \"How was Celia going to be killed?\",\n \"Who befriends Celia?\",\n \"What is Madame Dauvray fully aware of regarding the events of the spirit world?\",\n \"Who is rich?\",\n \"What does Madame Dauvray's maid want to steal from Madame?\",\n \"Where was Celia going to be dumped into?\",\n \"Who is a widow?\",\n \"Who rescues Celia?\",\n \"What was Celia confined to in order to avoid her escape?\",\n \"Where is Celia abducted to?\",\n \"What is Madame Dauvray addicted to?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Aix les Bains","Aix les Bains"],["Spiritualism","spiritualism"],["Adele Tace was maid of Madame Dauvray.","Madame Dauvray's maid"],["Madame Dauvray's maid Adele Tace.","Celia Harland."],["Adele Tace","Adele Tace"],["She wanted to make Celia a medium for staging of seances.","Adele wanted to plant suspicion on Celia."],["Because she wanted Celia to be blamed for the murder of Madame Dauvray. ","To be framed for the crime"],["She and her gang wanted to rob Madame Dauvray's jewelry and valuables.","To steal her jewelery colelction"],["Inspector Hanaud of the Paris Surete","Inspector Hanaud"],["In Aix les Bains and Geneva.","In Aix les Bains"],["England.","Aix les Bains."],["Adele Tace.","Adele Tace "],["Geneva.","At Geneva"],["Celia Harland.","Nobody"],["Inspector Hanaud of the Paris Surete.","Inspector Hanaud"],["Inspector Hanaud.","Inspector Hanaud"],["Geneva.","Just before being dumped in Lake Geneva"],["She was going to be drugged and dumped into Lake Geneva.","Drugged and dumped into Lake Geneva"],["Madame Dauvray.","Madame Dauvray"],["They are bogus.","they are bogus"],["Madame Dauvray.","Madame Dauvray"],["Madame's jewellery collection.","The jewelry collection."],["Lake Geneva.","Lake Geneva"],["Madame Dauvray.","Madame Dauvray"],["Inspector Hanaud.","Inspector Hanaud"],["A pillar.","Tied hands and foot and tied to a pillar"],["Geneva.","Geneva"],["Spiritualism.","spiritualism"]],"string":"[\n [\n \"Aix les Bains\",\n \"Aix les Bains\"\n ],\n [\n \"Spiritualism\",\n \"spiritualism\"\n ],\n [\n \"Adele Tace was maid of Madame Dauvray.\",\n \"Madame Dauvray's maid\"\n ],\n [\n \"Madame Dauvray's maid Adele Tace.\",\n \"Celia Harland.\"\n ],\n [\n \"Adele Tace\",\n \"Adele Tace\"\n ],\n [\n \"She wanted to make Celia a medium for staging of seances.\",\n \"Adele wanted to plant suspicion on Celia.\"\n ],\n [\n \"Because she wanted Celia to be blamed for the murder of Madame Dauvray. \",\n \"To be framed for the crime\"\n ],\n [\n \"She and her gang wanted to rob Madame Dauvray's jewelry and valuables.\",\n \"To steal her jewelery colelction\"\n ],\n [\n \"Inspector Hanaud of the Paris Surete\",\n \"Inspector Hanaud\"\n ],\n [\n \"In Aix les Bains and Geneva.\",\n \"In Aix les Bains\"\n ],\n [\n \"England.\",\n \"Aix les Bains.\"\n ],\n [\n \"Adele Tace.\",\n \"Adele Tace \"\n ],\n [\n \"Geneva.\",\n \"At Geneva\"\n ],\n [\n \"Celia Harland.\",\n \"Nobody\"\n ],\n [\n \"Inspector Hanaud of the Paris Surete.\",\n \"Inspector Hanaud\"\n ],\n [\n \"Inspector Hanaud.\",\n \"Inspector Hanaud\"\n ],\n [\n \"Geneva.\",\n \"Just before being dumped in Lake Geneva\"\n ],\n [\n \"She was going to be drugged and dumped into Lake Geneva.\",\n \"Drugged and dumped into Lake Geneva\"\n ],\n [\n \"Madame Dauvray.\",\n \"Madame Dauvray\"\n ],\n [\n \"They are bogus.\",\n \"they are bogus\"\n ],\n [\n \"Madame Dauvray.\",\n \"Madame Dauvray\"\n ],\n [\n \"Madame's jewellery collection.\",\n \"The jewelry collection.\"\n ],\n [\n \"Lake Geneva.\",\n \"Lake Geneva\"\n ],\n [\n \"Madame Dauvray.\",\n \"Madame Dauvray\"\n ],\n [\n \"Inspector Hanaud.\",\n \"Inspector Hanaud\"\n ],\n [\n \"A pillar.\",\n \"Tied hands and foot and tied to a pillar\"\n ],\n [\n \"Geneva.\",\n \"Geneva\"\n ],\n [\n \"Spiritualism.\",\n \"spiritualism\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"e93ace5fb122b6962098ca5c0bf2a9e4e8b86893"},"split":{"kind":"string","value":"train"}}},{"rowIdx":41,"cells":{"text":{"kind":"list like","value":[["of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","Lord Monmouth, who was at Rome, that he should go at once to Eton. \n This was the first great epoch of his life. There never was a youth \n who entered into that wonderful little world with more eager zest than \n Coningsby. Nor was it marvellous. \n \n That delicious plain, studded with every creation of graceful \n culture; hamlet and hall and grange; garden and grove and park; that \n castle-palace, grey with glorious ages; those antique spires, hoar with","becoming his own master by the liberty wisely entrusted to him in his \n boyhood, and which is, in general, discreetly exercised. But there were \n also other reasons why Coningsby should have been less impressed with \n the novelty of his life, and have encountered less temptations than \n commonly are met with in the new existence which an University opens to \n youth. In the interval which had elapsed between quitting Eton and going \n to Cambridge, brief as the period may comparatively appear, Coningsby","studies in chain armour. The calmer Henry Sydney was consoled for the \n misfortunes of Coningsby by a fanciful project himself to pass a portion \n of his life amid these halls and courts, gardens and terraces, that \n maintain in the heart of a great city in the nineteenth century, so much \n of the grave romance and picturesque decorum of our past manners. \n Henry Sydney was sanguine; he was reconciled to the disinheritance of \n Coningsby by the conviction that it was a providential dispensation to","a very fair, regular, routine life. They all read a little, but not \n with the enthusiasm which they had once projected. Buckhurst drove \n four-in-hand, and they all of them sometimes assisted him; but not \n immoderately. Their suppers were sometimes gay, but never outrageous; \n and, among all of them, the school friendship was maintained unbroken, \n and even undisturbed. \n \n The fame of Coningsby preceded him at Cambridge. No man ever went up","could only have been mastered by a mental discipline of a severe and \n exalted character. At the end of the term Coningsby took his degree, and \n in a few days was about to quit that university where, on the whole, \n he had passed three serene and happy years in the society of fond and \n faithful friends, and in ennobling pursuits. He had many plans for his \n impending movements, yet none of them very mature ones. Lord Vere wished \n Coningsby to visit his family in the north, and afterwards to go to","than Universities. The mild suggestions of a sister, the gentle raillery \n of some laughing cousin, are also advantages not always appreciated at \n the time, but which boys, when they have become men, often think over \n with gratitude, and a little remorse at the ungracious spirit in \n which they were received. Not even the dancing-master had afforded his \n mechanical aid to Coningsby, who, like all Eton boys of his generation, \n viewed that professor of accomplishments with frank repugnance. But even","bless you. I will soon see you again.' Mournfully he bade her farewell. \n \n \n \n \n CHAPTER V. \n \n \n About a week after this interview with Flora, as Coningsby one morning \n was about to sally forth from the Albany to visit some chambers in the \n Temple, to which his notice had been attracted, there was a loud ring, a \n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \n","to a favourite pupil, in whose abilities he had confidence, and whose \n future position in life would afford him the opportunity of influencing \n opinion. Among others, they fell upon the ear of Coningsby. They were \n addressed to a mind which was prepared for such researches. \n \n There is a Library at Eton formed by the boys and governed by the boys; \n one of those free institutions which are the just pride of that noble \n school, which shows the capacity of the boys for self-government, and","Coningsby, class as 'Corporals;' and are severally followed by one or \n more lower boys, who are denominated 'Polemen,' but who appear in their \n ordinary dress. \n \n It was a fine, bright morning; the bells of Eton and Windsor rang \n merrily; everybody was astir, and every moment some gay equipage \n drove into the town. Gaily clustering in the thronged precincts of \n the College, might be observed many a glistening form: airy Greek or","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","In this mood, the day after the visit of Buckhurst and Henry Sydney, \n Coningsby called on Millbank, but finding his medical attendant with \n him, Coningsby availed himself of that excuse for going away without \n seeing him. \n \n The next day he left Millbank a newspaper on his way to school, time not \n permitting a visit. Two days after, going into his room, he found on his \n table a letter addressed to 'Harry Coningsby, Esq.' \n","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","of power and peril; a world for which a great preparation was indeed \n necessary, severe and profound, but not altogether such an one as was \n now offered to him. Yet this want must be supplied, and by himself. \n Coningsby had already acquirements sufficiently considerable, with some \n formal application, to ensure him at all times his degree. He was no \n longer engrossed by the intention he once proudly entertained of trying \n for honours, and he chalked out for himself that range of reading,","with one to his old schoolfellow and friend. Now that was practicable. \n And immediately Coningsby wrote to apprise Millbank that he had \n taken his degree, was free, and prepared to pay him immediately the \n long-projected visit. Three years and more had elapsed since they had \n quitted Eton. How much had happened in the interval! What new ideas, new \n feelings, vast and novel knowledge! Though they had not met, they were \n nevertheless familiar with the progress and improvement of each other's","disappeared; then quitting the window, she threw herself into a chair, \n and buried her face in her shawl. \n \n END OF BOOK IV. \n \n \n \n \n BOOK V. \n \n \n CHAPTER I. \n \n \n An University life did not bring to Coningsby that feeling of \n emancipation usually experienced by freshmen. The contrast between \n school and college life is perhaps, under any circumstances, less \n striking to the Etonian than to others: he has been prepared for","Coningsby from the puerile profligacy of a college life, or from being \n that idol of private tutors, a young pedant. It was that noble ambition, \n the highest and the best, that must be born in the heart and organised \n in the brain, which will not let a man be content, unless his \n intellectual power is recognised by his race, and desires that it should \n contribute to their welfare. It is the heroic feeling; the feeling that \n in old days produced demigods; without which no State is safe; without","After eight o'clock school, the day following the return of Coningsby, \n according to custom, he repaired to Buckhurst's room, where Henry \n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \n were all in the fifth form, and habitual companions, on the river or on \n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \n their leader alike in sport and study, inspired them to-day with unusual","of Paris, impressions of Hellingsley, his visit to Oxford, Lady \n Wallinger's visit to Cambridge. In ten minutes their voices seemed to \n sound to each other as they did in the Rue de Rivoli, and their mutual \n perplexity had in a great degree subsided. \n \n Oswald and Sir Joseph now entered the room, and the conversation became \n general. Hellingsley was the subject on which Coningsby dwelt; he was \n charmed with all that he had seen! wished to see more. Sir Joseph was"],["father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","well for England until this order of the peasantry was restored to its \n pristine condition; not merely in physical comfort, for that must vary \n according to the economical circumstances of the time, like that of \n every class; but to its condition in all those moral attributes which \n make a recognised rank in a nation; and which, in a great degree, are \n independent of economics, manners, customs, ceremonies, rights, and \n privileges. \n \n 'Henry thinks,' said Lord Everingham, 'that the people are to be fed by","is to keep as clear of political party as we possibly can. How many \n men waste the best part of their lives in painfully apologising for \n conscientious deviation from a parliamentary course which they adopted \n when they were boys, without thought, or prompted by some local \n connection, or interest, to secure a seat.' \n \n It was the midnight following the morning when this conversation \n took place, that Coningsby, alone, and having just quitted a rather","into a week the poignant conclusions of three years of almost unbroken \n study. And one night, as they sat together in Millbank's rooms at \n Oriel, their conversation having for some time taken a political colour, \n Millbank said, \n \n 'Now tell me, Coningsby, exactly what you conceive to be the state of \n parties in this country; for it seems to me that if we penetrate the \n surface, the classification must be more simple than their many names \n would intimate.' \n","and ever famous for accomplished men and charming women. But I enter \n life in the midst of a convulsion in which the very principles of our \n political and social systems are called in question. I cannot unite \n myself with the party of destruction. It is an operative cause alien \n to my being. What, then, offers itself? The Duke talks to me of \n Conservative principles; but he does not inform me what they are. I \n observe indeed a party in the State whose rule it is to consent to no","opposition to the new system, at least of critical suspicion of its \n spirit and provisions. It was only the statistics and sharp acuteness \n of his son-in-law that had, indeed, ever kept him to his colours. Lord \n Henry would not listen to statistics, dietary tables, Commissioners' \n rides, Sub-commissioners' reports. He went far higher than his father; \n far deeper than his brother-in-law. He represented to the Duke that the \n order of the peasantry was as ancient, legal, and recognised an order as","it, if possible, to be without distinction of party. He had come to \n reside among his old friends, to live and die where he was born. \n The Chairman of the Conservative Association and the Vice President \n exchanged glances, which would have become Tadpole and Taper; the \n four attorneys nibbed their pens with increased energy, and vowed that \n nothing could withstand the influence of the aristocracy 'in the long \n run.' All went and dined at the Castle; all returned home overpowered","imbibed much of Coningsby's political sentiment, prevailed on himself to \n be neutral. The Conservative Cause triumphed in the person of its Eton \n champion. The day the member was chaired, several men in Coningsby's \n rooms were talking over their triumph. \n \n 'By Jove!' said the panting Buckhurst, throwing himself on the sofa, 'it \n was well done; never was any thing better done. An immense triumph! The \n greatest triumph the Conservative Cause has had. And yet,' he added,","Coningsby liked very much to talk politics with Millbank. He heard \n things from Millbank which were new to him. Himself, as he supposed, a \n high Tory, which he was according to the revelation of the Rigbys, he \n was also sufficiently familiar with the hereditary tenets of his Whig \n friend, Lord Vere. Politics had as yet appeared to him a struggle \n whether the country was to be governed by Whig nobles or Tory nobles; \n and he thought it very unfortunate that he should probably have to enter","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","he only waits the occasion to come forward; but he is quite wrong. I \n know Lyle well, and he speaks to me without disguise. You see 'tis an \n old Cavalier family, and Lyle has all the opinions and feelings of his \n race. He will not ally himself with anti-monarchists, and democrats, \n and infidels, and sectarians; at the same time, why should he support a \n party who pretend to oppose these, but who never lose an opportunity","1832. Now I do not ask you, Vere, to relinquish the political tenets \n which in ordinary times would have been your inheritance. All I say is, \n the constitution introduced by your ancestors having been subverted by \n their descendants your contemporaries, beware of still holding Venetian \n principles of government when you have not a Venetian constitution to \n govern with. Do what I am doing, what Henry Sydney and Buckhurst are \n doing, what other men that I could mention are doing, hold yourself","change provided only it be effected by unauthorised means.' \n \n 'The first public association of men,' said Coningsby, 'who have worked \n for an avowed end without enunciating a single principle.' \n \n 'And who have established political infidelity throughout the land,' \n said Lord Henry. \n \n 'By Jove!' said Buckhurst, 'what infernal fools we have made ourselves \n this last week!' \n \n 'Nay,' said Coningsby, smiling, 'it was our last schoolboy weakness.","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","without reserve; with a frankness which our short acquaintance scarcely \n authorises; but Henry Sydney has so often talked to me of you, and \n I have so long wished to know you, that I open my heart without \n restraint.' \n \n 'My dear fellow,' said Coningsby, 'you have but described my feelings \n when you depicted your own. My mind on these subjects has long been \n a chaos. I float in a sea of troubles, and should long ago have \n been wrecked had I not been sustained by a profound, however vague,","fatal facility, on the very threshold of his career he devoted his \n time and thought, labour and life, to one vast and noble purpose, the \n elevation of the condition of the great body of the people. \n \n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \n be content with being his gentleman usher.' \n \n 'It shall be put to the vote,' said Lord Vere. \n \n 'No one has a chance against Buckhurst,' said Coningsby. \n","his was to be a wilful error. He remembered his first visit to his \n grandfather, and the delight of his friends at Eton at his report on his \n return. After eight years of initiation was he to lose that favour then \n so highly prized, when the results which they had so long counted on \n were on the very eve of accomplishment? Parliament and riches, and rank \n and power; these were facts, realities, substances, that none could \n mistake. Was he to sacrifice them for speculations, theories, shadows,","There was a knock at the door. It was Oswald. They embraced. It seemed \n that Oswald was as excited as Coningsby. His eye sparkled, his manner \n was energetic. \n \n 'We must talk it all over during our journey. We have not a minute to \n spare.' \n \n During that journey Coningsby learned something of the course of affairs \n which gradually had brought about so singular a revolution in his \n favour. We mentioned that Sidonia had acquired a thorough knowledge of","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","There is nothing more interesting than to trace predisposition. An \n indefinite, yet strong sympathy with the peasantry of the realm had been \n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \n schoolboy, he had busied himself with their pastimes and the details of \n their cottage economy. As he advanced in life the horizon of his views \n expanded with his intelligence and his experience; and the son of one of \n the noblest of our houses, to whom the delights of life are offered with"],["loved and which loved them. One of their sons-in-law and his wife, and \n Henry Sydney, completed the party. \n \n There are few conjunctures in life of a more startling interest, than to \n meet the pretty little girl that we have gambolled with in our boyhood, \n and to find her changed in the lapse of a very few years, which in some \n instances may not have brought a corresponding alteration in our own \n appearance, into a beautiful woman. Something of this flitted over","had not quite arrived at that age when you make enemies. The moment, \n therefore, that he found himself in the saloons of Sidonia, he was \n accosted by many whose notice was flattering; but his eye wandered, \n while he tried to be courteous and attempted to be sprightly. Where was \n she? He had nearly reached the ball-room when he met her. She was on \n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and","deceive him, and that he does not want to deceive you. I wish he liked a \n rubber more. Then he would be perfect.' \n \n 'They say he is going to be married,' said the Attaché. \n \n 'Poh!' said Lord Monmouth. \n \n 'Married!' exclaimed Lady Monmouth. 'To whom?' \n \n 'To your beautiful countrywoman, \"la belle Anglaise,\" that all the world \n talks of,' said the Attaché. \n","one whom she never met, and by whom, if she met him, she would scarcely, \n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \n her life was absorbed; nor for her did the world contain an existence, \n a thought, a sensation, beyond those that sprang from the image of \n the noble youth who had sympathised with her in her sorrows, and had \n softened the hard fortunes of dependence by his generous sensibility. \n Happy that, with many mortifications, it was still her lot to live under","are right not to dance. It is not in your way. You are ambitious, I \n believe?' she added. \n \n 'I was not aware of it; everybody is ambitious.' \n \n 'You see I know something of your character. Henry has spoken of you to \n me a great deal; long before we met,--met again, I should say, for we \n are old friends, remember. Do you know your career much interests me? I \n like ambitious men.' \n \n There is something fascinating in the first idea that your career","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","it with satisfaction. It was a circumstance which represented in his \n mind a continuance of good eating and good drinking, fine horses, \n luxurious baths, unceasing billiards. \n \n In this state of affairs appeared Sidonia, known before to her \n step-mother, but seen by Lucretia for the first time. Truly, he came, \n saw, and conquered. Those eyes that rarely met another's were fixed upon \n his searching yet unimpassioned glance. She listened to that voice,","boundless treasure, was his chosen friend; gained under circumstances \n of romantic interest, when the reciprocal influence of their personal \n qualities was affected by no accessory knowledge of their worldly \n positions. He himself was in the very bloom of youth and health; the \n child of a noble house, rich for his present wants, and with a future of \n considerable fortunes. Entrancing love and dazzling friendship, a \n high ambition and the pride of knowledge, the consciousness of a great","dinner at Millbank, and the timid hostess whom he then addressed so \n often in vain, as he gazed upon the bewitching and accomplished woman \n whom he now passionately loved. It was a most agreeable dinner. Oswald, \n happy in his friend being his guest, under his own roof, indulged in \n unwonted gaiety. \n \n The ladies withdrew; Sir Joseph began to talk politics, although the \n young men had threatened their fair companions immediately to follow","Soon after this Coningsby led Edith to the dance. It was at a ball that \n he had first met her at Paris, and this led to other reminiscences; \n all most interesting. Coningsby was perfectly happy. All mysteries, all \n difficulties, were driven from his recollection; he lived only in the \n exciting and enjoyable present. Twenty-one and in love! \n \n Some time after this, Coningsby, who was inevitably separated from \n Edith, met his host. \n","marry?' he added, with a fiendish laugh. \n \n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \n that Monsieur Sidonia was about to marry her.' \n \n 'Is she so very beautiful?' inquired another gentleman. \n \n 'Yes,' said Lady Monmouth, calm, but pale. \n \n 'Poh!' said the Marquess again. \n \n 'I assure you that it is a fact,' said the Attaché, 'not at least an","since he so suddenly quitted Paris at the beginning of the year. The \n wound he had received was deep to one unused to wounds. Yet, after all, \n none had outraged his feelings, no one had betrayed his hopes. He had \n loved one who had loved another. Misery, but scarcely humiliation. And \n yet 'tis a bitter pang under any circumstances to find another preferred \n to yourself. It is about the same blow as one would probably feel if \n falling from a balloon. Your Icarian flight melts into a grovelling","Tronchet, but their owner bore the features of the senior Millbank. A \n beautiful countenance that was alternately the face in the mysterious \n picture, and then that of Edith, haunted him under all circumstances. He \n woke little refreshed; restless, and yet sensible of some secret joy. \n \n He woke to think of her of whom he had dreamed. The light had dawned on \n his soul. Coningsby loved. \n \n Ah! what is that ambition that haunts our youth, that thirst for power","before; nor can I ever suppose that you could like me as you like Henry \n Sydney and Buckhurst, or even as you like Vere; but still I hope you \n will always think of me with kindness now, and let me sign myself, if \n ever I do write to you, 'Your most attached, affectionate, and devoted \n friend, \n \n 'OSWALD MILLBANK.' \n \n \n \n \n CHAPTER XI. \n \n \n About a fortnight after this nearly fatal adventure on the river, it was","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","advanced in youth. The ties of friendship which then united several of \n them had only been confirmed by continued companionship. Coningsby \n and Henry Sydney, and Buckhurst and Vere, were still bound together by \n entire sympathy, and by the affection of which sympathy is the only \n sure spring. But their intimacies had been increased by another familiar \n friend. There had risen up between Coningsby and Millbank mutual \n sentiments of deep, and even ardent, regard. Acquaintance had developed","he sat in his chamber, with his eyes fixed on vacancy. All thoughts and \n feelings, pursuits, desires, life, merge in one absorbing sentiment. \n \n It is impossible to exist without seeing her again, and instantly. He \n had requested and gained permission to call on Lady Wallinger; he would \n not lose a moment in availing himself of it. As early as was tolerably \n decorous, and before, in all probability, they could quit their hotel,","His heart was agitated, his countenance changed; he retained her hand \n amid the chattering tourists, too full of their criticisms and their \n egotistical commonplaces to notice what was passing. A sentimental \n ebullition seemed to be on the point of taking place. Their eyes met. \n The look of Edith was mournful and inquiring. \n \n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \n with a radiant smile. \n \n \n \n","though her organ wanted force. The gentlemen looked at each other, and \n nodded approbation. There was something so unobtrusive in her mien, \n that she instantly became a favourite with the ladies. The scene was not \n long, but it was successful. \n \n Flora did not appear in the next scene. In the fourth and final one \n of the act, she had to make a grand display. It was a love-scene, and \n rather of an impassioned character; Villebecque was her suitor. He","first love! Coningsby, of all places in the world, in the gardens of the \n Luxembourg, encountered Sir Joseph Wallinger and Edith. \n \n To avoid them was impossible; they met face to face; and Sir Joseph \n stopped, and immediately reminded him that it was three days since they \n had seen him, as if to reproach him for so unprecedented a neglect. And \n it seemed that Edith, though she said not as much, felt the same. And \n Coningsby turned round and walked with them. He told them he was going"],["could Lord Monmouth leave his money? However he might cut and carve up \n his fortunes, Rigby, and especially at a moment when he had so served \n him, must come in for a considerable slice. \n \n His prescient mind was right. All the dispositions in favour of 'my \n grandson Harry Coningsby' were revoked; and he inherited from his \n grandfather only the interest of the sum of 10,000_l._ which had been","cause of Coningsby being disinherited. Our hero, if one in such fallen \n fortunes may still be described as a hero, had mentioned to Lord Eskdale \n his sorrow that his grandfather had died in anger with him; but Lord \n Eskdale, without dwelling on the subject, had assured him that he had \n reason to believe that if Lord Monmouth had lived, affairs would have \n been different. He had altered the disposition of his property at a \n moment of great and general irritation and excitement; and had been too","Coningsby, which rendered this generous conduct of his father-in-law no \n longer necessary to his fortunes, though he never forgot its exercise. \n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \n which her spirit had never greatly sympathised. Perhaps she might have \n lingered in life for yet a little while, had it not been for that fatal \n inheritance which disturbed her peace and embittered her days, haunting \n her heart with the recollection that she had been the unconscious","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","establishment generally,' said Mr. Rigby, 'will allow the connection \n that at present subsists between that gentleman and his noble relative, \n now that Lord Monmouth's eyes are open to his real character, to \n terminate naturally, without the necessity of any formal explanation.' \n \n 'But what do you mean by the steps he is going to take in his \n establishment generally?' \n \n 'Lord Monmouth thinks he requires change of scene.' \n \n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with","large fortune which was to accompany the barony. Had not a separation \n between Lord Monmouth and his wife taken place simultaneously with \n Coningsby's difference with his grandfather, he was conscious that the \n consequences might have been even altogether fatal to his prospects; but \n the absence of her evil influence at such a conjuncture, its permanent \n removal, indeed, from the scene, coupled with his fortunate though not \n formal reconciliation with Lord Monmouth, had long ago banished from his \n memory all those apprehensions to which he had felt it impossible at the","Ladyship must allow me to place the circumstances of the case fairly \n before your excellent judgment. Lord Monmouth has decided upon a course: \n you know as well as I that he never swerves from his resolutions. He has \n left peremptory instructions, and he will listen to no appeal. He has \n empowered me to represent to your Ladyship that he wishes in every way \n to consider your convenience. He suggests that everything, in short, \n should be arranged as if his Lordship were himself unhappily no more;","itself, if known to Lord Monmouth, would ensure the lad's annihilation.' \n \n 'And you kept this fine news for a winter campaign, my good Mr. Rigby,' \n said Lady Monmouth, with a subtle smile. 'It was a weapon of service. I \n give you my compliments.' \n \n 'The time is not always ripe,' said Mr. Rigby. \n \n 'But it is now most mature. Let us not conceal it from ourselves that,","The health of Lord Monmouth was the subject which never was long absent \n from the vigilance or meditation of Lucretia. She was well assured that \n his life was no longer secure. She knew that after their marriage he had \n made a will, which secured to her a large portion of his great wealth in \n case of their having no issue, and after the accident at Paris all \n hope in that respect was over. Recently the extreme anxiety which Lord \n Monmouth had evinced about terminating the abeyance of the barony to","'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \n 'Our interests are inseparable, and therefore there can never be \n any sacrifice of conduct on your part. What you mean by sacrifice of \n affections, I don't comprehend; but as for your opinions, you have no \n business to have any other than those I uphold. You are too young to \n form opinions.' \n \n 'I am sure I wish to express them with no unbecoming confidence,'","some enjoyment then; one is let alone. But the instant you have a large \n fortune, duties commence. And then impudent fellows borrow your money; \n and if you ask them for it again, they go about town saying you are a \n screw.' \n \n Lord Monmouth had died suddenly at his Richmond villa, which latterly \n he never quitted, at a little supper, with no persons near him but those \n who were amusing. He suddenly found he could not lift his glass to his","Indeed, Lord Monmouth was one of the most finished gentlemen that \n ever lived; and as he was good-natured, and for a selfish man even \n good-humoured, there was rarely a cloud of caprice or ill-temper to \n prevent his fine manners having their fair play. The country neighbours \n were all fascinated; they were received with so much dignity and \n dismissed with so much grace. Nobody would believe a word of the stories \n against him. Had he lived all his life at Coningsby, fulfilled every","1832, when a codicil increased the 10,000_l._ left under the will to \n Coningsby to 50,000_l._. \n \n After Coningsby's visit to the Castle in 1836 a very important change \n occurred in the disposition of Lord Monmouth's estate. The legacy of \n 50,000_l._ in his favour was revoked, and the same sum left to the","or his convenience in a degree that counterbalanced the objections which \n might be urged against their intentions, or their less pleasing and \n profitable qualities. To be pleased was always a principal object with \n Lord Monmouth; but when a man wants vengeance, gay amusement is not \n exactly a satisfactory substitute. \n \n A month elapsed. Lord Monmouth with a serene or smiling visage to his \n guests, but in private taciturn and morose, scarcely ever gave a word","Monmouth did not become its possessor. Long as his mind had been intent \n upon the subject, skilful as had been his combinations to secure his \n prey, and unlimited the means which were to achieve his purpose, another \n stepped in, and without his privity, without even the consolation of a \n struggle, stole away the prize; and this too a man whom he hated, almost \n the only individual out of his own family that he did hate; a man who \n had crossed him before in similar enterprises; who was his avowed foe;","trustee of your marriage settlement, well known also as Lord Monmouth's \n executor,' said Mr. Rigby, his countenance gradually regaining its \n usual callous confidence, and some degree of self-complacency, as he \n remembered the good things which he enumerated. \n \n 'I have decided,' said Lady Monmouth. 'I will assert my rights. Your \n master has mistaken my character and his own position. He shall rue the \n day that he assailed me.' \n","turning him out you not only gain a vote for the Conservative cause \n and our coronet, but you crush my foe. Spare nothing for that object; I \n count on you, boy.' \n \n 'I should grieve to be backward in anything that concerned your \n interest or your honour, sir,' said Coningsby, with an air of great \n embarrassment. \n \n 'I am sure you would, I am sure you would,' said Lord Monmouth, in a \n tone of some kindness. \n","'Quite amicable,' said Mr. Rigby. 'I would never have consented to \n interfere in the affair, but to secure that most desirable point.' \n \n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \n pallor aggravated into a ghoul-like tint. \n \n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \n \n 'Our conversation, sir, then finishes; I wait his return.' She bowed","the Duke was right, and it would have been best to have left them to \n themselves. I am glad you have come up at once, for I want you. The fact \n is, I am going to be married.' \n \n This was not a startling announcement to Mr. Rigby; he was prepared for \n it, though scarcely could have hoped that he would have been favoured \n with it on the present occasion, instead of a morose comment on his \n misfortunes. Marriage, then, was the predominant idea of Lord Monmouth","'I was thinking,' said Coningsby, 'of poor mamma!' \n \n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \n who are dead; so you must take care never to mention your mother or your \n father.' \n \n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \n Marquis thought he could read characters by a glance, and in general \n he was successful, for his natural sagacity had been nurtured by great"],["approached Coningsby, and told him that he was wanted without. \n \n Our hero retired unperceived. A despatch had arrived for him from \n London. Without any prescience of its purpose, he nevertheless broke \n the seal with a trembling hand. His presence was immediately desired in \n town: Lord Monmouth was dead. \n \n \n \n \n CHAPTER II. \n \n \n This was a crisis in the life of Coningsby; yet, like many critical \n epochs, the person most interested in it was not sufficiently aware","occurred, Coningsby fell asleep when the morning had far advanced, \n resolved to rise when a little refreshed and find out Lady Wallinger, \n who, he felt sure, would receive him with kindness. \n \n Yet it was fated that this step should not be taken, for while he was \n at breakfast, his servant brought him a letter from Monmouth House, \n apprising him that his grandfather wished to see him as soon as possible \n on urgent business. \n \n \n \n \n CHAPTER III. \n \n","'And this is the end of Coningsby, the brilliant Coningsby, that we all \n loved, that was to be our leader!' said Buckhurst to Lord Henry as \n they quitted him. 'Well, come what may, life has lost something of its \n bloom.' \n \n 'The great thing now,' said Lord Henry, 'is to keep up the chain of \n our friendship. We must write to him very often, and contrive to be \n frequently together. It is dreadful to think that in the ways of life","still lived with her kind step-father. \n \n \n \n \n CHAPTER VII. \n \n \n Another year elapsed; not so fruitful in incidents to Coningsby as the \n preceding ones, and yet not unprofitably passed. It had been spent in \n the almost unremitting cultivation of his intelligence. He had read \n deeply and extensively, digested his acquisitions, and had practised \n himself in surveying them, free from those conventional conclusions \n and those traditionary inferences that surrounded him. Although he had","'I suppose Lord Monmouth does not trouble himself much about the New \n Poor Law?' \n \n 'Hardly,' said Coningsby. 'My grandfather's frequent absence from \n England, which his health, I believe, renders quite necessary, deprives \n him of the advantage of personal observation on a subject, than which I \n can myself conceive none more deeply interesting.' \n \n 'I am glad to hear you say so,' said the Duke, 'and it does you great \n credit, and Henry too, whose attention, I observe, is directed very much","letter for his grandfather, and tells me that he and Henry Sydney had \n just had a capital run with the King's hounds.' \n \n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \n 'Once he was often here. He was a great favourite of mine. I hardly ever \n knew a more interesting boy.' \n \n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth","you.' \n \n Coningsby said this with a gay air, but really with a depressed spirit. \n He felt convinced that his grandfather was deeply displeased with him; \n and as he rode away from the villa, he could not resist the strong \n impression that he was destined never to re-enter it. Yet it was decreed \n otherwise. It so happened that the idle message which Coningsby had left \n for his grandfather, and which he never seriously supposed for a moment \n that his late companions would have given their host, operated entirely","with the parties concerned to feel assured that he had not learnt the \n whole truth. What had really taken place, and what was the real cause of \n the occurrences, were equally mystical to him: all he was convinced of \n was, that some great domestic revolution had been suddenly effected. \n \n Coningsby entertained for his grandfather a sincere affection. With the \n exception of their last unfortunate interview, he had experienced from \n Lord Monmouth nothing but kindness both in phrase and deed. There was","of its character. The first feeling which he experienced at the \n intelligence was sincere affliction. He was fond of his grandfather; had \n received great kindness from him, and at a period of life when it was \n most welcome. The neglect and hardships of his early years, instead of \n leaving a prejudice against one who, by some, might be esteemed their \n author, had by their contrast only rendered Coningsby more keenly \n sensible of the solicitude and enjoyment which had been lavished on his \n happy youth. \n","Coningsby, which rendered this generous conduct of his father-in-law no \n longer necessary to his fortunes, though he never forgot its exercise. \n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \n which her spirit had never greatly sympathised. Perhaps she might have \n lingered in life for yet a little while, had it not been for that fatal \n inheritance which disturbed her peace and embittered her days, haunting \n her heart with the recollection that she had been the unconscious","honours were proclaimed in the London Gazette, and her decease was not \n even noticed in the County Chronicle; but the altars of Nemesis are \n beneath every outraged roof, and the death of this unhappy lady, \n apparently without an earthly friend or an earthly hope, desolate and \n deserted, and dying in obscure poverty, was not forgotten. \n \n Coningsby was not more than nine years of age when he lost his last \n parent; and he had then been separated from her for nearly three years.","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","The moon wanes; and Coningsby must leave these enchanted halls. Oswald \n walked homeward with him until he reached the domain of his grandfather. \n Then mounting his horse, Coningsby bade his friend farewell till the \n morrow, and made his best way to the Castle. \n \n \n \n \n CHAPTER V. \n \n \n There is a romance in every life. The emblazoned page of Coningsby's \n existence was now open. It had been prosperous before, with some moments","The Marquess sent for Coningsby the morning after his arrival and asked \n him to breakfast with him in his private rooms. Nothing could be \n more kind or more agreeable than his grandfather. He appeared to be \n interested in his grandson's progress, was glad to find Coningsby had \n distinguished himself at Eton, solemnly adjured him not to neglect his \n French. A classical education, he said, was a very admirable thing, and \n one which all gentlemen should enjoy; but Coningsby would find some day","sentence, and detected the ruling passion with the hand of a master. \n Besides, he had seen everybody and had done everything; and though, on \n the whole, too indolent for conversation, and loving to be talked to, \n these were circumstances which made his too rare communications the more \n precious. \n \n With these feelings, Coningsby resolved, the moment that he learned that \n his grandfather was established at Richmond, to pay him a visit. He \n was informed that Lord Monmouth was at home, and he was shown into a","'I was thinking,' said Coningsby, 'of poor mamma!' \n \n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \n who are dead; so you must take care never to mention your mother or your \n father.' \n \n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \n Marquis thought he could read characters by a glance, and in general \n he was successful, for his natural sagacity had been nurtured by great","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","bless you. I will soon see you again.' Mournfully he bade her farewell. \n \n \n \n \n CHAPTER V. \n \n \n About a week after this interview with Flora, as Coningsby one morning \n was about to sally forth from the Albany to visit some chambers in the \n Temple, to which his notice had been attracted, there was a loud ring, a \n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \n","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","Millbank to his grandfather's dinner; the vindictive feud that existed \n between the two families, and for which political opinion, or even party \n passion, could not satisfactorily account; and he reasoned himself into \n a conviction, that the solution of many perplexities was at hand, and \n that all would be consummated to the satisfaction of every one, by his \n unexpected but inevitable agency. \n \n Coningsby found Sir Joseph alone. The worthy Baronet was at any rate"],["and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","longer to be blind to the great change. That happy and equable gaiety of \n spirit, which seemed to spring from an innocent enjoyment of existence, \n and which had ever distinguished Edith, was wanting. Her sunny glance \n was gone. She was not indeed always moody and dispirited, but she was \n fitful, unequal in her tone. That temper whose sweetness had been a \n domestic proverb had become a little uncertain. Not that her affection \n for her father was diminished, but there were snatches of unusual","manner in which he had parted from them; but they greeted him with \n so much cordiality that he instantly recovered himself, and, turning, \n became their companion. He hardly ventured to ask after Edith: at \n length, in a depressed tone and a hesitating manner, he inquired whether \n they had lately seen Miss Millbank. He was himself surprised at the \n extreme light-heartedness which came over him the moment he heard she \n was in England, at Millbank, with her family. He always very much liked","'My good young friend, you will live, I doubt not, to be a happy one. \n Happiness is not, as we are apt to fancy, entirely dependent on these \n contingencies. It is the lot of most men to endure what you are now \n suffering, and they can look back to such conjunctures through the vista \n of years with calmness.' \n \n 'I may see Edith now?' \n \n 'Frankly, I should say, no. My daughter is in her room; I have had some","very loud, knowing that the presence of his father would make Coningsby \n hesitate about coming. Edith's heart fluttered; but she said nothing. It \n was with delight she heard her father, after a moment's pause, say, \n \n 'Oh! I beg we may have that pleasure.' \n \n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \n your journey has not fatigued you.'","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","never concealed his admiration of her charms or the interest he found \n in her society. And Edith; what, after all, had passed between Edith \n and himself which should at all gainsay this report, which he had been \n particularly assured was not a mere report, but came from a quarter that \n could not well be mistaken? She had received him with kindness. And \n how should she receive one who was the friend and preserver of her only \n brother, and apparently the intimate and cherished acquaintance of","recognised a more satisfactory reason for the transient liveliness of \n his daughter which had so greatly gratified him. \n \n About a month after Christmas, the meeting of Parliament summoned Mr. \n Millbank up to London; and he had wished Edith to accompany him. But \n London in February to Edith, without friends or connections, her father \n always occupied and absent from her day and night, seemed to them \n all, on reflection, to be a life not very conducive to health or","they should pay a visit to their earlier home. Edith assented without \n difficulty, but without interest. And yet, as Mr. Millbank immediately \n perceived, the change was a judicious one; for certainly the spirits \n of Edith seemed to improve after her return to their valley. There were \n more objects of interest: change, too, is always beneficial. If \n Mr. Millbank had been aware that Oswald had received a letter from \n Coningsby, written before he quitted Spain, perhaps he might have","'Edith!' he said in a tone of tremulous passion, 'Let me call you Edith! \n Yes,' he continued, gently taking her hand, let me call you my Edith! I \n love you!' \n \n She did not withdraw her hand; but turned away a face flushed as the \n impending twilight. \n \n \n \n \n CHAPTER VI. \n \n \n It was past the dinner hour when Edith and Coningsby reached the Hall;","Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \n that it would be well that his daughter should accompany them in their \n somewhat extensive travels. It was not, therefore, only that nature \n had developed a beautiful woman out of a bashful girl since Coningsby's \n visit to Millbank; but really, every means and every opportunity that \n could contribute to render an individual capable of adorning the most \n accomplished circles of life, had naturally, and without effort, fallen","the circumstances which had occasioned and attended the disinheritance \n of Coningsby. These he had told to Lady Wallinger, first by letter, \n afterwards in more detail on her arrival in London. Lady Wallinger had \n conferred with her husband. She was not surprised at the goodness of \n Coningsby, and she sympathised with all his calamities. He had ever been \n the favourite of her judgment, and her romance had always consisted in \n blending his destinies with those of her beloved Edith. Sir Joseph was a","dissolution brought affairs to a crisis. The misery of Oswald at the \n position of Coningsby, the silent sadness of Edith, his own conviction, \n which assured him that he could do nothing wiser or better than take \n this young man to his heart, so ordained it that Mr. Millbank, who \n was after all the creature of impulse, decided suddenly, and decided \n rightly. Never making a single admission to all the representations of \n his son, Mr. Millbank in a moment did all that his son could have dared","'I will venture to say that there are very few men on our side in the \n House of Commons,' said Sir Joseph, 'who are aware that they were born \n under a Venetian Constitution.' \n \n 'Let us go to the ladies,' said Millbank, smiling. \n \n Edith was reading a letter as they entered. \n \n 'A letter from papa,' she exclaimed, looking up at her brother with \n great animation. 'We may expect him every day; and yet, alas! he cannot \n fix one.' \n","circumstances in your case, which, even if I were a member of the same \n order as my Lord Monmouth, would prevent the possibility of a prosperous \n union. Marry Edith, and you blast all the prospects of your life, and \n entail on her a sense of unceasing humiliation. Would you do this? \n Should I permit you to do this?' \n \n Coningsby, with his head resting on his arm, his face a little shaded, \n his eyes fixed on the ground, listened in silence. There was a pause;","an embarrassing circumstance, but mitigated by the conviction that they \n had not to encounter a very critical inspection. What, then, were their \n feelings when the first servant that they met informed them that Mr. \n Millbank had arrived! Edith never could have believed that the return of \n her beloved father to his home could ever have been to her other than \n a cause of delight. And yet now she trembled when she heard the \n announcement. The mysteries of love were fast involving her existence.","the father of Edith, and his vanquished rival who was to bite the dust \n before him was the author of all his misfortunes. Love, Vengeance, \n Justice, the glorious pride of having acted rightly, the triumphant \n sense of complete and absolute success, here were chaotic materials from \n which order was at length evolved; and all subsided in an overwhelming \n feeling of gratitude to that Providence that had so signally protected \n him. \n","Edith. He looked upon them as persons who had deeply injured him; \n though they really were individuals who had treated him with invariable \n kindness. But he felt their existence was a source of mortification and \n misery to him. With these feelings, sauntering away the last hours at \n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \n really, positively, undeniably unhappy; unhappy too for the first time \n in his life; the first unhappiness; what a companion piece for the","His heart was agitated, his countenance changed; he retained her hand \n amid the chattering tourists, too full of their criticisms and their \n egotistical commonplaces to notice what was passing. A sentimental \n ebullition seemed to be on the point of taking place. Their eyes met. \n The look of Edith was mournful and inquiring. \n \n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \n with a radiant smile. \n \n \n \n"],["Lord Monmouth, became silent and sullen. As for Lady Monmouth, she \n had learnt that Sidonia, whatever might be the result, was paying very \n marked attention to another woman, for whom undoubtedly he was giving \n that very ball which she had flattered herself was a homage to her \n wishes, and for which she had projected a new dress of eclipsing \n splendour. \n \n Coningsby felt quite sure that the story of Sidonia's marriage \n with Edith was the most ridiculous idea that ever entered into the","Coningsby, which rendered this generous conduct of his father-in-law no \n longer necessary to his fortunes, though he never forgot its exercise. \n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \n which her spirit had never greatly sympathised. Perhaps she might have \n lingered in life for yet a little while, had it not been for that fatal \n inheritance which disturbed her peace and embittered her days, haunting \n her heart with the recollection that she had been the unconscious","circumstances in your case, which, even if I were a member of the same \n order as my Lord Monmouth, would prevent the possibility of a prosperous \n union. Marry Edith, and you blast all the prospects of your life, and \n entail on her a sense of unceasing humiliation. Would you do this? \n Should I permit you to do this?' \n \n Coningsby, with his head resting on his arm, his face a little shaded, \n his eyes fixed on the ground, listened in silence. There was a pause;","Indeed, Lord Monmouth was one of the most finished gentlemen that \n ever lived; and as he was good-natured, and for a selfish man even \n good-humoured, there was rarely a cloud of caprice or ill-temper to \n prevent his fine manners having their fair play. The country neighbours \n were all fascinated; they were received with so much dignity and \n dismissed with so much grace. Nobody would believe a word of the stories \n against him. Had he lived all his life at Coningsby, fulfilled every","His father is a Lancashire manufacturer.' \n \n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \n in the world that Lord Monmouth dislikes so much as Manchester \n manufacturers, and particularly if they bear the name of Millbank. It \n must not be thought of, my dear Harry. I hope you have not spoken to \n the young man on the subject. I assure you it is out of the question. \n It would make Lord Monmouth quite ill. It would spoil everything, quite \n upset him.'","Joseph spoke feebly. Lady Wallinger conveyed all this intelligence, and \n all her impressions, to Oswald and Edith. The younger Millbank talked \n with his father, who, making no admissions, listened with interest, \n inveighed against Lord Monmouth, and condemned his will. \n \n After some time, Mr. Millbank made inquiries about Coningsby, took an \n interest in his career, and, like Lord Eskdale, declared that when he \n was called to the bar, his friends would have an opportunity to evince","'What Buckhurst is that, Harry?' inquired Lord Monmouth, in a tone of \n some interest, and for the first time calling him by his Christian name. \n \n 'Sir Charles Buckhurst, sir, a Berkshire man: Shirley Park is his \n place.' \n \n 'Why, that must be Charley's son, Eskdale,' said Lord Monmouth; 'I had \n no idea he could be so young.' \n \n 'He married late, you know, and had nothing but daughters for a long \n time.'","And yet, had she accorded him that peerless boon, her heart, with what \n aspect was he to communicate this consummation of all his hopes to his \n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \n of an establishment for the daughter of his foe, of a man whose name was \n never mentioned except to cloud his visage? Ah! what was that mystery \n that connected the haughty house of Coningsby with the humble blood of \n the Lancashire manufacturer? Why was the portrait of his mother beneath","'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \n 'Our interests are inseparable, and therefore there can never be \n any sacrifice of conduct on your part. What you mean by sacrifice of \n affections, I don't comprehend; but as for your opinions, you have no \n business to have any other than those I uphold. You are too young to \n form opinions.' \n \n 'I am sure I wish to express them with no unbecoming confidence,'","Ladyship must allow me to place the circumstances of the case fairly \n before your excellent judgment. Lord Monmouth has decided upon a course: \n you know as well as I that he never swerves from his resolutions. He has \n left peremptory instructions, and he will listen to no appeal. He has \n empowered me to represent to your Ladyship that he wishes in every way \n to consider your convenience. He suggests that everything, in short, \n should be arranged as if his Lordship were himself unhappily no more;","'I am not aware that she is going to be married to any one. Lord \n Beaumanoir admires her, has always admired her. But Edith has given \n him no encouragement, at least gave him no encouragement as long as she \n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \n am to blame; I have been to blame perhaps before, but indeed I think it \n cruel, very cruel, that Edith and you are kept asunder.' \n","'I was thinking,' said Coningsby, 'of poor mamma!' \n \n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \n who are dead; so you must take care never to mention your mother or your \n father.' \n \n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \n Marquis thought he could read characters by a glance, and in general \n he was successful, for his natural sagacity had been nurtured by great","desire, to beg him to return to England and meet Lord Monmouth there. \n The letter was couched with all the respect and good feeling which \n Villebecque really entertained for him whom he addressed; still a letter \n on such a subject from such a person was not agreeable to Coningsby, and \n his reply to it was direct to his grandfather; Lord Monmouth, however, \n had entirely given over writing letters. \n \n Coningsby had met at Paris, on his way to England, Lord and Lady","establishment generally,' said Mr. Rigby, 'will allow the connection \n that at present subsists between that gentleman and his noble relative, \n now that Lord Monmouth's eyes are open to his real character, to \n terminate naturally, without the necessity of any formal explanation.' \n \n 'But what do you mean by the steps he is going to take in his \n establishment generally?' \n \n 'Lord Monmouth thinks he requires change of scene.' \n \n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with","'Quite amicable,' said Mr. Rigby. 'I would never have consented to \n interfere in the affair, but to secure that most desirable point.' \n \n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \n pallor aggravated into a ghoul-like tint. \n \n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \n \n 'Our conversation, sir, then finishes; I wait his return.' She bowed","itself, if known to Lord Monmouth, would ensure the lad's annihilation.' \n \n 'And you kept this fine news for a winter campaign, my good Mr. Rigby,' \n said Lady Monmouth, with a subtle smile. 'It was a weapon of service. I \n give you my compliments.' \n \n 'The time is not always ripe,' said Mr. Rigby. \n \n 'But it is now most mature. Let us not conceal it from ourselves that,","'I mean what Lord Monmouth means. He suggests that if your Ladyship were \n to pass the summer at Kissengen, for example, and a paragraph in the \n _Morning Post_ were to announce that his Lordship was about to join you \n there, all awkwardness would be removed; and no one could for a moment \n take the liberty of supposing, even if his Lordship did not ultimately \n reach you, that anything like a separation had occurred.' \n \n 'A separation!' said Lady Monmouth. \n","Lord Monmouth was sitting in the same dressing-room in which he was \n first introduced to the reader; on the table were several packets of \n papers that were open and in course of reference; and he dictated his \n observations to Monsieur Villebecque, who was writing at his left hand. \n \n Thus were they occupied when Coningsby was ushered into the room. \n \n 'You see, Harry,' said Lord Monmouth, 'that I am much occupied to-day, \n yet the business on which I wish to communicate with you is so pressing","sacrifice all the objects of life for the pursuit of some fantastical \n puerilities.' \n \n His Lordship rang a bell on his table for Villebecque; and to prevent \n any further conversation, resumed his papers. \n \n \n \n \n CHAPTER IV. \n \n \n It would have been difficult for any person, unconscious of crime, \n to have felt more dejected than Coningsby when he rode out of the \n court-yard of Monmouth House. The love of Edith would have consoled","the Duke was right, and it would have been best to have left them to \n themselves. I am glad you have come up at once, for I want you. The fact \n is, I am going to be married.' \n \n This was not a startling announcement to Mr. Rigby; he was prepared for \n it, though scarcely could have hoped that he would have been favoured \n with it on the present occasion, instead of a morose comment on his \n misfortunes. Marriage, then, was the predominant idea of Lord Monmouth"],["cause of Coningsby being disinherited. Our hero, if one in such fallen \n fortunes may still be described as a hero, had mentioned to Lord Eskdale \n his sorrow that his grandfather had died in anger with him; but Lord \n Eskdale, without dwelling on the subject, had assured him that he had \n reason to believe that if Lord Monmouth had lived, affairs would have \n been different. He had altered the disposition of his property at a \n moment of great and general irritation and excitement; and had been too","Coningsby, which rendered this generous conduct of his father-in-law no \n longer necessary to his fortunes, though he never forgot its exercise. \n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \n which her spirit had never greatly sympathised. Perhaps she might have \n lingered in life for yet a little while, had it not been for that fatal \n inheritance which disturbed her peace and embittered her days, haunting \n her heart with the recollection that she had been the unconscious","Indeed, Lord Monmouth was greatly pleased that Harry had come to Paris; \n it was the University of the World, where everybody should graduate. \n Paris and London ought to be the great objects of all travellers; the \n rest was mere landscape. \n \n It cannot be denied that between Lucretia and Coningsby there existed \n from the first a certain antipathy; and though circumstances for a short \n time had apparently removed or modified the aversion, the manner of the","His father is a Lancashire manufacturer.' \n \n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \n in the world that Lord Monmouth dislikes so much as Manchester \n manufacturers, and particularly if they bear the name of Millbank. It \n must not be thought of, my dear Harry. I hope you have not spoken to \n the young man on the subject. I assure you it is out of the question. \n It would make Lord Monmouth quite ill. It would spoil everything, quite \n upset him.'","Lord Monmouth, became silent and sullen. As for Lady Monmouth, she \n had learnt that Sidonia, whatever might be the result, was paying very \n marked attention to another woman, for whom undoubtedly he was giving \n that very ball which she had flattered herself was a homage to her \n wishes, and for which she had projected a new dress of eclipsing \n splendour. \n \n Coningsby felt quite sure that the story of Sidonia's marriage \n with Edith was the most ridiculous idea that ever entered into the","House of Lords, Mr. Rigby had made that visit to Eton which had summoned \n very unexpectedly the youthful Coningsby to London. He was the orphan \n child of the youngest of the two sons of the Marquess of Monmouth. It \n was a family famous for its hatreds. The eldest son hated his father; \n and, it was said, in spite had married a lady to whom that father was \n attached, and with whom Lord Monmouth then meditated a second alliance.","suddenly from his seat, and pacing the room, 'and did that melt his \n heart? The experience of your own lot should have guarded you from the \n perils that you have so rashly meditated encountering, and the misery \n which you have been preparing for others besides yourself. Is my \n daughter to be treated like your mother? And by the same hand? Your \n mother's family were not Lord Monmouth's foes. They were simple and \n innocent people, free from all the bad passions of our nature, and","deplored and unjustifiable; but they exist, mutually exist; and have not \n been confined to words. Lord Monmouth would crush me, had he the power, \n like a worm; and I have curbed his proud fortunes often. Were it not \n for this feeling I should not be here; I purchased this estate merely \n to annoy him, as I have done a thousand other acts merely for his \n discomfiture and mortification. In our long encounter I have done him","And yet, had she accorded him that peerless boon, her heart, with what \n aspect was he to communicate this consummation of all his hopes to his \n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \n of an establishment for the daughter of his foe, of a man whose name was \n never mentioned except to cloud his visage? Ah! what was that mystery \n that connected the haughty house of Coningsby with the humble blood of \n the Lancashire manufacturer? Why was the portrait of his mother beneath","or his convenience in a degree that counterbalanced the objections which \n might be urged against their intentions, or their less pleasing and \n profitable qualities. To be pleased was always a principal object with \n Lord Monmouth; but when a man wants vengeance, gay amusement is not \n exactly a satisfactory substitute. \n \n A month elapsed. Lord Monmouth with a serene or smiling visage to his \n guests, but in private taciturn and morose, scarcely ever gave a word","with the parties concerned to feel assured that he had not learnt the \n whole truth. What had really taken place, and what was the real cause of \n the occurrences, were equally mystical to him: all he was convinced of \n was, that some great domestic revolution had been suddenly effected. \n \n Coningsby entertained for his grandfather a sincere affection. With the \n exception of their last unfortunate interview, he had experienced from \n Lord Monmouth nothing but kindness both in phrase and deed. There was","Lucretia, acting on the unconscious intimation of Flora, had in the \n course of four-and-twenty hours obtained pretty ample and accurate \n details of the cause of contention between Coningsby and her husband. \n She could inform Mr. Rigby not only that Lord Monmouth was \n highly incensed against his grandson, but that the cause of their \n misunderstanding arose about a seat in the House of Commons, and that \n seat too the one which Mr. Rigby had long appropriated to himself,","'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \n 'Our interests are inseparable, and therefore there can never be \n any sacrifice of conduct on your part. What you mean by sacrifice of \n affections, I don't comprehend; but as for your opinions, you have no \n business to have any other than those I uphold. You are too young to \n form opinions.' \n \n 'I am sure I wish to express them with no unbecoming confidence,'","'Quite amicable,' said Mr. Rigby. 'I would never have consented to \n interfere in the affair, but to secure that most desirable point.' \n \n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \n pallor aggravated into a ghoul-like tint. \n \n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \n \n 'Our conversation, sir, then finishes; I wait his return.' She bowed","circumstances in your case, which, even if I were a member of the same \n order as my Lord Monmouth, would prevent the possibility of a prosperous \n union. Marry Edith, and you blast all the prospects of your life, and \n entail on her a sense of unceasing humiliation. Would you do this? \n Should I permit you to do this?' \n \n Coningsby, with his head resting on his arm, his face a little shaded, \n his eyes fixed on the ground, listened in silence. There was a pause;","large fortune which was to accompany the barony. Had not a separation \n between Lord Monmouth and his wife taken place simultaneously with \n Coningsby's difference with his grandfather, he was conscious that the \n consequences might have been even altogether fatal to his prospects; but \n the absence of her evil influence at such a conjuncture, its permanent \n removal, indeed, from the scene, coupled with his fortunate though not \n formal reconciliation with Lord Monmouth, had long ago banished from his \n memory all those apprehensions to which he had felt it impossible at the","Indeed, Lord Monmouth was one of the most finished gentlemen that \n ever lived; and as he was good-natured, and for a selfish man even \n good-humoured, there was rarely a cloud of caprice or ill-temper to \n prevent his fine manners having their fair play. The country neighbours \n were all fascinated; they were received with so much dignity and \n dismissed with so much grace. Nobody would believe a word of the stories \n against him. Had he lived all his life at Coningsby, fulfilled every","in his favour. Whatever were the feelings with respect to Coningsby at \n the bottom of Lord Monmouth's heart, he was actuated in his refusal to \n see him not more from displeasure than from an anticipatory horror of \n something like a scene. Even a surrender from Coningsby without terms, \n and an offer to declare himself a candidate for Darlford, or to do \n anything else that his grandfather wished, would have been disagreeable \n to Lord Monmouth in his present mood. As in politics a revolution is","had lavished treasure to oppose him in elections; raised associations \n against his interest; established journals to assail him; denounced him \n in public; agitated against him in private; had declared more than \n once that he would make 'the county too hot for him;' his personal, \n inveterate, indomitable foe, Mr. Millbank of Millbank. \n \n The loss of Hellingsley was a bitter disappointment to Lord Monmouth; \n but the loss of it to such an adversary touched him to the quick. He did","establishment generally,' said Mr. Rigby, 'will allow the connection \n that at present subsists between that gentleman and his noble relative, \n now that Lord Monmouth's eyes are open to his real character, to \n terminate naturally, without the necessity of any formal explanation.' \n \n 'But what do you mean by the steps he is going to take in his \n establishment generally?' \n \n 'Lord Monmouth thinks he requires change of scene.' \n \n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with"],["becoming his own master by the liberty wisely entrusted to him in his \n boyhood, and which is, in general, discreetly exercised. But there were \n also other reasons why Coningsby should have been less impressed with \n the novelty of his life, and have encountered less temptations than \n commonly are met with in the new existence which an University opens to \n youth. In the interval which had elapsed between quitting Eton and going \n to Cambridge, brief as the period may comparatively appear, Coningsby","Lord Monmouth, who was at Rome, that he should go at once to Eton. \n This was the first great epoch of his life. There never was a youth \n who entered into that wonderful little world with more eager zest than \n Coningsby. Nor was it marvellous. \n \n That delicious plain, studded with every creation of graceful \n culture; hamlet and hall and grange; garden and grove and park; that \n castle-palace, grey with glorious ages; those antique spires, hoar with","a very fair, regular, routine life. They all read a little, but not \n with the enthusiasm which they had once projected. Buckhurst drove \n four-in-hand, and they all of them sometimes assisted him; but not \n immoderately. Their suppers were sometimes gay, but never outrageous; \n and, among all of them, the school friendship was maintained unbroken, \n and even undisturbed. \n \n The fame of Coningsby preceded him at Cambridge. No man ever went up","studies in chain armour. The calmer Henry Sydney was consoled for the \n misfortunes of Coningsby by a fanciful project himself to pass a portion \n of his life amid these halls and courts, gardens and terraces, that \n maintain in the heart of a great city in the nineteenth century, so much \n of the grave romance and picturesque decorum of our past manners. \n Henry Sydney was sanguine; he was reconciled to the disinheritance of \n Coningsby by the conviction that it was a providential dispensation to","could only have been mastered by a mental discipline of a severe and \n exalted character. At the end of the term Coningsby took his degree, and \n in a few days was about to quit that university where, on the whole, \n he had passed three serene and happy years in the society of fond and \n faithful friends, and in ennobling pursuits. He had many plans for his \n impending movements, yet none of them very mature ones. Lord Vere wished \n Coningsby to visit his family in the north, and afterwards to go to","bless you. I will soon see you again.' Mournfully he bade her farewell. \n \n \n \n \n CHAPTER V. \n \n \n About a week after this interview with Flora, as Coningsby one morning \n was about to sally forth from the Albany to visit some chambers in the \n Temple, to which his notice had been attracted, there was a loud ring, a \n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \n","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","renounced his once cherished purpose of trying for University honours, \n an aim which he found discordant with the investigations on which his \n mind was bent, he had rarely quitted Cambridge. The society of his \n friends, the great convenience of public libraries, and the general \n tone of studious life around, rendered an University for him a genial \n residence. There is a moment in life, when the pride and thirst of \n knowledge seem to absorb our being, and so it happened now to Coningsby,","to a favourite pupil, in whose abilities he had confidence, and whose \n future position in life would afford him the opportunity of influencing \n opinion. Among others, they fell upon the ear of Coningsby. They were \n addressed to a mind which was prepared for such researches. \n \n There is a Library at Eton formed by the boys and governed by the boys; \n one of those free institutions which are the just pride of that noble \n school, which shows the capacity of the boys for self-government, and","of Paris, impressions of Hellingsley, his visit to Oxford, Lady \n Wallinger's visit to Cambridge. In ten minutes their voices seemed to \n sound to each other as they did in the Rue de Rivoli, and their mutual \n perplexity had in a great degree subsided. \n \n Oswald and Sir Joseph now entered the room, and the conversation became \n general. Hellingsley was the subject on which Coningsby dwelt; he was \n charmed with all that he had seen! wished to see more. Sir Joseph was","which political institutions are meat without salt; the Crown a \n bauble, the Church an establishment, Parliaments debating-clubs, and \n Civilisation itself but a fitful and transient dream. \n \n \n \n \n CHAPTER II. \n \n \n Less than a year after the arrival of Coningsby at Cambridge, and which \n he had only once quitted in the interval, and that to pass a short \n time in Berkshire with his friend Buckhurst, occurred the death of","disappeared; then quitting the window, she threw herself into a chair, \n and buried her face in her shawl. \n \n END OF BOOK IV. \n \n \n \n \n BOOK V. \n \n \n CHAPTER I. \n \n \n An University life did not bring to Coningsby that feeling of \n emancipation usually experienced by freshmen. The contrast between \n school and college life is perhaps, under any circumstances, less \n striking to the Etonian than to others: he has been prepared for","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","of power and peril; a world for which a great preparation was indeed \n necessary, severe and profound, but not altogether such an one as was \n now offered to him. Yet this want must be supplied, and by himself. \n Coningsby had already acquirements sufficiently considerable, with some \n formal application, to ensure him at all times his degree. He was no \n longer engrossed by the intention he once proudly entertained of trying \n for honours, and he chalked out for himself that range of reading,","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","Coningsby, class as 'Corporals;' and are severally followed by one or \n more lower boys, who are denominated 'Polemen,' but who appear in their \n ordinary dress. \n \n It was a fine, bright morning; the bells of Eton and Windsor rang \n merrily; everybody was astir, and every moment some gay equipage \n drove into the town. Gaily clustering in the thronged precincts of \n the College, might be observed many a glistening form: airy Greek or","with one to his old schoolfellow and friend. Now that was practicable. \n And immediately Coningsby wrote to apprise Millbank that he had \n taken his degree, was free, and prepared to pay him immediately the \n long-projected visit. Three years and more had elapsed since they had \n quitted Eton. How much had happened in the interval! What new ideas, new \n feelings, vast and novel knowledge! Though they had not met, they were \n nevertheless familiar with the progress and improvement of each other's","December term, Coningsby quitted Cambridge for Paris. \n \n Passing through London, he made his first visit to his banker at Charing \n Cross, on whom he had periodically drawn since he commenced his college \n life. He was in the outer counting-house, making some inquiries about a \n letter of credit, when one of the partners came out from an inner room, \n and invited him to enter. This firm had been for generations the bankers \n of the Coningsby family; and it appeared that there was a sealed box","In this mood, the day after the visit of Buckhurst and Henry Sydney, \n Coningsby called on Millbank, but finding his medical attendant with \n him, Coningsby availed himself of that excuse for going away without \n seeing him. \n \n The next day he left Millbank a newspaper on his way to school, time not \n permitting a visit. Two days after, going into his room, he found on his \n table a letter addressed to 'Harry Coningsby, Esq.' \n"],["re-entered, and demanded his master's pleasure, which was, that he \n should pour some water in the teapot. This being accomplished, St. John \n really made his escape, and retired to a pupil-room, where the bullying \n of a tutor, because he had no derivations, exceeded in all probability \n the bullying of his master, had he contrived in his passage from the \n Christopher to have upset the goose or dropped the sausages. \n","This change in the life of Coningsby contributed to his happiness. The \n various characters which a large school exhibited interested a young \n mind whose active energies were beginning to stir. His previous \n acquirements made his studies light; and he was fond of sports, in which \n he was qualified to excel. He did not particularly like Mr. Rigby. There \n was something jarring and grating in that gentleman's voice and modes, \n from which the chords of the young heart shrank. He was not tender,","a hard-working curate, and affectionately tended by the curate's \n unsophisticated wife. He was sent to a fashionable school preparatory \n to Eton, where he found about two hundred youths of noble families \n and connections, lodged in a magnificent villa, that had once been \n the retreat of a minister, superintended by a sycophantic Doctor of \n Divinity, already well beneficed, and not despairing of a bishopric by","and Mr. Ormsby, an old hand, seized one of these critical instants to \n address a good-natured question to Coningsby, whose acquaintance he had \n already cultivated by taking wine with him. \n \n 'And how do you like Eton?' asked Mr. Ormsby. \n \n It was the identical question which had been presented to Coningsby in \n the memorable interview of the morning, and which had received no reply; \n or rather had produced on his part a sentimental ebullition that had","There the personal qualities strike without any intervening and \n counteracting causes. A gracious presence, noble sentiments, or a happy \n talent, make their way there at once, without preliminary inquiries as \n to what set they are in, or what family they are of, how much they \n have a-year, or where they live. Now, on no spirit had the influence of \n Coningsby, already the favourite, and soon probably to become the idol, \n of the school, fallen more effectually than on that of Millbank, though","and made him already looked to as the future hero of the school. But \n Millbank possessed one of those strong, industrious volitions whose \n perseverance amounts almost to genius, and nearly attains its results. \n Though Coningsby was by a year his junior, they were rivals. This \n circumstance had no tendency to remove the prejudice which Coningsby \n entertained against him, but its bias on the part of Millbank had a \n contrary effect. \n \n The influence of the individual is nowhere so sensible as at school.","Every heart was agitated. \n \n What boy? When, where, how? Who was absent? Who had been on the river \n to-day? Buckhurst. The report ran that Buckhurst was drowned. Great were \n the trouble and consternation. Buckhurst was ever much liked; and now no \n one remembered anything but his good qualities. \n \n 'Who heard it was Buckhurst?' said Sedgwick, captain of the school, \n coming forward. \n","observed, as night fell, that his mind wandered. \n \n The illness of Millbank, the character of which soon transpired, and was \n soon exaggerated, attracted the public attention with increased interest \n to the circumstances out of which it had arisen, and from which the \n parties principally concerned had wished to have diverted notice. The \n sufferer, indeed, had transgressed the rules of the school by bathing at \n an unlicensed spot, where there were no expert swimmers in attendance,","Other boys went to see their mothers! he, at least, could talk of his. \n Now he was alone. His grandfather was to him only a name. Lord Monmouth \n resided almost constantly abroad, and during his rare visits to England \n had found no time or inclination to see the orphan, with whom he felt \n no sympathy. Even the death of the boy's mother, and the consequent \n arrangements, were notified to his master by a stranger. The letter \n which brought the sad intelligence was from Mr. Rigby. It was the first","in bed, he said with imperturbable calmness, and as if he had been \n talking of trying a new horse, 'Rigby, I should like to see the boy at \n Eton.' \n \n There might be some objection to grant leave to Coningsby at this \n moment; but it was a rule with Mr. Rigby never to make difficulties, or \n at least to persuade his patron that he, and he only, could remove \n them. He immediately undertook that the boy should be forthcoming, and","absolutely destined or doomed him to the Church. \n \n 'I should like to see the fellow who did not like Eton,' said Coningsby, \n briskly, determined this time to be very brave. \n \n 'Gad I must go down and see the old place,' said Mr. Ormsby, touched by \n a pensive reminiscence. 'One can get a good bed and bottle of port at \n the Christopher, still?' \n \n 'You had better come and try, sir,' said Coningsby. 'If you will come","go up to Maidenhead.' \n \n 'Agreed; agreed!' \n \n \n \n \n CHAPTER IX. \n \n \n Millbank was the son of one of the wealthiest manufacturers in \n Lancashire. His father, whose opinions were of a very democratic bent, \n sent his son to Eton, though he disapproved of the system of education \n pursued there, to show that he had as much right to do so as any duke in","Monmouth travel from London to Naples at four-and-twenty hours' notice, \n it was to avoid a scene. He hated scenes. He hated feelings. He saw \n instantly the mistake he had made in sending for his grandchild. He \n was afraid that Coningsby was tender-hearted like his father. Another \n tender-hearted Coningsby! Unfortunate family! Degenerate race! He \n decided in his mind that Coningsby must be provided for in the Church, \n and looked at Mr. Rigby, whose principal business it always was to","Duke, which he had observed to be awry, the gentleman for whom he had \n been all this time waiting entered the room. \n \n 'Floreat Etona!' hastily exclaimed the gentleman, in a sharp voice; 'you \n are setting the Duke to rights. I have left you a long time a prisoner; \n but I found them so busy here, that I made my escape with some \n difficulty.' \n \n He who uttered these words was a man of middle size and age, originally","But he remembered the sweetness of his nursery days. His mother, \n too, had written to him frequently since he quitted her, and her fond \n expressions had cherished the tenderness of his heart. He wept bitterly \n when his schoolmaster broke to him the news of his mother's death. True \n it was they had been long parted, and their prospect of again meeting \n was vague and dim; but his mother seemed to him his only link to human \n society. It was something to have a mother, even if he never saw her.","that there were two educations, one which his position required, and \n another which was demanded by the world. 'French, my dear Harry,' he \n continued, 'is the key to this second education. In a couple of years \n or so you will enter the world; it is a different thing to what you read \n about. It is a masquerade; a motley, sparkling multitude, in which \n you may mark all forms and colours, and listen to all sentiments and \n opinions; but where all you see and hear has only one object, plunder.","At this moment there entered the room a little boy, the scion of a noble \n house, bearing a roasted goose, which he had carried from the kitchen of \n the opposite inn, the Christopher. The lower boy or fag, depositing \n his burthen, asked his master whether he had further need of him; and \n Buckhurst, after looking round the table, and ascertaining that he had \n not, gave him permission to retire; but he had scarcely disappeared, \n when his master singing out, 'Lower boy, St. John!' he immediately","he made Coningsby such a bow as Louis Quatorze might have bestowed on \n the ambassador of the United Provinces. Then extending his right hand, \n which the boy tremblingly touched, Lord Monmouth said: \n \n 'How do you like Eton?' \n \n This contrast to the reception which he had imagined, hoped, feared, \n paralysed the reviving energies of young Coningsby. He felt stupefied; \n he looked almost aghast. In the chaotic tumult of his mind, his memory","suddenly seemed to receive some miraculous inspiration. Mysterious \n phrases heard in his earliest boyhood, unnoticed then, long since \n forgotten, rose to his ear. Who was this grandfather, seen not before, \n seen now for the first time? Where was the intervening link of blood \n between him and this superb and icy being? The boy sank into the chair \n which had been placed for him, and leaning on the table burst into \n tears. \n \n Here was a business! If there were one thing which would have made Lord","Lord Monmouth, who was at Rome, that he should go at once to Eton. \n This was the first great epoch of his life. There never was a youth \n who entered into that wonderful little world with more eager zest than \n Coningsby. Nor was it marvellous. \n \n That delicious plain, studded with every creation of graceful \n culture; hamlet and hall and grange; garden and grove and park; that \n castle-palace, grey with glorious ages; those antique spires, hoar with"],["recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","his friends; and then, splitting up a pen or two, delivered himself of a \n yawn which seemed the climax of his weariness. \n \n And yet the youth's appearance did not betoken a character that, if \n the opportunity had offered, could not have found amusement and even \n instruction. His countenance, radiant with health and the lustre of \n innocence, was at the same time thoughtful and resolute. The expression \n of his deep blue eyes was serious. Without extreme regularity of","his thoughts were, how soon he could contrive to get back again; and \n he told them endless stories of actresses, and dinners at fashionable \n _cafés_. Vere enjoyed Cambridge most, because he had been staying \n with his family since he quitted Eton. Henry Sydney was full of \n church architecture, national sports, restoration of the order of the \n Peasantry, and was to maintain a constant correspondence on these and \n similar subjects with Eustace Lyle. Finally, however, they all fell into","After eight o'clock school, the day following the return of Coningsby, \n according to custom, he repaired to Buckhurst's room, where Henry \n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \n were all in the fifth form, and habitual companions, on the river or on \n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \n their leader alike in sport and study, inspired them to-day with unusual","The ladies themselves soon withdrew; the gentlemen lingered for a \n while; the Duke took up his candle, and bid his guests good night; Lord \n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \n Henry and his friend sat up talking over the past. They were too young \n to call them old times; and yet what a life seemed to have elapsed since \n they had quitted Eton, dear old Eton! Their boyish feelings, and still \n latent boyish character, developed with their reminiscences. \n","name, that he might occasionally have the pleasure of meeting an Eton or \n Cambridge friend without the annoyance of encountering any of his former \n fashionable acquaintances. He lighted in his walk on Mr. Tadpole and \n Mr. Taper, both of whom he knew. The latter did not notice him, but Mr. \n Tadpole, more good-natured, bestowed on him a rough nod, not unmarked by \n a slight expression of coarse pity. \n","He seemed close and cold; but he was courageous, just, and inflexible; \n never bullied, and to his utmost would prevent tyranny. The little boys \n looked up to him as a stern protector; and his word, too, throughout the \n school was a proverb: and truth ranks a great quality among boys. In \n a word, Millbank was respected by those among whom he lived; and \n school-boys scan character more nicely than men suppose. \n \n A brother of Henry Sydney, quartered in Lancashire, had been wounded","So they went without him. They found Millbank up and reading. \n \n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \n before, but they would not let us. And you are quite right now, eh?' \n \n 'Quite. Has there been any row about it?' \n \n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \n \n 'I have seen nobody yet,' said Millbank; 'they would not let me till","'I thought, sir, being here only for a day, and as a friend of your \n son--' \n \n Mr. Millbank stopped and said, \n \n 'Oh! a friend of Oswald's, eh? What, at Eton?' \n \n 'Yes, sir, at Eton; and I had hoped perhaps to have found him here.' \n \n 'I am very much engaged, sir, at this moment,' said Mr. Millbank; 'I am \n sorry I cannot pay you any personal attention, but my clerk will show","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","the cleverest; indeed, I always thought that there was no one like you; \n but I never would say this or show this, because you never seemed to \n care for me, and because I was afraid you would think I merely wanted to \n con with you, as they used to say of some other fellows, whose names I \n will not mention, because they always tried to do so with Henry Sydney \n and you. I do not want this at all; but I want, though we may not speak \n to each other more than before, that we may be friends; and that you","'I must say, I was very happy when I met Mr. Coningsby again at \n Cambridge,' said Lady Wallinger. 'It gave me much greater pleasure than \n seeing any of the colleges.' \n \n 'How delighted Oswald seems at having Mr. Coningsby for a companion \n again!' said Edith. \n \n 'And very naturally,' said Lady Wallinger. 'Oswald ought to deem \n himself fortunate in having such a friend. I am sure the kindness of Mr.","Coningsby's relative and most familiar friend, would at the first \n glance have appeared, independently of all other considerations, a most \n desirable result for Millbank to accomplish. But, perhaps, this \n very circumstance afforded additional reasons for the absence of all \n encouragement with which he received the overtures of Lord Henry. \n Millbank suspected that Coningsby was not affected in his favour, and \n his pride recoiled from gaining, by any indirect means, an intimacy \n which to have obtained in a plain and express manner would have deeply","withstood such hard neglect. All that he knew of the power of the softer \n passions might be found in the fanciful and romantic annals of schoolboy \n friendship. \n \n And those friends too, so fond, so sympathising, so devoted, where were \n they now? Already they were dispersed; the first great separation of \n life had been experienced; the former schoolboy had planted his foot on \n the threshold of manhood. True, many of them might meet again; many of","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","heroes, as if they were marching from Athens, or Thebes, or Sparta, to \n some heroic deed, encircled the mount; the ensign reaches its summit, \n and then, amid a deafening cry of 'Floreat Etona!' he unfurls, and \n thrice waves the consecrated standard. \n \n 'Lord Monmouth,' said Mr. Rigby to Coningsby, 'wishes that you should \n beg your friends to dine with him. Of course you will ask Lord Henry and","with one to his old schoolfellow and friend. Now that was practicable. \n And immediately Coningsby wrote to apprise Millbank that he had \n taken his degree, was free, and prepared to pay him immediately the \n long-projected visit. Three years and more had elapsed since they had \n quitted Eton. How much had happened in the interval! What new ideas, new \n feelings, vast and novel knowledge! Though they had not met, they were \n nevertheless familiar with the progress and improvement of each other's","'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \n very great friend of yours?' \n \n 'Very.' \n \n 'He is very amiable.' \n \n 'Very.' \n \n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \n it not?' \n \n 'Very.' \n \n 'As fine as Coningsby?' \n","his name is in the upper school, very large, under Charles Fox. I say, \n Townshend, did you see Saville's turban? What was it made of? He says \n his mother brought it from Grand Cairo. Didn't he just look like the \n Saracen's Head? Here are some Dons. That's Hallam! We'll give him a \n cheer. I say, Townshend, look at this fellow. He doesn't think small"],["at the end of one of the avenues. His eye lightened; his lip became \n compressed; he advanced to meet them. \n \n 'Are you going to fish to-day, Oswald?' he inquired of his son. \n \n 'We had some thoughts of it, sir.' \n \n 'A fine day for sport, I should think,' he observed, as he turned \n towards the Hall with them. \n \n Coningsby remarked the fanciful beauty of the portal; its twisted","in a provincial solitude, Oswald began to curse wealth, and to \n ask himself what was the use of all their marvellous industry and \n supernatural skill? He addressed his father with that irresistible \n frankness which a strong faith can alone inspire. What are the objects \n of wealth, if not to bless those who possess our hearts? The only \n daughter, the friend to whom the only son was indebted for his life, \n here are two beings surely whom one would care to bless, and both are","their sincerity. Affairs remained in this state, until Oswald thought \n that circumstances were sufficiently ripe to urge his father on \n the subject. The position which Oswald had assumed at Millbank had \n necessarily made him acquainted with the affairs and fortune of his \n father. When he computed the vast wealth which he knew was at his \n parent's command, and recalled Coningsby in his humble chambers, toiling \n after all his noble efforts without any results, and his sister pining","the land. He had, however, brought up his only boy with a due prejudice \n against every sentiment or institution of an aristocratic character, \n and had especially impressed upon him in his school career, to avoid the \n slightest semblance of courting the affections or society of any member \n of the falsely-held superior class. \n \n The character of the son as much as the influence of the father, tended \n to the fulfilment of these injunctions. Oswald Millbank was of a","There was a knock at the door. It was Oswald. They embraced. It seemed \n that Oswald was as excited as Coningsby. His eye sparkled, his manner \n was energetic. \n \n 'We must talk it all over during our journey. We have not a minute to \n spare.' \n \n During that journey Coningsby learned something of the course of affairs \n which gradually had brought about so singular a revolution in his \n favour. We mentioned that Sidonia had acquired a thorough knowledge of","letter for his grandfather, and tells me that he and Henry Sydney had \n just had a capital run with the King's hounds.' \n \n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \n 'Once he was often here. He was a great favourite of mine. I hardly ever \n knew a more interesting boy.' \n \n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth","The day was fast declining, and the inevitable moment of separation was \n at hand. Oswald wished to appear at the dinner-table of Hellingsley, \n that no suspicion might arise in the mind of his father of his having \n accompanied Coningsby home. But just as he was beginning to mention the \n necessity of his departure, a flash of lightning seemed to transfix the \n heavens. The sky was very dark; though studded here and there with dingy \n spots. The young men sprang up at the same time. \n","carried Oswald away, though he was rather puzzled why his father should \n be so anxious about the preparation of the fishing-tackle, as he rarely \n used it. His son had no sooner departed than Mr. Millbank turned to \n Coningsby, and said very abruptly, \n \n 'You have never seen my own room here, Mr. Coningsby; step in, for I \n wish to say a word to you.' And thus speaking, he advanced before the \n astonished, and rather agitated Coningsby, and led the way through a","suddenly seemed to receive some miraculous inspiration. Mysterious \n phrases heard in his earliest boyhood, unnoticed then, long since \n forgotten, rose to his ear. Who was this grandfather, seen not before, \n seen now for the first time? Where was the intervening link of blood \n between him and this superb and icy being? The boy sank into the chair \n which had been placed for him, and leaning on the table burst into \n tears. \n \n Here was a business! If there were one thing which would have made Lord","spirits, which, to say the truth, were never particularly depressed. \n Where he had been, what he had seen, what he had done, what sort of \n fellow his grandfather was, whether the visit had been a success; here \n were materials for almost endless inquiry. And, indeed, to do them \n justice, the last question was not the least exciting to them; for the \n deep and cordial interest which all felt in Coningsby's welfare far \n outweighed the curiosity which, under ordinary circumstances, they","was profound and firm. But unquestionably this sudden vision had brought \n before him, in startling and more vivid colours, the relations that \n subsisted between them. There was the being whom he loved and who loved \n him; and whatever were the barriers which the circumstances of life \n placed against their union, they were partakers of the solemn sacrament \n of an unpolluted heart. \n \n Coningsby, as we have mentioned, had signified to Oswald his return to","caricatures, French novels, and endless miniatures of foreign dancers, \n princesses, and sovereigns. \n \n But Coningsby was so impressed with the impending interview with his \n grandfather, that he neither sought nor required diversion. Now that the \n crisis was at hand, he felt agitated and nervous, and wished that he was \n again at Eton. The suspense was sickening, yet he dreaded still more the \n summons. He was not long alone; the door opened; he started, grew pale;","neck of Oswald, as if they were once more in the playing fields of Eton. \n \n 'By Jove! my dear fellow,' he exclaimed, 'I am so sorry we kept your \n father from dinner.' \n \n As Edith headed her father's table, according to his rigid rule, \n Coningsby was on one side of her. They never spoke so little; Coningsby \n would have never unclosed his lips, had he followed his humour. He was \n in a stupor of happiness; the dining room took the appearance of","dissolution brought affairs to a crisis. The misery of Oswald at the \n position of Coningsby, the silent sadness of Edith, his own conviction, \n which assured him that he could do nothing wiser or better than take \n this young man to his heart, so ordained it that Mr. Millbank, who \n was after all the creature of impulse, decided suddenly, and decided \n rightly. Never making a single admission to all the representations of \n his son, Mr. Millbank in a moment did all that his son could have dared","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","The moon wanes; and Coningsby must leave these enchanted halls. Oswald \n walked homeward with him until he reached the domain of his grandfather. \n Then mounting his horse, Coningsby bade his friend farewell till the \n morrow, and made his best way to the Castle. \n \n \n \n \n CHAPTER V. \n \n \n There is a romance in every life. The emblazoned page of Coningsby's \n existence was now open. It had been prosperous before, with some moments","Coningsby quitted them. \n \n ''Tis the grandson of Monmouth; young Coningsby.' \n \n 'Ah! The new generation then promises. I met him once before, by chance; \n he interests me.' \n \n 'They tell me he is a lively lad. He is a prodigious favourite here, and \n I should not be surprised if Monmouth made him his heir.' \n \n 'I hope he does not dream of inheritance,' said Sidonia. ''Tis the most \n enervating of visions.'","Joseph spoke feebly. Lady Wallinger conveyed all this intelligence, and \n all her impressions, to Oswald and Edith. The younger Millbank talked \n with his father, who, making no admissions, listened with interest, \n inveighed against Lord Monmouth, and condemned his will. \n \n After some time, Mr. Millbank made inquiries about Coningsby, took an \n interest in his career, and, like Lord Eskdale, declared that when he \n was called to the bar, his friends would have an opportunity to evince","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","appeal to his affections and his sympathy, and whom Oswald was now going \n to desert in the midst of his lonely and unsolaced woe. \n \n 'I ought not to enter here,' said Oswald, holding the hand of Coningsby \n as he hesitated to advance; 'and yet there are duties more sacred even \n than obedience to a father. I cannot leave you thus, friend of my best \n heart!' \n \n The morning passed away in unceasing yet fruitless speculation on the"],["loved and which loved them. One of their sons-in-law and his wife, and \n Henry Sydney, completed the party. \n \n There are few conjunctures in life of a more startling interest, than to \n meet the pretty little girl that we have gambolled with in our boyhood, \n and to find her changed in the lapse of a very few years, which in some \n instances may not have brought a corresponding alteration in our own \n appearance, into a beautiful woman. Something of this flitted over","deceive him, and that he does not want to deceive you. I wish he liked a \n rubber more. Then he would be perfect.' \n \n 'They say he is going to be married,' said the Attaché. \n \n 'Poh!' said Lord Monmouth. \n \n 'Married!' exclaimed Lady Monmouth. 'To whom?' \n \n 'To your beautiful countrywoman, \"la belle Anglaise,\" that all the world \n talks of,' said the Attaché. \n","had not quite arrived at that age when you make enemies. The moment, \n therefore, that he found himself in the saloons of Sidonia, he was \n accosted by many whose notice was flattering; but his eye wandered, \n while he tried to be courteous and attempted to be sprightly. Where was \n she? He had nearly reached the ball-room when he met her. She was on \n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and","before; nor can I ever suppose that you could like me as you like Henry \n Sydney and Buckhurst, or even as you like Vere; but still I hope you \n will always think of me with kindness now, and let me sign myself, if \n ever I do write to you, 'Your most attached, affectionate, and devoted \n friend, \n \n 'OSWALD MILLBANK.' \n \n \n \n \n CHAPTER XI. \n \n \n About a fortnight after this nearly fatal adventure on the river, it was","are right not to dance. It is not in your way. You are ambitious, I \n believe?' she added. \n \n 'I was not aware of it; everybody is ambitious.' \n \n 'You see I know something of your character. Henry has spoken of you to \n me a great deal; long before we met,--met again, I should say, for we \n are old friends, remember. Do you know your career much interests me? I \n like ambitious men.' \n \n There is something fascinating in the first idea that your career","Tronchet, but their owner bore the features of the senior Millbank. A \n beautiful countenance that was alternately the face in the mysterious \n picture, and then that of Edith, haunted him under all circumstances. He \n woke little refreshed; restless, and yet sensible of some secret joy. \n \n He woke to think of her of whom he had dreamed. The light had dawned on \n his soul. Coningsby loved. \n \n Ah! what is that ambition that haunts our youth, that thirst for power","one whom she never met, and by whom, if she met him, she would scarcely, \n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \n her life was absorbed; nor for her did the world contain an existence, \n a thought, a sensation, beyond those that sprang from the image of \n the noble youth who had sympathised with her in her sorrows, and had \n softened the hard fortunes of dependence by his generous sensibility. \n Happy that, with many mortifications, it was still her lot to live under","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","sympathy had inspired. His sensibility and his inordinate self-respect \n were always at variance. And he seldom exchanged a word with the being \n whose idea engrossed his affection. \n \n And now, suddenly, an event had occurred, like all events, unforeseen, \n which in a few, brief, agitating, tumultuous moments had singularly and \n utterly changed the relations that previously subsisted between him and \n the former object of his concealed tenderness. Millbank now stood with","dinner at Millbank, and the timid hostess whom he then addressed so \n often in vain, as he gazed upon the bewitching and accomplished woman \n whom he now passionately loved. It was a most agreeable dinner. Oswald, \n happy in his friend being his guest, under his own roof, indulged in \n unwonted gaiety. \n \n The ladies withdrew; Sir Joseph began to talk politics, although the \n young men had threatened their fair companions immediately to follow","since he so suddenly quitted Paris at the beginning of the year. The \n wound he had received was deep to one unused to wounds. Yet, after all, \n none had outraged his feelings, no one had betrayed his hopes. He had \n loved one who had loved another. Misery, but scarcely humiliation. And \n yet 'tis a bitter pang under any circumstances to find another preferred \n to yourself. It is about the same blow as one would probably feel if \n falling from a balloon. Your Icarian flight melts into a grovelling","marry?' he added, with a fiendish laugh. \n \n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \n that Monsieur Sidonia was about to marry her.' \n \n 'Is she so very beautiful?' inquired another gentleman. \n \n 'Yes,' said Lady Monmouth, calm, but pale. \n \n 'Poh!' said the Marquess again. \n \n 'I assure you that it is a fact,' said the Attaché, 'not at least an","His heart was agitated, his countenance changed; he retained her hand \n amid the chattering tourists, too full of their criticisms and their \n egotistical commonplaces to notice what was passing. A sentimental \n ebullition seemed to be on the point of taking place. Their eyes met. \n The look of Edith was mournful and inquiring. \n \n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \n with a radiant smile. \n \n \n \n","He rose as if to depart. When she saw that, she started, and seemed to \n summon all her energies. \n \n 'You are going,' she exclaimed, 'and I have said nothing, I have said \n nothing; and I shall never see you again. Let me tell you what I mean. \n This fortune is yours; it must be yours. It is an arrow in my heart. Do \n not think I am speaking from a momentary impulse. I know myself. I have","is in vain to speak of the enmities that are fostered between you and \n my grandfather; the love that exists between your daughter and myself is \n stronger than all your hatreds.' \n \n 'You speak like a young man, and a young man that is in love,' said Mr. \n Millbank. 'This is mere rhapsody; it will vanish in an instant \n before the reality of life. And you have arrived at that reality,' he \n continued, speaking with emphasis, leaning over the back of his chair,","it with satisfaction. It was a circumstance which represented in his \n mind a continuance of good eating and good drinking, fine horses, \n luxurious baths, unceasing billiards. \n \n In this state of affairs appeared Sidonia, known before to her \n step-mother, but seen by Lucretia for the first time. Truly, he came, \n saw, and conquered. Those eyes that rarely met another's were fixed upon \n his searching yet unimpassioned glance. She listened to that voice,","which she had given him in the days of their happy hearts. That was all \n that was to remain of their loves. He was to bear it to the future \n scene of his labours, to remind him through revolving years of toil and \n routine, that he too had had his romance, had roamed in fair gardens, \n and whispered in willing ears the secrets of his passion. That drawing \n was to become the altar-piece of his life. \n \n Coningsby passed an agitated night of broken sleep, waking often with a","Yes, they might meet again, but the gushing and secret tenderness was \n gone for ever. \n \n Nor could our pensive youth conceal it from himself that it was \n affection, and mainly affection, that had bound him to these dear \n companions. They could not be to him what he had been to them. His had \n been the inspiring mind that had guided their opinions, formed their \n tastes, directed the bent and tenor of their lives and thoughts. \n Often, indeed, had he needed, sometimes he had even sighed for,","Soon after this Coningsby led Edith to the dance. It was at a ball that \n he had first met her at Paris, and this led to other reminiscences; \n all most interesting. Coningsby was perfectly happy. All mysteries, all \n difficulties, were driven from his recollection; he lived only in the \n exciting and enjoyable present. Twenty-one and in love! \n \n Some time after this, Coningsby, who was inevitably separated from \n Edith, met his host. \n","Thus we have attempted to give some faint idea how life glided away at \n the Castle the first fortnight that Coningsby passed there. Perhaps we \n ought not to omit that Mrs. Guy Flouncey, to the infinite disgust of \n Lady St. Julians, who had a daughter with her, successfully entrapped \n the devoted attentions of the young Marquess of Beaumanoir, who was \n never very backward if a lady would take trouble enough; while his \n friend, Mr. Melton, whose barren homage Lady St. Julians wished"],["few hours he was to meet her again, infused into his being a degree of \n transport, which the very necessity of repressing before his companion \n rendered more magical and thrilling. How often it happens in life that \n we have with a grave face to discourse of ordinary topics, while all the \n time our heart and memory are engrossed with some enchanting secret! \n \n The castle of his grandfather presented a far different scene on the \n arrival of Coningsby from that which it had offered on his first visit.","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","Lordship's grandson, seemed somewhat ridiculous: to address his \n grandfather as Lord Monmouth would serve no purpose: to style Lord \n Monmouth 'grandfather' would make every one laugh, and seem stiff and \n unnatural. What was he to do? To fall into an attitude and exclaim, \n 'Behold your grandchild!' or, 'Have you forgotten your Harry?' \n \n Even to catch Lord Monmouth's glance was not an easy affair; he was \n much occupied on one side by the great lady, on the other were several","is in vain to speak of the enmities that are fostered between you and \n my grandfather; the love that exists between your daughter and myself is \n stronger than all your hatreds.' \n \n 'You speak like a young man, and a young man that is in love,' said Mr. \n Millbank. 'This is mere rhapsody; it will vanish in an instant \n before the reality of life. And you have arrived at that reality,' he \n continued, speaking with emphasis, leaning over the back of his chair,","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","'And who may she be, pray?' said the Marquess. 'I have so many beautiful \n countrywomen.' \n \n 'Mademoiselle Millbank,' said the Attaché. \n \n 'Millbank!' said the Marquess, with a lowering brow. 'There are so many \n Millbanks. Do you know what Millbank this is, Harry?' he inquired of his \n grandson, who had listened to the conversation with a rather embarrassed \n and even agitated spirit. \n","life, he devoted himself to a love that seemed hopeless, and to a fame \n that was perhaps a dream. \n \n It was under the influence of these solemn resolutions that he wrote, \n on his return home, a letter to Lord Monmouth, in which he expressed \n all that affection which he really felt for his grandfather, and all \n the pangs which it cost him to adhere to the conclusions he had already \n announced. In terms of tenderness, and even humility, he declined to","caricatures, French novels, and endless miniatures of foreign dancers, \n princesses, and sovereigns. \n \n But Coningsby was so impressed with the impending interview with his \n grandfather, that he neither sought nor required diversion. Now that the \n crisis was at hand, he felt agitated and nervous, and wished that he was \n again at Eton. The suspense was sickening, yet he dreaded still more the \n summons. He was not long alone; the door opened; he started, grew pale;","with the parties concerned to feel assured that he had not learnt the \n whole truth. What had really taken place, and what was the real cause of \n the occurrences, were equally mystical to him: all he was convinced of \n was, that some great domestic revolution had been suddenly effected. \n \n Coningsby entertained for his grandfather a sincere affection. With the \n exception of their last unfortunate interview, he had experienced from \n Lord Monmouth nothing but kindness both in phrase and deed. There was","somewhat astounded him; but Coningsby was fond of his grandfather, and \n he wrote Lord Monmouth a letter of congratulation, full of feeling and \n ingenuousness, and which, while it much pleased the person to whom it \n was addressed, unintentionally convinced him that Coningsby had never \n received his original communication. Lord Monmouth spoke to Villebecque, \n who could throw sufficient light upon the subject, but it was never \n mentioned to Lady Monmouth. The Marquess was a man who always found out","he thought it was his grandfather; it was not even Mr. Rigby. It was \n Lord Monmouth's valet. \n \n 'Monsieur Konigby?' \n \n 'My name is Coningsby,' said the boy. \n \n 'Milor is ready to receive you,' said the valet. \n \n Coningsby sprang forward with that desperation which the scaffold \n requires. His face was pale; his hand was moist; his heart beat with","Flora, and thanked her with all his courtesy. \n \n 'You are not hurt, then, sir?' she ventured to ask with a look that \n expressed the infinite solicitude which her tongue did not venture to \n convey. \n \n 'By no means, my good little girl;' and he extended his hand to her, \n which she reverently bent over and embraced. \n \n \n \n \n CHAPTER VII. \n \n \n When Coningsby had returned to his grandfather's hotel that morning, it","that of his grandson, he led him across the room, and presented him \n in due form to some royal blood that was his guest, in the shape of \n a Russian Grand-duke. His Imperial Highness received our hero as \n graciously as the grandson of Lord Monmouth might expect; but no \n greeting can be imagined warmer than the one he received from the lady \n with whom the Grand-duke was conversing. She was a dame whose beauty was \n mature, but still radiant. Her figure was superb; her dark hair crowned","spirits, which, to say the truth, were never particularly depressed. \n Where he had been, what he had seen, what he had done, what sort of \n fellow his grandfather was, whether the visit had been a success; here \n were materials for almost endless inquiry. And, indeed, to do them \n justice, the last question was not the least exciting to them; for the \n deep and cordial interest which all felt in Coningsby's welfare far \n outweighed the curiosity which, under ordinary circumstances, they","of excitement, some of delight; but they had all found, as it were, \n their origin in worldly considerations, or been inevitably mixed up with \n them. At Paris, for example, he loved, or thought he loved. But there \n not an hour could elapse without his meeting some person, or hearing \n something, which disturbed the beauty of his emotions, or broke his \n spell-bound thoughts. There was his grandfather hating the Millbanks, \n or Sidonia loving them; and common people, in the common world, making","vague and indefinite desires it engenders, generally makes those whose \n characters are not formed, affected. The Duchess, who was a fine judge \n of character, and who greatly regarded Coningsby, often mentioned this \n trait as one which, combined with his great abilities and acquirements \n so unusual at his age, rendered him very interesting. In the present \n instance it happened that, while Coningsby was watching his grandfather, \n he observed a gentleman advance, make his bow, say and receive a few","a dishonest glance, so a demeanour that was by no means deficient in \n self-possession and facility, was tainted by an innate vulgarity, which \n in the long run, though seldom, yet surely developed itself. \n \n The youth had jumped off his chair on the entrance of the gentleman, and \n then taking up his hat, said: \n \n 'Shall we go to grandpapa now, sir?' \n \n 'By all means, my dear boy,' said the gentleman, putting his arm within","and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","words and retire. This little incident, however, made a momentary \n diversion in the immediate circle of Lord Monmouth, and before they \n could all resume their former talk and fall into their previous \n positions, an impulse sent forth Coningsby, who walked up to Lord \n Monmouth, and standing before him, said, \n \n 'How do you do, grandpapa?' \n \n Lord Monmouth beheld his grandson. His comprehensive and penetrating \n glance took in every point with a flash. There stood before him one of","the handsomest youths he had ever seen, with a mien as graceful as his \n countenance was captivating; and his whole air breathing that freshness \n and ingenuousness which none so much appreciates as the used man of the \n world. And this was his child; the only one of his blood to whom he had \n been kind. It would be exaggeration to say that Lord Monmouth's heart \n was touched; but his goodnature effervesced, and his fine taste was"],["entirely devoted himself to his new pursuit. His being was completely \n absorbed in it. There was nothing to haunt his mind; no unexperienced \n scene or sensation of life to distract his intelligence. One sacred \n thought alone indeed there remained, shrined in the innermost sanctuary \n of his heart and consciousness. But it was a tradition, no longer a \n hope. The moment that he had fairly recovered from the first shock of \n his grandfather's will; had clearly ascertained the consequences to","suddenly seemed to receive some miraculous inspiration. Mysterious \n phrases heard in his earliest boyhood, unnoticed then, long since \n forgotten, rose to his ear. Who was this grandfather, seen not before, \n seen now for the first time? Where was the intervening link of blood \n between him and this superb and icy being? The boy sank into the chair \n which had been placed for him, and leaning on the table burst into \n tears. \n \n Here was a business! If there were one thing which would have made Lord","life, he devoted himself to a love that seemed hopeless, and to a fame \n that was perhaps a dream. \n \n It was under the influence of these solemn resolutions that he wrote, \n on his return home, a letter to Lord Monmouth, in which he expressed \n all that affection which he really felt for his grandfather, and all \n the pangs which it cost him to adhere to the conclusions he had already \n announced. In terms of tenderness, and even humility, he declined to","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","spirits, which, to say the truth, were never particularly depressed. \n Where he had been, what he had seen, what he had done, what sort of \n fellow his grandfather was, whether the visit had been a success; here \n were materials for almost endless inquiry. And, indeed, to do them \n justice, the last question was not the least exciting to them; for the \n deep and cordial interest which all felt in Coningsby's welfare far \n outweighed the curiosity which, under ordinary circumstances, they","of its character. The first feeling which he experienced at the \n intelligence was sincere affliction. He was fond of his grandfather; had \n received great kindness from him, and at a period of life when it was \n most welcome. The neglect and hardships of his early years, instead of \n leaving a prejudice against one who, by some, might be esteemed their \n author, had by their contrast only rendered Coningsby more keenly \n sensible of the solicitude and enjoyment which had been lavished on his \n happy youth. \n","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","time to shut his eyes. Before he left town for Scotland he had made a \n farewell visit to his grandfather, who, though not as cordial as in \n old days, had been gracious; and Coningsby, during his excursion to the \n moors, and his various visits to the country, had continued at intervals \n to write to his grandfather, as had been for some years his custom. On \n the whole, with an indefinite feeling which, in spite of many a rational \n effort, did nevertheless haunt his mind, that this great and sudden","He was still in the vigour of life, and was not a mere money-making \n machine. He had a general intelligence equal to his position, and looked \n forward to the period when some relaxation from his vast enterprises and \n exertions might enable him to direct his energies to great objects of \n public benefit. But in the height of his vast prosperity he suddenly \n died, leaving only one child, a youth still of tender years, and heir to \n the greatest fortune in Europe, so great, indeed, that it could only be \n calculated by millions. \n","you.' \n \n Coningsby said this with a gay air, but really with a depressed spirit. \n He felt convinced that his grandfather was deeply displeased with him; \n and as he rode away from the villa, he could not resist the strong \n impression that he was destined never to re-enter it. Yet it was decreed \n otherwise. It so happened that the idle message which Coningsby had left \n for his grandfather, and which he never seriously supposed for a moment \n that his late companions would have given their host, operated entirely","undisturbed; he pulled up his horse, and summoned all his mind to the \n contemplation of his prospects. \n \n Edith was lost. Now, should he return to his grandfather, accept his \n mission, and go down to Darlford on Friday? Favour and fortune, power, \n prosperity, rank, distinction would be the consequence of this step; \n might not he add even vengeance? Was there to be no term to his \n endurance? Might not he teach this proud, prejudiced manufacturer, with","with a clog my psychological observations will be imperfect.' \n \n 'You are, indeed, a friend; and had I debts I would ask you to pay \n them. I have nothing of the kind. My grandfather was so lavish in his \n allowance to me that I never got into difficulties. Besides, there \n are horses and things without end which I must sell, and money at \n Drummonds'.' \n \n 'That will produce your outfit, whatever the course you adopt. I \n conceive there are two careers which deserve your consideration. In the","his was to be a wilful error. He remembered his first visit to his \n grandfather, and the delight of his friends at Eton at his report on his \n return. After eight years of initiation was he to lose that favour then \n so highly prized, when the results which they had so long counted on \n were on the very eve of accomplishment? Parliament and riches, and rank \n and power; these were facts, realities, substances, that none could \n mistake. Was he to sacrifice them for speculations, theories, shadows,","approached Coningsby, and told him that he was wanted without. \n \n Our hero retired unperceived. A despatch had arrived for him from \n London. Without any prescience of its purpose, he nevertheless broke \n the seal with a trembling hand. His presence was immediately desired in \n town: Lord Monmouth was dead. \n \n \n \n \n CHAPTER II. \n \n \n This was a crisis in the life of Coningsby; yet, like many critical \n epochs, the person most interested in it was not sufficiently aware","Monmouth travel from London to Naples at four-and-twenty hours' notice, \n it was to avoid a scene. He hated scenes. He hated feelings. He saw \n instantly the mistake he had made in sending for his grandchild. He \n was afraid that Coningsby was tender-hearted like his father. Another \n tender-hearted Coningsby! Unfortunate family! Degenerate race! He \n decided in his mind that Coningsby must be provided for in the Church, \n and looked at Mr. Rigby, whose principal business it always was to","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","Other boys went to see their mothers! he, at least, could talk of his. \n Now he was alone. His grandfather was to him only a name. Lord Monmouth \n resided almost constantly abroad, and during his rare visits to England \n had found no time or inclination to see the orphan, with whom he felt \n no sympathy. Even the death of the boy's mother, and the consequent \n arrangements, were notified to his master by a stranger. The letter \n which brought the sad intelligence was from Mr. Rigby. It was the first","he thought it was his grandfather; it was not even Mr. Rigby. It was \n Lord Monmouth's valet. \n \n 'Monsieur Konigby?' \n \n 'My name is Coningsby,' said the boy. \n \n 'Milor is ready to receive you,' said the valet. \n \n Coningsby sprang forward with that desperation which the scaffold \n requires. His face was pale; his hand was moist; his heart beat with","occurred, Coningsby fell asleep when the morning had far advanced, \n resolved to rise when a little refreshed and find out Lady Wallinger, \n who, he felt sure, would receive him with kindness. \n \n Yet it was fated that this step should not be taken, for while he was \n at breakfast, his servant brought him a letter from Monmouth House, \n apprising him that his grandfather wished to see him as soon as possible \n on urgent business. \n \n \n \n \n CHAPTER III. \n \n"],["very loud, knowing that the presence of his father would make Coningsby \n hesitate about coming. Edith's heart fluttered; but she said nothing. It \n was with delight she heard her father, after a moment's pause, say, \n \n 'Oh! I beg we may have that pleasure.' \n \n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \n your journey has not fatigued you.'","and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","recognised a more satisfactory reason for the transient liveliness of \n his daughter which had so greatly gratified him. \n \n About a month after Christmas, the meeting of Parliament summoned Mr. \n Millbank up to London; and he had wished Edith to accompany him. But \n London in February to Edith, without friends or connections, her father \n always occupied and absent from her day and night, seemed to them \n all, on reflection, to be a life not very conducive to health or","an embarrassing circumstance, but mitigated by the conviction that they \n had not to encounter a very critical inspection. What, then, were their \n feelings when the first servant that they met informed them that Mr. \n Millbank had arrived! Edith never could have believed that the return of \n her beloved father to his home could ever have been to her other than \n a cause of delight. And yet now she trembled when she heard the \n announcement. The mysteries of love were fast involving her existence.","Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \n that it would be well that his daughter should accompany them in their \n somewhat extensive travels. It was not, therefore, only that nature \n had developed a beautiful woman out of a bashful girl since Coningsby's \n visit to Millbank; but really, every means and every opportunity that \n could contribute to render an individual capable of adorning the most \n accomplished circles of life, had naturally, and without effort, fallen","circumstances in your case, which, even if I were a member of the same \n order as my Lord Monmouth, would prevent the possibility of a prosperous \n union. Marry Edith, and you blast all the prospects of your life, and \n entail on her a sense of unceasing humiliation. Would you do this? \n Should I permit you to do this?' \n \n Coningsby, with his head resting on his arm, his face a little shaded, \n his eyes fixed on the ground, listened in silence. There was a pause;","undisturbed; he pulled up his horse, and summoned all his mind to the \n contemplation of his prospects. \n \n Edith was lost. Now, should he return to his grandfather, accept his \n mission, and go down to Darlford on Friday? Favour and fortune, power, \n prosperity, rank, distinction would be the consequence of this step; \n might not he add even vengeance? Was there to be no term to his \n endurance? Might not he teach this proud, prejudiced manufacturer, with","'My good young friend, you will live, I doubt not, to be a happy one. \n Happiness is not, as we are apt to fancy, entirely dependent on these \n contingencies. It is the lot of most men to endure what you are now \n suffering, and they can look back to such conjunctures through the vista \n of years with calmness.' \n \n 'I may see Edith now?' \n \n 'Frankly, I should say, no. My daughter is in her room; I have had some","to the fortunate lot of the manufacturer's daughter. Edith possessed \n an intelligence equal to those occasions. Without losing the native \n simplicity of her character, which sprang from the heart, and which \n the strong and original bent of her father's mind had fostered, she had \n imbibed all the refinement and facility of the polished circles in which \n she moved. She had a clear head, a fine taste, and a generous spirit; \n had received so much admiration, that, though by no means insensible to","longer to be blind to the great change. That happy and equable gaiety of \n spirit, which seemed to spring from an innocent enjoyment of existence, \n and which had ever distinguished Edith, was wanting. Her sunny glance \n was gone. She was not indeed always moody and dispirited, but she was \n fitful, unequal in her tone. That temper whose sweetness had been a \n domestic proverb had become a little uncertain. Not that her affection \n for her father was diminished, but there were snatches of unusual","of his fortunes he must immolate his first and enduring love. Before, \n he had a perilous position to offer Edith; now he had none. The future \n might then have aided them; there was no combination which could improve \n his present. Under any circumstances he must, after all his thoughts and \n studies, commence a new novitiate, and before he could enter the arena \n must pass years of silent and obscure preparation. 'Twas very bitter. \n He looked up, his eye caught that drawing of the towers of Hellingsley","'I am not aware that she is going to be married to any one. Lord \n Beaumanoir admires her, has always admired her. But Edith has given \n him no encouragement, at least gave him no encouragement as long as she \n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \n am to blame; I have been to blame perhaps before, but indeed I think it \n cruel, very cruel, that Edith and you are kept asunder.' \n","manner in which he had parted from them; but they greeted him with \n so much cordiality that he instantly recovered himself, and, turning, \n became their companion. He hardly ventured to ask after Edith: at \n length, in a depressed tone and a hesitating manner, he inquired whether \n they had lately seen Miss Millbank. He was himself surprised at the \n extreme light-heartedness which came over him the moment he heard she \n was in England, at Millbank, with her family. He always very much liked","and the clearest voice exclaimed from above, 'Papa! papa!' and instantly \n a young girl came bounding down the stairs, but suddenly seeing a \n stranger with her father she stopped upon the landing-place, and was \n evidently on the point of as rapidly retreating as she had advanced, \n when Mr. Millbank waved his hand to her and begged her to descend. She \n came down slowly; as she approached them her father said, 'A friend you \n have often heard of, Edith: this is Mr. Coningsby.' \n","His father is a Lancashire manufacturer.' \n \n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \n in the world that Lord Monmouth dislikes so much as Manchester \n manufacturers, and particularly if they bear the name of Millbank. It \n must not be thought of, my dear Harry. I hope you have not spoken to \n the young man on the subject. I assure you it is out of the question. \n It would make Lord Monmouth quite ill. It would spoil everything, quite \n upset him.'","This rather disturbed Mr. Millbank again; he had not seen enough of his \n daughter; he wished to hear her sing. But Edith managed to reappear; and \n even to sing. Then Coningsby went up to her and asked her to sing the \n song of the Girls of Granada. She said in a low voice, and with a fond \n yet serious look, \n \n 'I am not in the mood for such a song, but if you wish me--' \n","seraphs. He thought of Edith in her hours of fondness; he thought of \n the pure and solemn moments when to mingle his name with the heroes of \n humanity was his aspiration, and to achieve immortal fame the inspiring \n purpose of his life. What were the tawdry accidents of vulgar ambition \n to him? No domestic despot could deprive him of his intellect, his \n knowledge, the sustaining power of an unpolluted conscience. If he \n possessed the intelligence in which he had confidence, the world","'The Duke will be deuced glad to see Beau settled, I take it,' said Mr. \n Cassilis. \n \n 'A good deal depends on the tin,' said his friend. \n \n Coningsby threw down the 'Court Guide' with a sinking heart. In spite \n of every insuperable difficulty, hitherto the end and object of all his \n aspirations and all his exploits, sometimes even almost unconsciously \n to himself, was Edith. It was over. The strange manner of last night was","the exquisite suspicion that there was a flattering distinction in her \n carriage to himself. Under the influence of these feelings, he began \n daily to be more conscious that separation would be an intolerable \n calamity; he began to meditate upon the feasibility of keeping a half \n term, and of postponing his departure to Cambridge to a period nearer \n the time when Edith would probably return to England. \n \n In the meanwhile, the Parisian world talked much of the grand fete which"],["fatal facility, on the very threshold of his career he devoted his \n time and thought, labour and life, to one vast and noble purpose, the \n elevation of the condition of the great body of the people. \n \n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \n be content with being his gentleman usher.' \n \n 'It shall be put to the vote,' said Lord Vere. \n \n 'No one has a chance against Buckhurst,' said Coningsby. \n","'Now, Sir Charles,' said Lady Everingham, 'your absolute sway is about \n to commence. And what is your will?' \n \n 'The first thing must be my formal installation,' said Buckhurst. 'I \n vote the Boar's head be carried in procession thrice round the hall, and \n Beau shall be the champion to challenge all who may question my right. \n Duke, you shall be my chief butler, the Duchess my herb-woman. She is to","it, if possible, to be without distinction of party. He had come to \n reside among his old friends, to live and die where he was born. \n The Chairman of the Conservative Association and the Vice President \n exchanged glances, which would have become Tadpole and Taper; the \n four attorneys nibbed their pens with increased energy, and vowed that \n nothing could withstand the influence of the aristocracy 'in the long \n run.' All went and dined at the Castle; all returned home overpowered","the season, at once sacred and merry. There are carols for the eventful \n eve, and mummers for the festive day. \n \n The Duke and Duchess, and every member of the family, had consented this \n year to keep their Christmas with the newly-married couple. Coningsby, \n too, was there, and all his friends. The party was numerous, gay, \n hearty, and happy; for they were all united by sympathy. \n \n They were planning that Henry Sydney should be appointed Lord of","The president and vice-president of the Conservative Association, the \n secretary and the four solicitors who were agents, had impressed upon \n Mr. Rigby that it was of the utmost importance, and must produce a \n great moral effect, if he obtain the show of hands. With his powers of \n eloquence and their secret organisation, they flattered themselves it \n might be done. With this view, Rigby inflicted a speech of more than \n two hours' duration on the electors, who bore it very kindly, as the mob","speak. Henry Sydney indeed looked pale and nervous; but his companion, \n flushed and resolute, knew exactly how to hit a popular assembly, and at \n once came to the point. \n \n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \n nobody is drowned.' \n \n There was a cheer that might have been heard at Windsor Castle. Then, \n turning to Sedgwick, in an undertone Buckhurst added, \n","So they went without him. They found Millbank up and reading. \n \n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \n before, but they would not let us. And you are quite right now, eh?' \n \n 'Quite. Has there been any row about it?' \n \n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \n \n 'I have seen nobody yet,' said Millbank; 'they would not let me till","Rigby had resigned. He was, however, requested to remain at Birmingham, \n as they did not wish him to enter Darlford, except to be chaired, so \n he was to arrive there in the morning. At Birmingham, therefore, they \n remained. \n \n There was Oswald's election to talk of as well as Coningsby's. They had \n hardly had time for this. Now they were both Members of Parliament. \n Men must have been at school together, to enjoy the real fun of meeting","'But what a task! What a variety of qualities, what a combination \n of circumstances is requisite! What bright abilities and what noble \n patience! What confidence from the people, what favour from the Most \n High!' \n \n 'But He will favour us,' said Millbank. 'And I say to you as Nathan said \n unto David, \"Thou art the man!\" You were our leader at Eton; the friends \n of your heart and boyhood still cling and cluster round you! they are","to hear him, it was long before their enthusiasm could subside into \n silence. At length that silence was deep and absolute. He spoke; his \n powerful and rich tones reached every ear. In five minutes' time every \n one looked at his neighbour, and without speaking they agreed that there \n never was anything like this heard in Darlford before. \n \n He addressed them for a considerable time, for he had a great deal to \n say; not only to express his gratitude for the unprecedented manner in \n which he had become their representative, and for the spirit in which","leader. \n \n But we must return to the Darlford election. The class of thoughtful \n voters was sufficiently numerous in that borough to render the result \n of the contest doubtful to the last; and on the eve of the day of \n nomination both parties were equally sanguine. \n \n Nomination-day altogether is an unsatisfactory affair. There is little \n to be done, and that little mere form. The tedious hours remain, and no \n one can settle his mind to anything. It is not a holiday, for every one","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","higher impulses of his nature had been preparing him. It was a keen \n trial of a man. Every one of his friends and old companions were \n candidates, and with sanguine prospects. Lord Henry was certain for a \n division of his county; Buckhurst harangued a large agricultural \n borough in his vicinity; Eustace Lyle and Vere stood in coalition for \n a Yorkshire town; and Oswald Millbank solicited the suffrages of an \n important manufacturing constituency. They sent their addresses to","to tell it, and that something very much to their own satisfaction. \n The only grave countenance that was occasionally ushered into the room \n belonged to some individual whose destiny was not in doubt, and who was \n already practising the official air that was in future to repress the \n familiarity of his former fellow-stragglers. \n \n 'Do you hear anything?' said a great noble who wanted something in the \n general scramble, but what he knew not; only he had a vague feeling he","All his hopes were now staked on the successful result of this contest. \n It were impossible if he were returned that his friends could refuse him \n high office. The whole of Lord Monmouth's reduced legacy was devoted \n to this end. The third edition of the _Sun_ left Mr. Rigby in vain \n attempting to address an infuriated populace. \n \n Here was a revolution in the fortunes of our forlorn Coningsby! When his \n grandfather first sent for him to Monmouth House, his destiny was","to govern England. The very day that he arrived he had his audience with \n the King. \n \n It was two days after this audience; the town, though November, in a \n state of excitement; clubs crowded, not only morning rooms, but halls \n and staircases swarming with members eager to give and to receive \n rumours equally vain; streets lined with cabs and chariots, grooms and \n horses; it was two days after this audience that Mr. Ormsby, celebrated","'And this is the end of Coningsby, the brilliant Coningsby, that we all \n loved, that was to be our leader!' said Buckhurst to Lord Henry as \n they quitted him. 'Well, come what may, life has lost something of its \n bloom.' \n \n 'The great thing now,' said Lord Henry, 'is to keep up the chain of \n our friendship. We must write to him very often, and contrive to be \n frequently together. It is dreadful to think that in the ways of life","consideration. He had got them a candidate, and one of high mark, the \n son of a Peer, and connected with the highest Whig houses. Their eyes \n sparkled. A real honourable. If they liked he would introduce them \n immediately to the Honourable Alberic de Crecy. He had only to introduce \n them, as there was no difficulty either as to means or opinions, \n expenses or pledges. \n \n The secretary returned with a young gentleman, whose diminutive stature","The ladies themselves soon withdrew; the gentlemen lingered for a \n while; the Duke took up his candle, and bid his guests good night; Lord \n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \n Henry and his friend sat up talking over the past. They were too young \n to call them old times; and yet what a life seemed to have elapsed since \n they had quitted Eton, dear old Eton! Their boyish feelings, and still \n latent boyish character, developed with their reminiscences. \n"],["reputation, with whom he had become acquainted in former days of equal \n brotherhood. No one was more faithful to his early friends than Mr. \n Rigby, particularly if they could write a squib. \n \n It was in this refined retirement that Mr. Rigby found time enough, \n snatched from the toils of official life and parliamentary struggles, \n to compose a letter on the study of History, addressed to Coningsby. \n The style was as much like that of Lord Bolingbroke as if it had been","of English realistic fiction, but in this special field none of them \n has surpassed him. From this point of view, accordingly, \"Coningsby\" is \n appropriately included in this series. \n \n \n \n \n TO HENRY HOPE \n \n \n It is not because this work was conceived and partly executed amid the \n glades and galleries of the DEEPDENE that I have inscribed it with your \n name. Nor merely because I was desirous to avail myself of the most","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","studies in chain armour. The calmer Henry Sydney was consoled for the \n misfortunes of Coningsby by a fanciful project himself to pass a portion \n of his life amid these halls and courts, gardens and terraces, that \n maintain in the heart of a great city in the nineteenth century, so much \n of the grave romance and picturesque decorum of our past manners. \n Henry Sydney was sanguine; he was reconciled to the disinheritance of \n Coningsby by the conviction that it was a providential dispensation to","'I was thinking,' said Coningsby, 'of poor mamma!' \n \n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \n who are dead; so you must take care never to mention your mother or your \n father.' \n \n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \n Marquis thought he could read characters by a glance, and in general \n he was successful, for his natural sagacity had been nurtured by great","fellow for history at White's. He was always boring one with William the \n Conqueror, Julius Caesar, and all that sort of thing.' \n \n 'I tell you what,' said Mr. Ormsby, looking both sly and solemn, 'I \n should not be surprised if, some day or another, we have a history about \n Lady Everingham and young Coningsby.' \n \n 'Poh!' said Mr. Melton; 'he is engaged to be married to her sister, Lady \n Theresa.' \n","Coningsby's relative and most familiar friend, would at the first \n glance have appeared, independently of all other considerations, a most \n desirable result for Millbank to accomplish. But, perhaps, this \n very circumstance afforded additional reasons for the absence of all \n encouragement with which he received the overtures of Lord Henry. \n Millbank suspected that Coningsby was not affected in his favour, and \n his pride recoiled from gaining, by any indirect means, an intimacy \n which to have obtained in a plain and express manner would have deeply","speak. Henry Sydney indeed looked pale and nervous; but his companion, \n flushed and resolute, knew exactly how to hit a popular assembly, and at \n once came to the point. \n \n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \n nobody is drowned.' \n \n There was a cheer that might have been heard at Windsor Castle. Then, \n turning to Sedgwick, in an undertone Buckhurst added, \n","senates to have their beards plucked in the forum. We live in an age of \n prudence. The leaders of the people, now, generally follow. The truth \n is, the peers were in a fright. 'Twas a pity; there is scarcely a less \n dignified entity than a patrician in a panic. \n \n Among the most intimate companions of Coningsby at Eton, was Lord Henry \n Sydney, his kinsman. Coningsby had frequently passed his holydays of","especially at Paris. He was master of his subject; in all things the \n secret of success, and without which, however they may from accident \n dazzle the world, the statesman, the orator, the author, all alike feel \n the damning consciousness of being charlatans. \n \n Coningsby had made a visit to M. Villebecque and Flora the day after \n his arrival. It was a recollection and a courtesy that evidently greatly \n gratified them. Villebecque talked very much and amusingly; and Flora,","makes me laugh now when I think of it. I tell you who was a good fellow, \n Kangaroo Gray; I liked him. I don't know any fellow who sang a better \n song!' \n \n 'By the bye,' said Coningsby, 'what sort of fellow is Eustace Lyle? I \n rather liked his look.' \n \n 'Oh! I will tell you all about him,' said Lord Henry. 'He is a great \n ally of mine, and I think you will like him very much. It is a Roman","Beaumanoir, who always hovered about her, deterred them from a rivalry \n which might have made the boldest despair. As for Coningsby, he passed \n his life principally with the various members of the Sydney family, and \n was almost daily riding with Lady Everingham and her sister, generally \n accompanied by Lord Henry and his friend Eustace Lyle, between whom, \n indeed, and Coningsby there were relations of intimacy scarcely less \n inseparable. Coningsby had spoken to Lady Everingham of the rumoured","'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \n very great friend of yours?' \n \n 'Very.' \n \n 'He is very amiable.' \n \n 'Very.' \n \n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \n it not?' \n \n 'Very.' \n \n 'As fine as Coningsby?' \n","letter for his grandfather, and tells me that he and Henry Sydney had \n just had a capital run with the King's hounds.' \n \n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \n 'Once he was often here. He was a great favourite of mine. I hardly ever \n knew a more interesting boy.' \n \n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth","the season, at once sacred and merry. There are carols for the eventful \n eve, and mummers for the festive day. \n \n The Duke and Duchess, and every member of the family, had consented this \n year to keep their Christmas with the newly-married couple. Coningsby, \n too, was there, and all his friends. The party was numerous, gay, \n hearty, and happy; for they were all united by sympathy. \n \n They were planning that Henry Sydney should be appointed Lord of","to his grandfather, solely to political emulation and local rivalries. \n Still there were the portrait and the miniature. That was a fact; a clue \n which ultimately, he was persuaded, must lead to some solution. \n \n Coningsby had met with great social success at Paris. He was at once a \n favourite. The Parisian dames decided in his favour. He was a specimen \n of the highest style of English beauty, which is popular in France. His \n air was acknowledged as distinguished. The men also liked him; he","Indeed, Lord Monmouth was one of the most finished gentlemen that \n ever lived; and as he was good-natured, and for a selfish man even \n good-humoured, there was rarely a cloud of caprice or ill-temper to \n prevent his fine manners having their fair play. The country neighbours \n were all fascinated; they were received with so much dignity and \n dismissed with so much grace. Nobody would believe a word of the stories \n against him. Had he lived all his life at Coningsby, fulfilled every","studies peculiarly to that period if you had not chanced to draw him \n to the Italian middle ages. And even these startling revelations were \n almost eclipsed by his anecdotes of the Court of Henry III. of France, \n with every character of which he was as familiar as with the brilliant \n groups that at this moment filled the saloons of Madame de R----d. \n \n \n \n \n CHAPTER III. \n \n The image of Edith Millbank was the last thought of Coningsby, as he","correspondence between Lady Everingham and Henry Sydney, while they \n were at the moors, had apprised him that Lord Beaumanoir's suit had \n terminated unsuccessfully almost immediately after his brother had \n quitted London. \n \n It was late in the evening when Coningsby arrived in town: he called at \n once on Lord Eskdale, who was one of Lord Monmouth's executors; and he \n persuaded Coningsby, whom he saw depressed, to dine with him alone. \n","'There is nothing I should like so much,' said Coningsby. \n \n 'Ah!' said the lady, with the sweetest smile, 'he is frank.' \n \n The ladies bowed and retired; Mr. Rigby returned to the Marquess, and \n the groom of the chambers led Coningsby to his room. \n \n This lady, so courteous to Coningsby, was the Princess Colonna, a Roman \n dame, the second wife of Prince Paul Colonna. The prince had first"],["He seemed close and cold; but he was courageous, just, and inflexible; \n never bullied, and to his utmost would prevent tyranny. The little boys \n looked up to him as a stern protector; and his word, too, throughout the \n school was a proverb: and truth ranks a great quality among boys. In \n a word, Millbank was respected by those among whom he lived; and \n school-boys scan character more nicely than men suppose. \n \n A brother of Henry Sydney, quartered in Lancashire, had been wounded","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","After eight o'clock school, the day following the return of Coningsby, \n according to custom, he repaired to Buckhurst's room, where Henry \n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \n were all in the fifth form, and habitual companions, on the river or on \n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \n their leader alike in sport and study, inspired them to-day with unusual","In this mood, the day after the visit of Buckhurst and Henry Sydney, \n Coningsby called on Millbank, but finding his medical attendant with \n him, Coningsby availed himself of that excuse for going away without \n seeing him. \n \n The next day he left Millbank a newspaper on his way to school, time not \n permitting a visit. Two days after, going into his room, he found on his \n table a letter addressed to 'Harry Coningsby, Esq.' \n","The ladies themselves soon withdrew; the gentlemen lingered for a \n while; the Duke took up his candle, and bid his guests good night; Lord \n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \n Henry and his friend sat up talking over the past. They were too young \n to call them old times; and yet what a life seemed to have elapsed since \n they had quitted Eton, dear old Eton! Their boyish feelings, and still \n latent boyish character, developed with their reminiscences. \n","his thoughts were, how soon he could contrive to get back again; and \n he told them endless stories of actresses, and dinners at fashionable \n _cafés_. Vere enjoyed Cambridge most, because he had been staying \n with his family since he quitted Eton. Henry Sydney was full of \n church architecture, national sports, restoration of the order of the \n Peasantry, and was to maintain a constant correspondence on these and \n similar subjects with Eustace Lyle. Finally, however, they all fell into","This change in the life of Coningsby contributed to his happiness. The \n various characters which a large school exhibited interested a young \n mind whose active energies were beginning to stir. His previous \n acquirements made his studies light; and he was fond of sports, in which \n he was qualified to excel. He did not particularly like Mr. Rigby. There \n was something jarring and grating in that gentleman's voice and modes, \n from which the chords of the young heart shrank. He was not tender,","Yet Millbank was the very last boy in the school who would have had \n credit given him by his companions for profound and ardent feeling. He \n was not indeed unpopular. The favourite of the school like Coningsby, he \n could, under no circumstances, ever have become; nor was he qualified \n to obtain that general graciousness among the multitude, which the sweet \n disposition of Henry Sydney, or the gay profusion of Buckhurst, acquired \n without any effort. Millbank was not blessed with the charm of manner.","his name is in the upper school, very large, under Charles Fox. I say, \n Townshend, did you see Saville's turban? What was it made of? He says \n his mother brought it from Grand Cairo. Didn't he just look like the \n Saracen's Head? Here are some Dons. That's Hallam! We'll give him a \n cheer. I say, Townshend, look at this fellow. He doesn't think small","a hard-working curate, and affectionately tended by the curate's \n unsophisticated wife. He was sent to a fashionable school preparatory \n to Eton, where he found about two hundred youths of noble families \n and connections, lodged in a magnificent villa, that had once been \n the retreat of a minister, superintended by a sycophantic Doctor of \n Divinity, already well beneficed, and not despairing of a bishopric by","that there were two educations, one which his position required, and \n another which was demanded by the world. 'French, my dear Harry,' he \n continued, 'is the key to this second education. In a couple of years \n or so you will enter the world; it is a different thing to what you read \n about. It is a masquerade; a motley, sparkling multitude, in which \n you may mark all forms and colours, and listen to all sentiments and \n opinions; but where all you see and hear has only one object, plunder.","So they went without him. They found Millbank up and reading. \n \n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \n before, but they would not let us. And you are quite right now, eh?' \n \n 'Quite. Has there been any row about it?' \n \n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \n \n 'I have seen nobody yet,' said Millbank; 'they would not let me till","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!","Lord Monmouth, who was at Rome, that he should go at once to Eton. \n This was the first great epoch of his life. There never was a youth \n who entered into that wonderful little world with more eager zest than \n Coningsby. Nor was it marvellous. \n \n That delicious plain, studded with every creation of graceful \n culture; hamlet and hall and grange; garden and grove and park; that \n castle-palace, grey with glorious ages; those antique spires, hoar with","and made him already looked to as the future hero of the school. But \n Millbank possessed one of those strong, industrious volitions whose \n perseverance amounts almost to genius, and nearly attains its results. \n Though Coningsby was by a year his junior, they were rivals. This \n circumstance had no tendency to remove the prejudice which Coningsby \n entertained against him, but its bias on the part of Millbank had a \n contrary effect. \n \n The influence of the individual is nowhere so sensible as at school.","with one to his old schoolfellow and friend. Now that was practicable. \n And immediately Coningsby wrote to apprise Millbank that he had \n taken his degree, was free, and prepared to pay him immediately the \n long-projected visit. Three years and more had elapsed since they had \n quitted Eton. How much had happened in the interval! What new ideas, new \n feelings, vast and novel knowledge! Though they had not met, they were \n nevertheless familiar with the progress and improvement of each other's","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","of a great public school? What fame of after days equals the rapture of \n celebrity that thrills the youthful poet, as in tones of rare emotion he \n recites his triumphant verses amid the devoted plaudits of the flower \n of England? That's fame, that's power; real, unquestioned, undoubted, \n catholic. Alas! the schoolboy, when he becomes a man, finds that power, \n even fame, like everything else, is an affair of party. \n","withstood such hard neglect. All that he knew of the power of the softer \n passions might be found in the fanciful and romantic annals of schoolboy \n friendship. \n \n And those friends too, so fond, so sympathising, so devoted, where were \n they now? Already they were dispersed; the first great separation of \n life had been experienced; the former schoolboy had planted his foot on \n the threshold of manhood. True, many of them might meet again; many of","There is nothing more interesting than to trace predisposition. An \n indefinite, yet strong sympathy with the peasantry of the realm had been \n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \n schoolboy, he had busied himself with their pastimes and the details of \n their cottage economy. As he advanced in life the horizon of his views \n expanded with his intelligence and his experience; and the son of one of \n the noblest of our houses, to whom the delights of life are offered with"],["will always know that there is nothing I will not do for you, and that \n I like you better than any fellow at Eton. And I do not mean that this \n shall be only at Eton, but afterwards, wherever we may be, that you will \n always remember that there is nothing I will not do for you. Not because \n you saved my life, though that is a great thing, but because before that \n I would have done anything for you; only, for the cause above mentioned, \n I would not show it. I do not expect that we shall be more together than","of genius. Nor was this submission of such spirits to be held cheap. \n Although they were willing to take the colour of their minds from him, \n they were in intellect and attainments, in personal accomplishments and \n general character, the leaders of the school; an authority not to be \n won from five hundred high-spirited boys without the possession of great \n virtues and great talents. \n \n As for the dominion of Coningsby himself, it was not limited to the \n immediate circle of his friends. He had become the hero of Eton; the","much perplexed and harassed. He tried occasionally his inferences on his \n companions, who were intelligent and full of fervour. Millbank was more \n than this. He was of a thoughtful mood; had also caught up from a new \n school some principles, which were materials for discussion. One way or \n other, however, before he quitted Eton there prevailed among this circle \n of friends, the initial idea doubtless emanating from Coningsby, an \n earnest, though a rather vague, conviction that the present state of","'I thought, sir, being here only for a day, and as a friend of your \n son--' \n \n Mr. Millbank stopped and said, \n \n 'Oh! a friend of Oswald's, eh? What, at Eton?' \n \n 'Yes, sir, at Eton; and I had hoped perhaps to have found him here.' \n \n 'I am very much engaged, sir, at this moment,' said Mr. Millbank; 'I am \n sorry I cannot pay you any personal attention, but my clerk will show","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","to a favourite pupil, in whose abilities he had confidence, and whose \n future position in life would afford him the opportunity of influencing \n opinion. Among others, they fell upon the ear of Coningsby. They were \n addressed to a mind which was prepared for such researches. \n \n There is a Library at Eton formed by the boys and governed by the boys; \n one of those free institutions which are the just pride of that noble \n school, which shows the capacity of the boys for self-government, and","with one to his old schoolfellow and friend. Now that was practicable. \n And immediately Coningsby wrote to apprise Millbank that he had \n taken his degree, was free, and prepared to pay him immediately the \n long-projected visit. Three years and more had elapsed since they had \n quitted Eton. How much had happened in the interval! What new ideas, new \n feelings, vast and novel knowledge! Though they had not met, they were \n nevertheless familiar with the progress and improvement of each other's","and Mr. Ormsby, an old hand, seized one of these critical instants to \n address a good-natured question to Coningsby, whose acquaintance he had \n already cultivated by taking wine with him. \n \n 'And how do you like Eton?' asked Mr. Ormsby. \n \n It was the identical question which had been presented to Coningsby in \n the memorable interview of the morning, and which had received no reply; \n or rather had produced on his part a sentimental ebullition that had","looked upon their interesting walls, breathing with the portraits of the \n heroes whom Eton boasts, from Wotton to Wellesley. Music sounded in \n the quadrangle of the College, in which the boys were already quickly \n assembling. The Duke of Wellington had arrived, and the boys were \n cheering a hero, who was an Eton field-marshal. From an oriel window \n in one of the Provost's rooms, Lord Monmouth, surrounded by every \n circumstance that could make life delightful, watched with some","Duke, which he had observed to be awry, the gentleman for whom he had \n been all this time waiting entered the room. \n \n 'Floreat Etona!' hastily exclaimed the gentleman, in a sharp voice; 'you \n are setting the Duke to rights. I have left you a long time a prisoner; \n but I found them so busy here, that I made my escape with some \n difficulty.' \n \n He who uttered these words was a man of middle size and age, originally","Lord Monmouth, who was at Rome, that he should go at once to Eton. \n This was the first great epoch of his life. There never was a youth \n who entered into that wonderful little world with more eager zest than \n Coningsby. Nor was it marvellous. \n \n That delicious plain, studded with every creation of graceful \n culture; hamlet and hall and grange; garden and grove and park; that \n castle-palace, grey with glorious ages; those antique spires, hoar with","name, that he might occasionally have the pleasure of meeting an Eton or \n Cambridge friend without the annoyance of encountering any of his former \n fashionable acquaintances. He lighted in his walk on Mr. Tadpole and \n Mr. Taper, both of whom he knew. The latter did not notice him, but Mr. \n Tadpole, more good-natured, bestowed on him a rough nod, not unmarked by \n a slight expression of coarse pity. \n","of another school, which Coningsby had at command, still they were, \n unconsciously to the recipient, materials for thought, and insensibly \n provoked in his mind a spirit of inquiry into political questions, for \n which he had a predisposition. \n \n It may be said, indeed, that generally among the upper boys there might \n be observed at this time, at Eton, a reigning inclination for political \n discussion. The school truly had at all times been proud of its \n statesmen and its parliamentary heroes, but this was merely a","'I liked him, the best fellow at Eton,' responded his companion, in a \n smothered tone. \n \n 'What a clever fellow he was!' \n \n 'And so deuced generous!' \n \n 'He would have got the medal if he had lived.' \n \n 'And how came he to be drowned? for he was such a fine swimmer!' \n \n 'I heerd Mr. Coningsby was saving another's life,' continued Boots in \n his evidence, 'which makes it in a manner more sorrowful.'","in bed, he said with imperturbable calmness, and as if he had been \n talking of trying a new horse, 'Rigby, I should like to see the boy at \n Eton.' \n \n There might be some objection to grant leave to Coningsby at this \n moment; but it was a rule with Mr. Rigby never to make difficulties, or \n at least to persuade his patron that he, and he only, could remove \n them. He immediately undertook that the boy should be forthcoming, and","ETON, May--, 1832. \n \n 'DEAR CONINGSBY, I very much fear that you must think me a very \n ungrateful fellow, because you have not heard from me before; but I was \n in hopes that I might get out and say to you what I feel; but whether I \n speak or write, it is quite impossible for me to make you understand the \n feelings of my heart to you. Now, I will say at once, that I have always \n liked you better than any fellow in the school, and always thought you","this Library, as a Venetian of his name being inscribed in the Golden \n Book. Indeed an old Etonian, who still remembers with tenderness the \n sacred scene of youth, could scarcely do better than build a Gothic \n apartment for the reception of the collection. It cannot be doubted that \n the Provost and fellows would be gratified in granting a piece of ground \n for the purpose. \n \n Great were the obligations of Coningsby to this Eton Library. It","absolutely destined or doomed him to the Church. \n \n 'I should like to see the fellow who did not like Eton,' said Coningsby, \n briskly, determined this time to be very brave. \n \n 'Gad I must go down and see the old place,' said Mr. Ormsby, touched by \n a pensive reminiscence. 'One can get a good bed and bottle of port at \n the Christopher, still?' \n \n 'You had better come and try, sir,' said Coningsby. 'If you will come","a hard-working curate, and affectionately tended by the curate's \n unsophisticated wife. He was sent to a fashionable school preparatory \n to Eton, where he found about two hundred youths of noble families \n and connections, lodged in a magnificent villa, that had once been \n the retreat of a minister, superintended by a sycophantic Doctor of \n Divinity, already well beneficed, and not despairing of a bishopric by","After eight o'clock school, the day following the return of Coningsby, \n according to custom, he repaired to Buckhurst's room, where Henry \n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \n were all in the fifth form, and habitual companions, on the river or on \n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \n their leader alike in sport and study, inspired them to-day with unusual"],["loved and which loved them. One of their sons-in-law and his wife, and \n Henry Sydney, completed the party. \n \n There are few conjunctures in life of a more startling interest, than to \n meet the pretty little girl that we have gambolled with in our boyhood, \n and to find her changed in the lapse of a very few years, which in some \n instances may not have brought a corresponding alteration in our own \n appearance, into a beautiful woman. Something of this flitted over","had not quite arrived at that age when you make enemies. The moment, \n therefore, that he found himself in the saloons of Sidonia, he was \n accosted by many whose notice was flattering; but his eye wandered, \n while he tried to be courteous and attempted to be sprightly. Where was \n she? He had nearly reached the ball-room when he met her. She was on \n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and","deceive him, and that he does not want to deceive you. I wish he liked a \n rubber more. Then he would be perfect.' \n \n 'They say he is going to be married,' said the Attaché. \n \n 'Poh!' said Lord Monmouth. \n \n 'Married!' exclaimed Lady Monmouth. 'To whom?' \n \n 'To your beautiful countrywoman, \"la belle Anglaise,\" that all the world \n talks of,' said the Attaché. \n","one whom she never met, and by whom, if she met him, she would scarcely, \n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \n her life was absorbed; nor for her did the world contain an existence, \n a thought, a sensation, beyond those that sprang from the image of \n the noble youth who had sympathised with her in her sorrows, and had \n softened the hard fortunes of dependence by his generous sensibility. \n Happy that, with many mortifications, it was still her lot to live under","are right not to dance. It is not in your way. You are ambitious, I \n believe?' she added. \n \n 'I was not aware of it; everybody is ambitious.' \n \n 'You see I know something of your character. Henry has spoken of you to \n me a great deal; long before we met,--met again, I should say, for we \n are old friends, remember. Do you know your career much interests me? I \n like ambitious men.' \n \n There is something fascinating in the first idea that your career","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","it with satisfaction. It was a circumstance which represented in his \n mind a continuance of good eating and good drinking, fine horses, \n luxurious baths, unceasing billiards. \n \n In this state of affairs appeared Sidonia, known before to her \n step-mother, but seen by Lucretia for the first time. Truly, he came, \n saw, and conquered. Those eyes that rarely met another's were fixed upon \n his searching yet unimpassioned glance. She listened to that voice,","boundless treasure, was his chosen friend; gained under circumstances \n of romantic interest, when the reciprocal influence of their personal \n qualities was affected by no accessory knowledge of their worldly \n positions. He himself was in the very bloom of youth and health; the \n child of a noble house, rich for his present wants, and with a future of \n considerable fortunes. Entrancing love and dazzling friendship, a \n high ambition and the pride of knowledge, the consciousness of a great","dinner at Millbank, and the timid hostess whom he then addressed so \n often in vain, as he gazed upon the bewitching and accomplished woman \n whom he now passionately loved. It was a most agreeable dinner. Oswald, \n happy in his friend being his guest, under his own roof, indulged in \n unwonted gaiety. \n \n The ladies withdrew; Sir Joseph began to talk politics, although the \n young men had threatened their fair companions immediately to follow","Soon after this Coningsby led Edith to the dance. It was at a ball that \n he had first met her at Paris, and this led to other reminiscences; \n all most interesting. Coningsby was perfectly happy. All mysteries, all \n difficulties, were driven from his recollection; he lived only in the \n exciting and enjoyable present. Twenty-one and in love! \n \n Some time after this, Coningsby, who was inevitably separated from \n Edith, met his host. \n","marry?' he added, with a fiendish laugh. \n \n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \n that Monsieur Sidonia was about to marry her.' \n \n 'Is she so very beautiful?' inquired another gentleman. \n \n 'Yes,' said Lady Monmouth, calm, but pale. \n \n 'Poh!' said the Marquess again. \n \n 'I assure you that it is a fact,' said the Attaché, 'not at least an","since he so suddenly quitted Paris at the beginning of the year. The \n wound he had received was deep to one unused to wounds. Yet, after all, \n none had outraged his feelings, no one had betrayed his hopes. He had \n loved one who had loved another. Misery, but scarcely humiliation. And \n yet 'tis a bitter pang under any circumstances to find another preferred \n to yourself. It is about the same blow as one would probably feel if \n falling from a balloon. Your Icarian flight melts into a grovelling","Tronchet, but their owner bore the features of the senior Millbank. A \n beautiful countenance that was alternately the face in the mysterious \n picture, and then that of Edith, haunted him under all circumstances. He \n woke little refreshed; restless, and yet sensible of some secret joy. \n \n He woke to think of her of whom he had dreamed. The light had dawned on \n his soul. Coningsby loved. \n \n Ah! what is that ambition that haunts our youth, that thirst for power","before; nor can I ever suppose that you could like me as you like Henry \n Sydney and Buckhurst, or even as you like Vere; but still I hope you \n will always think of me with kindness now, and let me sign myself, if \n ever I do write to you, 'Your most attached, affectionate, and devoted \n friend, \n \n 'OSWALD MILLBANK.' \n \n \n \n \n CHAPTER XI. \n \n \n About a fortnight after this nearly fatal adventure on the river, it was","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","advanced in youth. The ties of friendship which then united several of \n them had only been confirmed by continued companionship. Coningsby \n and Henry Sydney, and Buckhurst and Vere, were still bound together by \n entire sympathy, and by the affection of which sympathy is the only \n sure spring. But their intimacies had been increased by another familiar \n friend. There had risen up between Coningsby and Millbank mutual \n sentiments of deep, and even ardent, regard. Acquaintance had developed","he sat in his chamber, with his eyes fixed on vacancy. All thoughts and \n feelings, pursuits, desires, life, merge in one absorbing sentiment. \n \n It is impossible to exist without seeing her again, and instantly. He \n had requested and gained permission to call on Lady Wallinger; he would \n not lose a moment in availing himself of it. As early as was tolerably \n decorous, and before, in all probability, they could quit their hotel,","His heart was agitated, his countenance changed; he retained her hand \n amid the chattering tourists, too full of their criticisms and their \n egotistical commonplaces to notice what was passing. A sentimental \n ebullition seemed to be on the point of taking place. Their eyes met. \n The look of Edith was mournful and inquiring. \n \n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \n with a radiant smile. \n \n \n \n","though her organ wanted force. The gentlemen looked at each other, and \n nodded approbation. There was something so unobtrusive in her mien, \n that she instantly became a favourite with the ladies. The scene was not \n long, but it was successful. \n \n Flora did not appear in the next scene. In the fourth and final one \n of the act, she had to make a grand display. It was a love-scene, and \n rather of an impassioned character; Villebecque was her suitor. He","first love! Coningsby, of all places in the world, in the gardens of the \n Luxembourg, encountered Sir Joseph Wallinger and Edith. \n \n To avoid them was impossible; they met face to face; and Sir Joseph \n stopped, and immediately reminded him that it was three days since they \n had seen him, as if to reproach him for so unprecedented a neglect. And \n it seemed that Edith, though she said not as much, felt the same. And \n Coningsby turned round and walked with them. He told them he was going"],["is in vain to speak of the enmities that are fostered between you and \n my grandfather; the love that exists between your daughter and myself is \n stronger than all your hatreds.' \n \n 'You speak like a young man, and a young man that is in love,' said Mr. \n Millbank. 'This is mere rhapsody; it will vanish in an instant \n before the reality of life. And you have arrived at that reality,' he \n continued, speaking with emphasis, leaning over the back of his chair,","and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","her embrace. 'He tells you that his grandfather, my Lord Marquess, I \n believe, sir, that every one, that--' \n \n 'Oh, no, no, no!' said Flora, shaking her head. 'He comes here because \n he is generous, because he is a gentleman; and he wished to soothe the \n soul that he knew was suffering. Thank him, my father, thank him for \n me and before me, and promise in his presence that the stage and your \n daughter have parted for ever.' \n","life, he devoted himself to a love that seemed hopeless, and to a fame \n that was perhaps a dream. \n \n It was under the influence of these solemn resolutions that he wrote, \n on his return home, a letter to Lord Monmouth, in which he expressed \n all that affection which he really felt for his grandfather, and all \n the pangs which it cost him to adhere to the conclusions he had already \n announced. In terms of tenderness, and even humility, he declined to","few hours he was to meet her again, infused into his being a degree of \n transport, which the very necessity of repressing before his companion \n rendered more magical and thrilling. How often it happens in life that \n we have with a grave face to discourse of ordinary topics, while all the \n time our heart and memory are engrossed with some enchanting secret! \n \n The castle of his grandfather presented a far different scene on the \n arrival of Coningsby from that which it had offered on his first visit.","of excitement, some of delight; but they had all found, as it were, \n their origin in worldly considerations, or been inevitably mixed up with \n them. At Paris, for example, he loved, or thought he loved. But there \n not an hour could elapse without his meeting some person, or hearing \n something, which disturbed the beauty of his emotions, or broke his \n spell-bound thoughts. There was his grandfather hating the Millbanks, \n or Sidonia loving them; and common people, in the common world, making","with the parties concerned to feel assured that he had not learnt the \n whole truth. What had really taken place, and what was the real cause of \n the occurrences, were equally mystical to him: all he was convinced of \n was, that some great domestic revolution had been suddenly effected. \n \n Coningsby entertained for his grandfather a sincere affection. With the \n exception of their last unfortunate interview, he had experienced from \n Lord Monmouth nothing but kindness both in phrase and deed. There was","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","that he was about to invite his grandson to their wedding, and the lady \n had received the intimation with satisfaction. It so happened that a \n few hours after, Lucretia, who now entered the private rooms of Lord \n Monmouth without previously announcing her arrival, met Villebecque with \n the letter to Coningsby in his hand. Lucretia took it away from him, \n and said it should be posted with her own letters. It never reached its \n destination. Our friend learnt the marriage from the newspapers, which","entirely devoted himself to his new pursuit. His being was completely \n absorbed in it. There was nothing to haunt his mind; no unexperienced \n scene or sensation of life to distract his intelligence. One sacred \n thought alone indeed there remained, shrined in the innermost sanctuary \n of his heart and consciousness. But it was a tradition, no longer a \n hope. The moment that he had fairly recovered from the first shock of \n his grandfather's will; had clearly ascertained the consequences to","when he made the discovery. When he had recovered himself, he sealed up \n the contents of the box, with the exception of his mother's letters and \n the miniature, which he took away with him, and then re-delivered it to \n his banker for custody until his return. \n \n Coningsby found Lord and Lady Monmouth in a splendid hotel in the \n Faubourg St. Honoré, near the English Embassy. His grandfather looked at \n him with marked attention, and received him with evident satisfaction.","somewhat astounded him; but Coningsby was fond of his grandfather, and \n he wrote Lord Monmouth a letter of congratulation, full of feeling and \n ingenuousness, and which, while it much pleased the person to whom it \n was addressed, unintentionally convinced him that Coningsby had never \n received his original communication. Lord Monmouth spoke to Villebecque, \n who could throw sufficient light upon the subject, but it was never \n mentioned to Lady Monmouth. The Marquess was a man who always found out","suddenly from his seat, and pacing the room, 'and did that melt his \n heart? The experience of your own lot should have guarded you from the \n perils that you have so rashly meditated encountering, and the misery \n which you have been preparing for others besides yourself. Is my \n daughter to be treated like your mother? And by the same hand? Your \n mother's family were not Lord Monmouth's foes. They were simple and \n innocent people, free from all the bad passions of our nature, and","letter for his grandfather, and tells me that he and Henry Sydney had \n just had a capital run with the King's hounds.' \n \n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \n 'Once he was often here. He was a great favourite of mine. I hardly ever \n knew a more interesting boy.' \n \n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth","Flora, and thanked her with all his courtesy. \n \n 'You are not hurt, then, sir?' she ventured to ask with a look that \n expressed the infinite solicitude which her tongue did not venture to \n convey. \n \n 'By no means, my good little girl;' and he extended his hand to her, \n which she reverently bent over and embraced. \n \n \n \n \n CHAPTER VII. \n \n \n When Coningsby had returned to his grandfather's hotel that morning, it","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","And yet, had she accorded him that peerless boon, her heart, with what \n aspect was he to communicate this consummation of all his hopes to his \n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \n of an establishment for the daughter of his foe, of a man whose name was \n never mentioned except to cloud his visage? Ah! what was that mystery \n that connected the haughty house of Coningsby with the humble blood of \n the Lancashire manufacturer? Why was the portrait of his mother beneath","spirits, which, to say the truth, were never particularly depressed. \n Where he had been, what he had seen, what he had done, what sort of \n fellow his grandfather was, whether the visit had been a success; here \n were materials for almost endless inquiry. And, indeed, to do them \n justice, the last question was not the least exciting to them; for the \n deep and cordial interest which all felt in Coningsby's welfare far \n outweighed the curiosity which, under ordinary circumstances, they","His father is a Lancashire manufacturer.' \n \n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \n in the world that Lord Monmouth dislikes so much as Manchester \n manufacturers, and particularly if they bear the name of Millbank. It \n must not be thought of, my dear Harry. I hope you have not spoken to \n the young man on the subject. I assure you it is out of the question. \n It would make Lord Monmouth quite ill. It would spoil everything, quite \n upset him.'","words and retire. This little incident, however, made a momentary \n diversion in the immediate circle of Lord Monmouth, and before they \n could all resume their former talk and fall into their previous \n positions, an impulse sent forth Coningsby, who walked up to Lord \n Monmouth, and standing before him, said, \n \n 'How do you do, grandpapa?' \n \n Lord Monmouth beheld his grandson. His comprehensive and penetrating \n glance took in every point with a flash. There stood before him one of"],["entirely devoted himself to his new pursuit. His being was completely \n absorbed in it. There was nothing to haunt his mind; no unexperienced \n scene or sensation of life to distract his intelligence. One sacred \n thought alone indeed there remained, shrined in the innermost sanctuary \n of his heart and consciousness. But it was a tradition, no longer a \n hope. The moment that he had fairly recovered from the first shock of \n his grandfather's will; had clearly ascertained the consequences to","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","suddenly seemed to receive some miraculous inspiration. Mysterious \n phrases heard in his earliest boyhood, unnoticed then, long since \n forgotten, rose to his ear. Who was this grandfather, seen not before, \n seen now for the first time? Where was the intervening link of blood \n between him and this superb and icy being? The boy sank into the chair \n which had been placed for him, and leaning on the table burst into \n tears. \n \n Here was a business! If there were one thing which would have made Lord","of its character. The first feeling which he experienced at the \n intelligence was sincere affliction. He was fond of his grandfather; had \n received great kindness from him, and at a period of life when it was \n most welcome. The neglect and hardships of his early years, instead of \n leaving a prejudice against one who, by some, might be esteemed their \n author, had by their contrast only rendered Coningsby more keenly \n sensible of the solicitude and enjoyment which had been lavished on his \n happy youth. \n","Other boys went to see their mothers! he, at least, could talk of his. \n Now he was alone. His grandfather was to him only a name. Lord Monmouth \n resided almost constantly abroad, and during his rare visits to England \n had found no time or inclination to see the orphan, with whom he felt \n no sympathy. Even the death of the boy's mother, and the consequent \n arrangements, were notified to his master by a stranger. The letter \n which brought the sad intelligence was from Mr. Rigby. It was the first","better chance of being a field-marshal than he has of being a Lord \n Chancellor.' \n \n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \n Henry Sydney, gravely. \n \n This change of life for Coningsby was a great social revolution. It was \n sudden and complete. Within a month after the death of his grandfather \n his name had been erased from all his fashionable clubs, and his horses \n and carriages sold, and he had become a student of the Temple. He","studies in chain armour. The calmer Henry Sydney was consoled for the \n misfortunes of Coningsby by a fanciful project himself to pass a portion \n of his life amid these halls and courts, gardens and terraces, that \n maintain in the heart of a great city in the nineteenth century, so much \n of the grave romance and picturesque decorum of our past manners. \n Henry Sydney was sanguine; he was reconciled to the disinheritance of \n Coningsby by the conviction that it was a providential dispensation to","He was still in the vigour of life, and was not a mere money-making \n machine. He had a general intelligence equal to his position, and looked \n forward to the period when some relaxation from his vast enterprises and \n exertions might enable him to direct his energies to great objects of \n public benefit. But in the height of his vast prosperity he suddenly \n died, leaving only one child, a youth still of tender years, and heir to \n the greatest fortune in Europe, so great, indeed, that it could only be \n calculated by millions. \n","time to shut his eyes. Before he left town for Scotland he had made a \n farewell visit to his grandfather, who, though not as cordial as in \n old days, had been gracious; and Coningsby, during his excursion to the \n moors, and his various visits to the country, had continued at intervals \n to write to his grandfather, as had been for some years his custom. On \n the whole, with an indefinite feeling which, in spite of many a rational \n effort, did nevertheless haunt his mind, that this great and sudden","spirits, which, to say the truth, were never particularly depressed. \n Where he had been, what he had seen, what he had done, what sort of \n fellow his grandfather was, whether the visit had been a success; here \n were materials for almost endless inquiry. And, indeed, to do them \n justice, the last question was not the least exciting to them; for the \n deep and cordial interest which all felt in Coningsby's welfare far \n outweighed the curiosity which, under ordinary circumstances, they","Coningsby addressed himself to the point with Sir Joseph. He inquired of \n the uncle explicitly whether he knew anything on the subject. Sir Joseph \n was of opinion that it was something that Millbank had somewhere 'picked \n up.' Millbank used often to 'pick up' pictures. \n \n Disappointed in his love, Coningsby sought refuge in the excitement \n of study, and in the brooding imagination of an aspiring spirit. The \n softness of his heart seemed to have quitted him for ever. He recurred","life, he devoted himself to a love that seemed hopeless, and to a fame \n that was perhaps a dream. \n \n It was under the influence of these solemn resolutions that he wrote, \n on his return home, a letter to Lord Monmouth, in which he expressed \n all that affection which he really felt for his grandfather, and all \n the pangs which it cost him to adhere to the conclusions he had already \n announced. In terms of tenderness, and even humility, he declined to","everything, and enjoyed the secret. \n \n Rather more than a year after the marriage, when Coningsby had completed \n his twenty-first year, the year which he had passed so quietly at \n Cambridge, he received a letter from his grandfather, informing him that \n after a variety of movements Lady Monmouth and himself were established \n in Paris for the season, and desiring that he would not fail to come \n over as soon as practicable, and pay them as long a visit as the \n regulations of the University would permit. So, at the close of the","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","The ladies themselves soon withdrew; the gentlemen lingered for a \n while; the Duke took up his candle, and bid his guests good night; Lord \n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \n Henry and his friend sat up talking over the past. They were too young \n to call them old times; and yet what a life seemed to have elapsed since \n they had quitted Eton, dear old Eton! Their boyish feelings, and still \n latent boyish character, developed with their reminiscences. \n","occurred, Coningsby fell asleep when the morning had far advanced, \n resolved to rise when a little refreshed and find out Lady Wallinger, \n who, he felt sure, would receive him with kindness. \n \n Yet it was fated that this step should not be taken, for while he was \n at breakfast, his servant brought him a letter from Monmouth House, \n apprising him that his grandfather wished to see him as soon as possible \n on urgent business. \n \n \n \n \n CHAPTER III. \n \n","He seemed close and cold; but he was courageous, just, and inflexible; \n never bullied, and to his utmost would prevent tyranny. The little boys \n looked up to him as a stern protector; and his word, too, throughout the \n school was a proverb: and truth ranks a great quality among boys. In \n a word, Millbank was respected by those among whom he lived; and \n school-boys scan character more nicely than men suppose. \n \n A brother of Henry Sydney, quartered in Lancashire, had been wounded","honours were proclaimed in the London Gazette, and her decease was not \n even noticed in the County Chronicle; but the altars of Nemesis are \n beneath every outraged roof, and the death of this unhappy lady, \n apparently without an earthly friend or an earthly hope, desolate and \n deserted, and dying in obscure poverty, was not forgotten. \n \n Coningsby was not more than nine years of age when he lost his last \n parent; and he had then been separated from her for nearly three years.","with the parties concerned to feel assured that he had not learnt the \n whole truth. What had really taken place, and what was the real cause of \n the occurrences, were equally mystical to him: all he was convinced of \n was, that some great domestic revolution had been suddenly effected. \n \n Coningsby entertained for his grandfather a sincere affection. With the \n exception of their last unfortunate interview, he had experienced from \n Lord Monmouth nothing but kindness both in phrase and deed. There was"],["He seemed close and cold; but he was courageous, just, and inflexible; \n never bullied, and to his utmost would prevent tyranny. The little boys \n looked up to him as a stern protector; and his word, too, throughout the \n school was a proverb: and truth ranks a great quality among boys. In \n a word, Millbank was respected by those among whom he lived; and \n school-boys scan character more nicely than men suppose. \n \n A brother of Henry Sydney, quartered in Lancashire, had been wounded","recently in a riot, and had received great kindness from the Millbank \n family, in whose immediate neighbourhood the disturbance had occurred. \n The kind Duke had impressed on Henry Sydney to acknowledge with \n cordiality to the younger Millbank at Eton, the sense which his family \n entertained of these benefits; but though Henry lost neither time nor \n opportunity in obeying an injunction, which was grateful to his own \n heart, he failed in cherishing, or indeed creating, any intimacy \n with the object of his solicitude. A companionship with one who was","of insulting his religion, and would deprive him, if possible, of \n the advantages of the very institutions which his family assisted in \n establishing?' \n \n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \n 'Is he clever?' \n \n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \n among women, that I ever knew, but he is very popular in the county. He","speak. Henry Sydney indeed looked pale and nervous; but his companion, \n flushed and resolute, knew exactly how to hit a popular assembly, and at \n once came to the point. \n \n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \n nobody is drowned.' \n \n There was a cheer that might have been heard at Windsor Castle. Then, \n turning to Sedgwick, in an undertone Buckhurst added, \n","loved and which loved them. One of their sons-in-law and his wife, and \n Henry Sydney, completed the party. \n \n There are few conjunctures in life of a more startling interest, than to \n meet the pretty little girl that we have gambolled with in our boyhood, \n and to find her changed in the lapse of a very few years, which in some \n instances may not have brought a corresponding alteration in our own \n appearance, into a beautiful woman. Something of this flitted over","So they went without him. They found Millbank up and reading. \n \n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \n before, but they would not let us. And you are quite right now, eh?' \n \n 'Quite. Has there been any row about it?' \n \n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \n \n 'I have seen nobody yet,' said Millbank; 'they would not let me till","of English realistic fiction, but in this special field none of them \n has surpassed him. From this point of view, accordingly, \"Coningsby\" is \n appropriately included in this series. \n \n \n \n \n TO HENRY HOPE \n \n \n It is not because this work was conceived and partly executed amid the \n glades and galleries of the DEEPDENE that I have inscribed it with your \n name. Nor merely because I was desirous to avail myself of the most","the cleverest; indeed, I always thought that there was no one like you; \n but I never would say this or show this, because you never seemed to \n care for me, and because I was afraid you would think I merely wanted to \n con with you, as they used to say of some other fellows, whose names I \n will not mention, because they always tried to do so with Henry Sydney \n and you. I do not want this at all; but I want, though we may not speak \n to each other more than before, that we may be friends; and that you","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","not seek to control his anger; he could not succeed even in concealing \n his agitation. He threw upon Rigby that glance so rare with him, but \n under which men always quailed; that play of the eye which Lord Monmouth \n shared in common with Henry VIII., that struck awe into the trembling \n Commons when they had given an obnoxious vote, as the King entered the \n gallery of his palace, and looked around him. \n \n It was a look which implied that dreadful question, 'Why have I bought","senates to have their beards plucked in the forum. We live in an age of \n prudence. The leaders of the people, now, generally follow. The truth \n is, the peers were in a fright. 'Twas a pity; there is scarcely a less \n dignified entity than a patrician in a panic. \n \n Among the most intimate companions of Coningsby at Eton, was Lord Henry \n Sydney, his kinsman. Coningsby had frequently passed his holydays of","there was one individual absent from the breakfast-table whose \n non-appearance could scarcely be passed over without notice; and several \n inquired with some anxiety, whether their host were indisposed. \n \n 'The Duke has received some letters from London which detain him,' \n replied the Duchess. 'He will join us.' \n \n 'Your Grace will be glad to hear that your son Henry is very well,' said \n Mr. Rigby; 'I heard of him this morning. Harry Coningsby enclosed me a","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","impressions. To notice lesser sources of influence in his estimate of \n the domestic tie, he had witnessed under the roof of Beaumanoir the \n existence of a family bound together by the most beautiful affections. \n He could not forget how Henry Sydney was embraced by his sisters when he \n returned home; what frank and fraternal love existed between his kinsman \n and his elder brother; how affectionately the kind Duke had welcomed his \n son once more to the house where they had both been born; and the dim","pictures was ever a source of great excitement to Henry Sydney, who \n always lamented his ill-luck in not living in such days; nay, would \n insist that all others must equally deplore their evil destiny. \n \n 'See, Coningsby, this battery on the Upper Park,' said Lord Henry. \n 'This did the business: how it rakes up the valley; Sir Eustace works it \n himself. Mother, what a pity Beaumanoir was not besieged!' \n","'It was my fault,' said the amiable Henry Sydney; 'but I really wanted \n to be civil to Millbank, and as you were not here, I put Buckhurst up to \n ask him.' \n \n 'Well,' said Coningsby, as if sullenly resigned, 'never mind; but why \n should you ask an infernal manufacturer?' \n \n 'Why, the Duke always wished me to pay him some attention,' said \n Lord Henry, mildly. 'His family were so civil to us when we were at \n Manchester.' \n","There is nothing more interesting than to trace predisposition. An \n indefinite, yet strong sympathy with the peasantry of the realm had been \n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \n schoolboy, he had busied himself with their pastimes and the details of \n their cottage economy. As he advanced in life the horizon of his views \n expanded with his intelligence and his experience; and the son of one of \n the noblest of our houses, to whom the delights of life are offered with","I shall never forget it as long as I live. However, there was the Lock \n House at hand; and we got blankets and brandy. Coningsby was soon all \n right; but Millbank, I can tell you, gave us some trouble. I thought it \n was all up. Didn't you, Henry Sydney?' \n \n 'The most fishy thing I ever saw,' said Henry Sydney. \n \n 'Well, we were fairly frightened here,' said Sedgwick. 'The first","'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \n very great friend of yours?' \n \n 'Very.' \n \n 'He is very amiable.' \n \n 'Very.' \n \n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \n it not?' \n \n 'Very.' \n \n 'As fine as Coningsby?' \n","himself, and had resolved on the course to pursue; he had communicated \n unreservedly with Oswald Millbank, and had renounced those pretensions \n to the hand of his sister which it ill became the destitute to prefer. \n \n His letter was answered in person. Millbank met Henry Sydney and \n Buckhurst at the chambers of Coningsby. Once more they were all \n four together; but under what different circumstances, and with what \n different prospects from those which attended their separation at Eton!"],["and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","circumstances in your case, which, even if I were a member of the same \n order as my Lord Monmouth, would prevent the possibility of a prosperous \n union. Marry Edith, and you blast all the prospects of your life, and \n entail on her a sense of unceasing humiliation. Would you do this? \n Should I permit you to do this?' \n \n Coningsby, with his head resting on his arm, his face a little shaded, \n his eyes fixed on the ground, listened in silence. There was a pause;","very loud, knowing that the presence of his father would make Coningsby \n hesitate about coming. Edith's heart fluttered; but she said nothing. It \n was with delight she heard her father, after a moment's pause, say, \n \n 'Oh! I beg we may have that pleasure.' \n \n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \n your journey has not fatigued you.'","marriage. Nothing but the influence of Sidonia could have effected this. \n Therefore, of course, Edith is attached to him almost as much as I am. \n In short, he is our dearest friend; our counsellor in all our cares. But \n as for marrying him, the idea is ridiculous to those who know Monsieur \n Sidonia. No earthly consideration would ever induce him to impair that \n purity of race on which he prides himself. Besides, there are other \n obvious objections which would render an alliance between him and my","Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \n that it would be well that his daughter should accompany them in their \n somewhat extensive travels. It was not, therefore, only that nature \n had developed a beautiful woman out of a bashful girl since Coningsby's \n visit to Millbank; but really, every means and every opportunity that \n could contribute to render an individual capable of adorning the most \n accomplished circles of life, had naturally, and without effort, fallen","dissolution brought affairs to a crisis. The misery of Oswald at the \n position of Coningsby, the silent sadness of Edith, his own conviction, \n which assured him that he could do nothing wiser or better than take \n this young man to his heart, so ordained it that Mr. Millbank, who \n was after all the creature of impulse, decided suddenly, and decided \n rightly. Never making a single admission to all the representations of \n his son, Mr. Millbank in a moment did all that his son could have dared","'Edith!' he said in a tone of tremulous passion, 'Let me call you Edith! \n Yes,' he continued, gently taking her hand, let me call you my Edith! I \n love you!' \n \n She did not withdraw her hand; but turned away a face flushed as the \n impending twilight. \n \n \n \n \n CHAPTER VI. \n \n \n It was past the dinner hour when Edith and Coningsby reached the Hall;","instrument of injuring the only being whom she loved, and embarrassing \n and encumbering her with duties foreign to her experience and her \n nature. The marriage of Coningsby had greatly affected her, and from \n that day she seemed gradually to decline. She died towards the end \n of the autumn, and, subject to an ample annuity to Villebecque, she \n bequeathed the whole of her fortune to the husband of Edith. Gratifying \n as it was to him to present such an inheritance to his wife, it was not","'My good young friend, you will live, I doubt not, to be a happy one. \n Happiness is not, as we are apt to fancy, entirely dependent on these \n contingencies. It is the lot of most men to endure what you are now \n suffering, and they can look back to such conjunctures through the vista \n of years with calmness.' \n \n 'I may see Edith now?' \n \n 'Frankly, I should say, no. My daughter is in her room; I have had some","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","'The Duke will be deuced glad to see Beau settled, I take it,' said Mr. \n Cassilis. \n \n 'A good deal depends on the tin,' said his friend. \n \n Coningsby threw down the 'Court Guide' with a sinking heart. In spite \n of every insuperable difficulty, hitherto the end and object of all his \n aspirations and all his exploits, sometimes even almost unconsciously \n to himself, was Edith. It was over. The strange manner of last night was","'I am not aware that she is going to be married to any one. Lord \n Beaumanoir admires her, has always admired her. But Edith has given \n him no encouragement, at least gave him no encouragement as long as she \n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \n am to blame; I have been to blame perhaps before, but indeed I think it \n cruel, very cruel, that Edith and you are kept asunder.' \n","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","was Edith, radiant with loveliness and beaming with love. Their agitated \n hearts told at a glance the tumult of their joy. The father joined their \n hands, and blessed them with words of tenderness. \n \n \n \n \n CHAPTER VII. \n \n \n The marriage of Coningsby and Edith took place early in the autumn. \n It was solemnised at Millbank, and they passed their first moon at \n Hellingsley, which place was in future to be the residence of the member","recognised a more satisfactory reason for the transient liveliness of \n his daughter which had so greatly gratified him. \n \n About a month after Christmas, the meeting of Parliament summoned Mr. \n Millbank up to London; and he had wished Edith to accompany him. But \n London in February to Edith, without friends or connections, her father \n always occupied and absent from her day and night, seemed to them \n all, on reflection, to be a life not very conducive to health or","As for Coningsby, notwithstanding the elation of his heart, and the \n ethereal joy which flowed in all his veins, the name of Mr. Millbank \n sounded, something like a knell. However, this was not the time to \n reflect. He obeyed the hint of Edith; made the most rapid toilet that \n ever was consummated by a happy lover, and in a few minutes entered the \n drawing-room of Hellingsley, to encounter the gentleman whom he hoped by","'Why?' inquired Mr. Millbank. \n \n 'Because I believe she possesses every charm, quality, and virtue, that \n can bless man; and because, though I can make her no equivalent return, \n I have a heart, if I know myself, that would struggle to deserve her.' \n \n 'I know you to be a man of sense; I believe you to be a man of honour,' \n replied Mr. Millbank. 'As the first, you must feel that an union between","her embrace. 'He tells you that his grandfather, my Lord Marquess, I \n believe, sir, that every one, that--' \n \n 'Oh, no, no, no!' said Flora, shaking her head. 'He comes here because \n he is generous, because he is a gentleman; and he wished to soothe the \n soul that he knew was suffering. Thank him, my father, thank him for \n me and before me, and promise in his presence that the stage and your \n daughter have parted for ever.' \n","CHAPTER VII. \n \n \n To be alone; to have no need of feigning a tranquillity he could not \n feel; of coining common-place courtesy when his heart was gushing \n with rapture; this was a great relief to Coningsby, though gained by a \n separation from Edith. \n \n The deed was done; he had breathed his long-brooding passion, he \n had received the sweet expression of her sympathy, he had gained \n the long-coveted heart. Youth, beauty, love, the innocence of","His heart was agitated, his countenance changed; he retained her hand \n amid the chattering tourists, too full of their criticisms and their \n egotistical commonplaces to notice what was passing. A sentimental \n ebullition seemed to be on the point of taking place. Their eyes met. \n The look of Edith was mournful and inquiring. \n \n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \n with a radiant smile. \n \n \n \n"],["contrast to that which he expected rather perplexed him. He entered into \n the details of the election, talked rapidly of the next registration, \n the propriety of petitioning; accustomed himself to hearing his voice \n with its habitual volubility in a chamber where he had feared it might \n not sound for some time. \n \n 'D----n politics!' said the Marquess. 'These fellows are in for this \n Parliament, and I am really weary of the whole affair. I begin to think","higher impulses of his nature had been preparing him. It was a keen \n trial of a man. Every one of his friends and old companions were \n candidates, and with sanguine prospects. Lord Henry was certain for a \n division of his county; Buckhurst harangued a large agricultural \n borough in his vicinity; Eustace Lyle and Vere stood in coalition for \n a Yorkshire town; and Oswald Millbank solicited the suffrages of an \n important manufacturing constituency. They sent their addresses to","fatal facility, on the very threshold of his career he devoted his \n time and thought, labour and life, to one vast and noble purpose, the \n elevation of the condition of the great body of the people. \n \n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \n be content with being his gentleman usher.' \n \n 'It shall be put to the vote,' said Lord Vere. \n \n 'No one has a chance against Buckhurst,' said Coningsby. \n","first time in the history of this country since the introduction of the \n system of parliamentary sovereignty, the Government of England depended \n on the fate of single elections; and indeed, by a single vote, it is \n remarkable to observe, the fate of the Whig Government was ultimately \n decided. \n \n This critical state of affairs, duly reported to Lord Monmouth, revived \n his political passions, and offered him that excitement which he was \n ever seeking, and yet for which he had often sighed. The Marquess, too,","Rigby had resigned. He was, however, requested to remain at Birmingham, \n as they did not wish him to enter Darlford, except to be chaired, so \n he was to arrive there in the morning. At Birmingham, therefore, they \n remained. \n \n There was Oswald's election to talk of as well as Coningsby's. They had \n hardly had time for this. Now they were both Members of Parliament. \n Men must have been at school together, to enjoy the real fun of meeting","There never was such a cordial meeting; and yet the faces of his \n friends were serious. The truth is, the paragraphs in the newspapers had \n circulated in the country, they had written to Coningsby, and after a \n brief delay he had confirmed their worst apprehensions. Immediately they \n came up to town. Henry Sydney, a younger son, could offer little but \n sympathy, but he declared it was his intention also to study for the \n bar, so that they should not be divided. Buckhurst, after many embraces","to govern England. The very day that he arrived he had his audience with \n the King. \n \n It was two days after this audience; the town, though November, in a \n state of excitement; clubs crowded, not only morning rooms, but halls \n and staircases swarming with members eager to give and to receive \n rumours equally vain; streets lined with cabs and chariots, grooms and \n horses; it was two days after this audience that Mr. Ormsby, celebrated","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","speak. Henry Sydney indeed looked pale and nervous; but his companion, \n flushed and resolute, knew exactly how to hit a popular assembly, and at \n once came to the point. \n \n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \n nobody is drowned.' \n \n There was a cheer that might have been heard at Windsor Castle. Then, \n turning to Sedgwick, in an undertone Buckhurst added, \n","It was early in November, 1834, and a large shooting party was assembled \n at Beaumanoir, the seat of that great nobleman, who was the father \n of Henry Sydney. England is unrivalled for two things, sporting and \n politics. They were combined at Beaumanoir; for the guests came not \n merely to slaughter the Duke's pheasants, but to hold council on the \n prospects of the party, which it was supposed by the initiated, began at \n this time to indicate some symptoms of brightening. \n","So they went without him. They found Millbank up and reading. \n \n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \n before, but they would not let us. And you are quite right now, eh?' \n \n 'Quite. Has there been any row about it?' \n \n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \n \n 'I have seen nobody yet,' said Millbank; 'they would not let me till","and public life then indeed becomes a noble career, and a seat in \n Parliament an enviable distinction.' \n \n 'I tell you what it is, Harry,' said Lord Monmouth, very drily, 'members \n of this family may think as they like, but they must act as I please. \n You must go down on Friday to Darlford and declare yourself a candidate \n for the town, or I shall reconsider our mutual positions. I would say, \n you must go to-morrow; but it is only courteous to Rigby to give him a","it, if possible, to be without distinction of party. He had come to \n reside among his old friends, to live and die where he was born. \n The Chairman of the Conservative Association and the Vice President \n exchanged glances, which would have become Tadpole and Taper; the \n four attorneys nibbed their pens with increased energy, and vowed that \n nothing could withstand the influence of the aristocracy 'in the long \n run.' All went and dined at the Castle; all returned home overpowered","the season, at once sacred and merry. There are carols for the eventful \n eve, and mummers for the festive day. \n \n The Duke and Duchess, and every member of the family, had consented this \n year to keep their Christmas with the newly-married couple. Coningsby, \n too, was there, and all his friends. The party was numerous, gay, \n hearty, and happy; for they were all united by sympathy. \n \n They were planning that Henry Sydney should be appointed Lord of","that it could not be postponed.' He made a sign to Villebecque, and his \n secretary instantly retired. \n \n 'I was right in pressing your return to England,' continued Lord \n Monmouth to his grandson, who was a little anxious as to the impending \n communication, which he could not in any way anticipate. 'These are not \n times when young men should be out of sight. Your public career will \n commence immediately. The Government have resolved on a dissolution. My \n information is from the highest quarter. You may be astonished, but","Coningsby did not sleep a wink that night, and yet when he rose early \n felt fresh enough for any exploit, however difficult or hazardous. He \n felt as an Egyptian does when the Nile rises after its elevation had \n been despaired of. At the very lowest ebb of his fortunes, an event \n had occurred which seemed to restore all. He dared not contemplate the \n ultimate result of all these wonderful changes. Enough for him, that \n when all seemed dark, he was about to be returned to Parliament by","to hear him, it was long before their enthusiasm could subside into \n silence. At length that silence was deep and absolute. He spoke; his \n powerful and rich tones reached every ear. In five minutes' time every \n one looked at his neighbour, and without speaking they agreed that there \n never was anything like this heard in Darlford before. \n \n He addressed them for a considerable time, for he had a great deal to \n say; not only to express his gratitude for the unprecedented manner in \n which he had become their representative, and for the spirit in which","well for England until this order of the peasantry was restored to its \n pristine condition; not merely in physical comfort, for that must vary \n according to the economical circumstances of the time, like that of \n every class; but to its condition in all those moral attributes which \n make a recognised rank in a nation; and which, in a great degree, are \n independent of economics, manners, customs, ceremonies, rights, and \n privileges. \n \n 'Henry thinks,' said Lord Everingham, 'that the people are to be fed by","The president and vice-president of the Conservative Association, the \n secretary and the four solicitors who were agents, had impressed upon \n Mr. Rigby that it was of the utmost importance, and must produce a \n great moral effect, if he obtain the show of hands. With his powers of \n eloquence and their secret organisation, they flattered themselves it \n might be done. With this view, Rigby inflicted a speech of more than \n two hours' duration on the electors, who bore it very kindly, as the mob","thus, and realising boyish dreams. Often, years ago, they had talked \n of these things, and assumed these results; but those were words and \n dreams, these were positive facts; after some doubts and struggles, in \n the freshness of their youth, Oswald Millbank and Harry Coningsby \n were members of the British Parliament; public characters, responsible \n agents, with a career. \n \n This afternoon, at Birmingham, was as happy an afternoon as usually \n falls to the lot of man. Both of these companions were labouring under"],["and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","father-in-law with the abuses of the old system, and frightened him with \n visions of rates exceeding rentals. \n \n Of late, however, a considerable change had taken place in the Duke's \n feelings on this great question. His son Henry entertained strong \n opinions upon it, and had combated his father with all the fervour of a \n young votary. A victory over his Grace, indeed, was not very difficult. \n His natural impulse would have enlisted him on the side, if not of","opposition to the new system, at least of critical suspicion of its \n spirit and provisions. It was only the statistics and sharp acuteness \n of his son-in-law that had, indeed, ever kept him to his colours. Lord \n Henry would not listen to statistics, dietary tables, Commissioners' \n rides, Sub-commissioners' reports. He went far higher than his father; \n far deeper than his brother-in-law. He represented to the Duke that the \n order of the peasantry was as ancient, legal, and recognised an order as","the father of Edith, and his vanquished rival who was to bite the dust \n before him was the author of all his misfortunes. Love, Vengeance, \n Justice, the glorious pride of having acted rightly, the triumphant \n sense of complete and absolute success, here were chaotic materials from \n which order was at length evolved; and all subsided in an overwhelming \n feeling of gratitude to that Providence that had so signally protected \n him. \n","is in vain to speak of the enmities that are fostered between you and \n my grandfather; the love that exists between your daughter and myself is \n stronger than all your hatreds.' \n \n 'You speak like a young man, and a young man that is in love,' said Mr. \n Millbank. 'This is mere rhapsody; it will vanish in an instant \n before the reality of life. And you have arrived at that reality,' he \n continued, speaking with emphasis, leaning over the back of his chair,","caricatures, French novels, and endless miniatures of foreign dancers, \n princesses, and sovereigns. \n \n But Coningsby was so impressed with the impending interview with his \n grandfather, that he neither sought nor required diversion. Now that the \n crisis was at hand, he felt agitated and nervous, and wished that he was \n again at Eton. The suspense was sickening, yet he dreaded still more the \n summons. He was not long alone; the door opened; he started, grew pale;","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","'My good young friend, you will live, I doubt not, to be a happy one. \n Happiness is not, as we are apt to fancy, entirely dependent on these \n contingencies. It is the lot of most men to endure what you are now \n suffering, and they can look back to such conjunctures through the vista \n of years with calmness.' \n \n 'I may see Edith now?' \n \n 'Frankly, I should say, no. My daughter is in her room; I have had some","late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \n Duke sat next to Lord Monmouth during the debate on the enfranchising \n question, and to while away the time, and from kindness of disposition, \n spoke, and spoke with warmth and favour, of his grandson. The polished \n Lord Monmouth bowed as if he were much gratified by this notice of one \n so dear to him. He had too much tact to admit that he had never yet","undisturbed; he pulled up his horse, and summoned all his mind to the \n contemplation of his prospects. \n \n Edith was lost. Now, should he return to his grandfather, accept his \n mission, and go down to Darlford on Friday? Favour and fortune, power, \n prosperity, rank, distinction would be the consequence of this step; \n might not he add even vengeance? Was there to be no term to his \n endurance? Might not he teach this proud, prejudiced manufacturer, with","he answered all your questions before you asked them; contradicted \n everybody with the intrepidity of a Rigby; annihilated your anecdotes by \n historiettes infinitely more piquant; and if anybody chanced to make a \n joke which he could not excel, declared immediately that it was a Joe \n Miller. He was absurd, extravagant, grotesque, noisy; but he was young, \n rattling, and interesting, from his health and spirits. Edith was","Vanquished or victorious, equally a catastrophe! The fierce passions, \n the gross insults, the hot blood and the cool lies, the ruffianism and \n the ribaldry, perhaps the domestic discomfiture and mortification, which \n he was about to be the means of bringing on the roof he loved best \n in the world, occurred to him with anguish. The countenance of \n Edith, haughty and mournful last night, rose to him again. He saw her","seraphs. He thought of Edith in her hours of fondness; he thought of \n the pure and solemn moments when to mingle his name with the heroes of \n humanity was his aspiration, and to achieve immortal fame the inspiring \n purpose of his life. What were the tawdry accidents of vulgar ambition \n to him? No domestic despot could deprive him of his intellect, his \n knowledge, the sustaining power of an unpolluted conscience. If he \n possessed the intelligence in which he had confidence, the world","'My dear grandfather, you have ever been to me only too kind and \n generous.' \n \n 'To whom should I be kind but to you, my own blood, that has never \n crossed me, and of whom I have reason to be proud? Yes, Harry, it \n gratifies me to hear you admired and to learn your success. All I want \n now is to see you in Parliament. A man should be in Parliament early. \n There is a sort of stiffness about every man, no matter what may be his","Edith. He looked upon them as persons who had deeply injured him; \n though they really were individuals who had treated him with invariable \n kindness. But he felt their existence was a source of mortification and \n misery to him. With these feelings, sauntering away the last hours at \n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \n really, positively, undeniably unhappy; unhappy too for the first time \n in his life; the first unhappiness; what a companion piece for the","studies peculiarly to that period if you had not chanced to draw him \n to the Italian middle ages. And even these startling revelations were \n almost eclipsed by his anecdotes of the Court of Henry III. of France, \n with every character of which he was as familiar as with the brilliant \n groups that at this moment filled the saloons of Madame de R----d. \n \n \n \n \n CHAPTER III. \n \n The image of Edith Millbank was the last thought of Coningsby, as he","'The sacrifices are more apparent to me than the misery,' said \n Coningsby, 'and even they may be imaginary.' \n \n 'The sacrifices and the misery are certain and inseparable,' said Mr. \n Millbank. 'Come now, see how we stand! I speak without reserve, for this \n is a subject which cannot permit misconception, but with no feelings \n towards you, sir, but fair and friendly ones. You are the grandson of \n my Lord Monmouth; at present enjoying his favour, but dependent on his","very loud, knowing that the presence of his father would make Coningsby \n hesitate about coming. Edith's heart fluttered; but she said nothing. It \n was with delight she heard her father, after a moment's pause, say, \n \n 'Oh! I beg we may have that pleasure.' \n \n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \n your journey has not fatigued you.'","'I will venture to say that there are very few men on our side in the \n House of Commons,' said Sir Joseph, 'who are aware that they were born \n under a Venetian Constitution.' \n \n 'Let us go to the ladies,' said Millbank, smiling. \n \n Edith was reading a letter as they entered. \n \n 'A letter from papa,' she exclaimed, looking up at her brother with \n great animation. 'We may expect him every day; and yet, alas! he cannot \n fix one.' \n","gentleman as he went by, when, suddenly, Coningsby turned deadly pale. \n The gentleman could hardly be the cause, for it was the gracious and \n handsome presence of Lord Beaumanoir: the lady resting on his arm was \n Edith. They moved on while he was motionless; yet Edith and himself \n had exchanged glances. His was one of astonishment; but what was the \n expression of hers? She must have recognised him before he had observed \n her. She was collected, and she expressed the purpose of her mind in"],["to the fortunate lot of the manufacturer's daughter. Edith possessed \n an intelligence equal to those occasions. Without losing the native \n simplicity of her character, which sprang from the heart, and which \n the strong and original bent of her father's mind had fostered, she had \n imbibed all the refinement and facility of the polished circles in which \n she moved. She had a clear head, a fine taste, and a generous spirit; \n had received so much admiration, that, though by no means insensible to","recognised a more satisfactory reason for the transient liveliness of \n his daughter which had so greatly gratified him. \n \n About a month after Christmas, the meeting of Parliament summoned Mr. \n Millbank up to London; and he had wished Edith to accompany him. But \n London in February to Edith, without friends or connections, her father \n always occupied and absent from her day and night, seemed to them \n all, on reflection, to be a life not very conducive to health or","very loud, knowing that the presence of his father would make Coningsby \n hesitate about coming. Edith's heart fluttered; but she said nothing. It \n was with delight she heard her father, after a moment's pause, say, \n \n 'Oh! I beg we may have that pleasure.' \n \n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \n your journey has not fatigued you.'","absolutely acted in an inevitable manner! Edith seemed sad, Oswald \n sullen; all was changed. All the objects for which this clear-headed, \n strong-minded, kind-hearted man had been working all his life, seemed \n to be frustrated. And why? Because a young man had made love to his \n daughter, who was really in no manner entitled to do so. \n \n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \n circumstances, extremely wearisome; and he proposed to his daughter that","and now you are to go to this man, and ask his sanction to marry my \n daughter!' \n \n 'But I would appease these hatreds; I would allay these dark passions, \n the origin of which I know not, but which never could justify the end, \n and which lead to so much misery. I would appeal to my grandfather; I \n would show him Edith.' \n \n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising","'I will venture to say that there are very few men on our side in the \n House of Commons,' said Sir Joseph, 'who are aware that they were born \n under a Venetian Constitution.' \n \n 'Let us go to the ladies,' said Millbank, smiling. \n \n Edith was reading a letter as they entered. \n \n 'A letter from papa,' she exclaimed, looking up at her brother with \n great animation. 'We may expect him every day; and yet, alas! he cannot \n fix one.' \n","Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \n that it would be well that his daughter should accompany them in their \n somewhat extensive travels. It was not, therefore, only that nature \n had developed a beautiful woman out of a bashful girl since Coningsby's \n visit to Millbank; but really, every means and every opportunity that \n could contribute to render an individual capable of adorning the most \n accomplished circles of life, had naturally, and without effort, fallen","'My good young friend, you will live, I doubt not, to be a happy one. \n Happiness is not, as we are apt to fancy, entirely dependent on these \n contingencies. It is the lot of most men to endure what you are now \n suffering, and they can look back to such conjunctures through the vista \n of years with calmness.' \n \n 'I may see Edith now?' \n \n 'Frankly, I should say, no. My daughter is in her room; I have had some","and the clearest voice exclaimed from above, 'Papa! papa!' and instantly \n a young girl came bounding down the stairs, but suddenly seeing a \n stranger with her father she stopped upon the landing-place, and was \n evidently on the point of as rapidly retreating as she had advanced, \n when Mr. Millbank waved his hand to her and begged her to descend. She \n came down slowly; as she approached them her father said, 'A friend you \n have often heard of, Edith: this is Mr. Coningsby.' \n","not inconsiderable position in society. She had a fine house in a \n fashionable situation, and gave profuse entertainments. The Whigs \n were under obligations to her husband, and the great Whig ladies were \n gratified to find in his wife a polished and pleasing person, to whom \n they could be courteous without any annoyance. So that Edith, under the \n auspices of her aunt, found herself at once in circles which otherwise \n she might not easily have entered, but which her beauty, grace, and","an embarrassing circumstance, but mitigated by the conviction that they \n had not to encounter a very critical inspection. What, then, were their \n feelings when the first servant that they met informed them that Mr. \n Millbank had arrived! Edith never could have believed that the return of \n her beloved father to his home could ever have been to her other than \n a cause of delight. And yet now she trembled when she heard the \n announcement. The mysteries of love were fast involving her existence.","made the acquaintance of the sister of Lady Wallinger, and had been a \n successful suitor for her hand. This lady was the mother of Edith and of \n the schoolfellow of Coningsby. It was only within a very few years \n that she had died; she had scarcely lived long enough to complete the \n education of her daughter, to whom she was devoted, and on whom she \n lavished the many accomplishments that she possessed. Lady Wallinger \n having no children, and being very fond of her niece, had watched over","longer to be blind to the great change. That happy and equable gaiety of \n spirit, which seemed to spring from an innocent enjoyment of existence, \n and which had ever distinguished Edith, was wanting. Her sunny glance \n was gone. She was not indeed always moody and dispirited, but she was \n fitful, unequal in her tone. That temper whose sweetness had been a \n domestic proverb had become a little uncertain. Not that her affection \n for her father was diminished, but there were snatches of unusual","His father is a Lancashire manufacturer.' \n \n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \n in the world that Lord Monmouth dislikes so much as Manchester \n manufacturers, and particularly if they bear the name of Millbank. It \n must not be thought of, my dear Harry. I hope you have not spoken to \n the young man on the subject. I assure you it is out of the question. \n It would make Lord Monmouth quite ill. It would spoil everything, quite \n upset him.'","undisturbed; he pulled up his horse, and summoned all his mind to the \n contemplation of his prospects. \n \n Edith was lost. Now, should he return to his grandfather, accept his \n mission, and go down to Darlford on Friday? Favour and fortune, power, \n prosperity, rank, distinction would be the consequence of this step; \n might not he add even vengeance? Was there to be no term to his \n endurance? Might not he teach this proud, prejudiced manufacturer, with","manner in which he had parted from them; but they greeted him with \n so much cordiality that he instantly recovered himself, and, turning, \n became their companion. He hardly ventured to ask after Edith: at \n length, in a depressed tone and a hesitating manner, he inquired whether \n they had lately seen Miss Millbank. He was himself surprised at the \n extreme light-heartedness which came over him the moment he heard she \n was in England, at Millbank, with her family. He always very much liked","Edith. He looked upon them as persons who had deeply injured him; \n though they really were individuals who had treated him with invariable \n kindness. But he felt their existence was a source of mortification and \n misery to him. With these feelings, sauntering away the last hours at \n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \n really, positively, undeniably unhappy; unhappy too for the first time \n in his life; the first unhappiness; what a companion piece for the","was Edith, radiant with loveliness and beaming with love. Their agitated \n hearts told at a glance the tumult of their joy. The father joined their \n hands, and blessed them with words of tenderness. \n \n \n \n \n CHAPTER VII. \n \n \n The marriage of Coningsby and Edith took place early in the autumn. \n It was solemnised at Millbank, and they passed their first moon at \n Hellingsley, which place was in future to be the residence of the member","he answered all your questions before you asked them; contradicted \n everybody with the intrepidity of a Rigby; annihilated your anecdotes by \n historiettes infinitely more piquant; and if anybody chanced to make a \n joke which he could not excel, declared immediately that it was a Joe \n Miller. He was absurd, extravagant, grotesque, noisy; but he was young, \n rattling, and interesting, from his health and spirits. Edith was","the father of Edith, and his vanquished rival who was to bite the dust \n before him was the author of all his misfortunes. Love, Vengeance, \n Justice, the glorious pride of having acted rightly, the triumphant \n sense of complete and absolute success, here were chaotic materials from \n which order was at length evolved; and all subsided in an overwhelming \n feeling of gratitude to that Providence that had so signally protected \n him. \n"]],"string":"[\n [\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"Lord Monmouth, who was at Rome, that he should go at once to Eton. \\n This was the first great epoch of his life. There never was a youth \\n who entered into that wonderful little world with more eager zest than \\n Coningsby. Nor was it marvellous. \\n \\n That delicious plain, studded with every creation of graceful \\n culture; hamlet and hall and grange; garden and grove and park; that \\n castle-palace, grey with glorious ages; those antique spires, hoar with\",\n \"becoming his own master by the liberty wisely entrusted to him in his \\n boyhood, and which is, in general, discreetly exercised. But there were \\n also other reasons why Coningsby should have been less impressed with \\n the novelty of his life, and have encountered less temptations than \\n commonly are met with in the new existence which an University opens to \\n youth. In the interval which had elapsed between quitting Eton and going \\n to Cambridge, brief as the period may comparatively appear, Coningsby\",\n \"studies in chain armour. The calmer Henry Sydney was consoled for the \\n misfortunes of Coningsby by a fanciful project himself to pass a portion \\n of his life amid these halls and courts, gardens and terraces, that \\n maintain in the heart of a great city in the nineteenth century, so much \\n of the grave romance and picturesque decorum of our past manners. \\n Henry Sydney was sanguine; he was reconciled to the disinheritance of \\n Coningsby by the conviction that it was a providential dispensation to\",\n \"a very fair, regular, routine life. They all read a little, but not \\n with the enthusiasm which they had once projected. Buckhurst drove \\n four-in-hand, and they all of them sometimes assisted him; but not \\n immoderately. Their suppers were sometimes gay, but never outrageous; \\n and, among all of them, the school friendship was maintained unbroken, \\n and even undisturbed. \\n \\n The fame of Coningsby preceded him at Cambridge. No man ever went up\",\n \"could only have been mastered by a mental discipline of a severe and \\n exalted character. At the end of the term Coningsby took his degree, and \\n in a few days was about to quit that university where, on the whole, \\n he had passed three serene and happy years in the society of fond and \\n faithful friends, and in ennobling pursuits. He had many plans for his \\n impending movements, yet none of them very mature ones. Lord Vere wished \\n Coningsby to visit his family in the north, and afterwards to go to\",\n \"than Universities. The mild suggestions of a sister, the gentle raillery \\n of some laughing cousin, are also advantages not always appreciated at \\n the time, but which boys, when they have become men, often think over \\n with gratitude, and a little remorse at the ungracious spirit in \\n which they were received. Not even the dancing-master had afforded his \\n mechanical aid to Coningsby, who, like all Eton boys of his generation, \\n viewed that professor of accomplishments with frank repugnance. But even\",\n \"bless you. I will soon see you again.' Mournfully he bade her farewell. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n About a week after this interview with Flora, as Coningsby one morning \\n was about to sally forth from the Albany to visit some chambers in the \\n Temple, to which his notice had been attracted, there was a loud ring, a \\n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \\n\",\n \"to a favourite pupil, in whose abilities he had confidence, and whose \\n future position in life would afford him the opportunity of influencing \\n opinion. Among others, they fell upon the ear of Coningsby. They were \\n addressed to a mind which was prepared for such researches. \\n \\n There is a Library at Eton formed by the boys and governed by the boys; \\n one of those free institutions which are the just pride of that noble \\n school, which shows the capacity of the boys for self-government, and\",\n \"Coningsby, class as 'Corporals;' and are severally followed by one or \\n more lower boys, who are denominated 'Polemen,' but who appear in their \\n ordinary dress. \\n \\n It was a fine, bright morning; the bells of Eton and Windsor rang \\n merrily; everybody was astir, and every moment some gay equipage \\n drove into the town. Gaily clustering in the thronged precincts of \\n the College, might be observed many a glistening form: airy Greek or\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"In this mood, the day after the visit of Buckhurst and Henry Sydney, \\n Coningsby called on Millbank, but finding his medical attendant with \\n him, Coningsby availed himself of that excuse for going away without \\n seeing him. \\n \\n The next day he left Millbank a newspaper on his way to school, time not \\n permitting a visit. Two days after, going into his room, he found on his \\n table a letter addressed to 'Harry Coningsby, Esq.' \\n\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"of power and peril; a world for which a great preparation was indeed \\n necessary, severe and profound, but not altogether such an one as was \\n now offered to him. Yet this want must be supplied, and by himself. \\n Coningsby had already acquirements sufficiently considerable, with some \\n formal application, to ensure him at all times his degree. He was no \\n longer engrossed by the intention he once proudly entertained of trying \\n for honours, and he chalked out for himself that range of reading,\",\n \"with one to his old schoolfellow and friend. Now that was practicable. \\n And immediately Coningsby wrote to apprise Millbank that he had \\n taken his degree, was free, and prepared to pay him immediately the \\n long-projected visit. Three years and more had elapsed since they had \\n quitted Eton. How much had happened in the interval! What new ideas, new \\n feelings, vast and novel knowledge! Though they had not met, they were \\n nevertheless familiar with the progress and improvement of each other's\",\n \"disappeared; then quitting the window, she threw herself into a chair, \\n and buried her face in her shawl. \\n \\n END OF BOOK IV. \\n \\n \\n \\n \\n BOOK V. \\n \\n \\n CHAPTER I. \\n \\n \\n An University life did not bring to Coningsby that feeling of \\n emancipation usually experienced by freshmen. The contrast between \\n school and college life is perhaps, under any circumstances, less \\n striking to the Etonian than to others: he has been prepared for\",\n \"Coningsby from the puerile profligacy of a college life, or from being \\n that idol of private tutors, a young pedant. It was that noble ambition, \\n the highest and the best, that must be born in the heart and organised \\n in the brain, which will not let a man be content, unless his \\n intellectual power is recognised by his race, and desires that it should \\n contribute to their welfare. It is the heroic feeling; the feeling that \\n in old days produced demigods; without which no State is safe; without\",\n \"After eight o'clock school, the day following the return of Coningsby, \\n according to custom, he repaired to Buckhurst's room, where Henry \\n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \\n were all in the fifth form, and habitual companions, on the river or on \\n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \\n their leader alike in sport and study, inspired them to-day with unusual\",\n \"of Paris, impressions of Hellingsley, his visit to Oxford, Lady \\n Wallinger's visit to Cambridge. In ten minutes their voices seemed to \\n sound to each other as they did in the Rue de Rivoli, and their mutual \\n perplexity had in a great degree subsided. \\n \\n Oswald and Sir Joseph now entered the room, and the conversation became \\n general. Hellingsley was the subject on which Coningsby dwelt; he was \\n charmed with all that he had seen! wished to see more. Sir Joseph was\"\n ],\n [\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"well for England until this order of the peasantry was restored to its \\n pristine condition; not merely in physical comfort, for that must vary \\n according to the economical circumstances of the time, like that of \\n every class; but to its condition in all those moral attributes which \\n make a recognised rank in a nation; and which, in a great degree, are \\n independent of economics, manners, customs, ceremonies, rights, and \\n privileges. \\n \\n 'Henry thinks,' said Lord Everingham, 'that the people are to be fed by\",\n \"is to keep as clear of political party as we possibly can. How many \\n men waste the best part of their lives in painfully apologising for \\n conscientious deviation from a parliamentary course which they adopted \\n when they were boys, without thought, or prompted by some local \\n connection, or interest, to secure a seat.' \\n \\n It was the midnight following the morning when this conversation \\n took place, that Coningsby, alone, and having just quitted a rather\",\n \"into a week the poignant conclusions of three years of almost unbroken \\n study. And one night, as they sat together in Millbank's rooms at \\n Oriel, their conversation having for some time taken a political colour, \\n Millbank said, \\n \\n 'Now tell me, Coningsby, exactly what you conceive to be the state of \\n parties in this country; for it seems to me that if we penetrate the \\n surface, the classification must be more simple than their many names \\n would intimate.' \\n\",\n \"and ever famous for accomplished men and charming women. But I enter \\n life in the midst of a convulsion in which the very principles of our \\n political and social systems are called in question. I cannot unite \\n myself with the party of destruction. It is an operative cause alien \\n to my being. What, then, offers itself? The Duke talks to me of \\n Conservative principles; but he does not inform me what they are. I \\n observe indeed a party in the State whose rule it is to consent to no\",\n \"opposition to the new system, at least of critical suspicion of its \\n spirit and provisions. It was only the statistics and sharp acuteness \\n of his son-in-law that had, indeed, ever kept him to his colours. Lord \\n Henry would not listen to statistics, dietary tables, Commissioners' \\n rides, Sub-commissioners' reports. He went far higher than his father; \\n far deeper than his brother-in-law. He represented to the Duke that the \\n order of the peasantry was as ancient, legal, and recognised an order as\",\n \"it, if possible, to be without distinction of party. He had come to \\n reside among his old friends, to live and die where he was born. \\n The Chairman of the Conservative Association and the Vice President \\n exchanged glances, which would have become Tadpole and Taper; the \\n four attorneys nibbed their pens with increased energy, and vowed that \\n nothing could withstand the influence of the aristocracy 'in the long \\n run.' All went and dined at the Castle; all returned home overpowered\",\n \"imbibed much of Coningsby's political sentiment, prevailed on himself to \\n be neutral. The Conservative Cause triumphed in the person of its Eton \\n champion. The day the member was chaired, several men in Coningsby's \\n rooms were talking over their triumph. \\n \\n 'By Jove!' said the panting Buckhurst, throwing himself on the sofa, 'it \\n was well done; never was any thing better done. An immense triumph! The \\n greatest triumph the Conservative Cause has had. And yet,' he added,\",\n \"Coningsby liked very much to talk politics with Millbank. He heard \\n things from Millbank which were new to him. Himself, as he supposed, a \\n high Tory, which he was according to the revelation of the Rigbys, he \\n was also sufficiently familiar with the hereditary tenets of his Whig \\n friend, Lord Vere. Politics had as yet appeared to him a struggle \\n whether the country was to be governed by Whig nobles or Tory nobles; \\n and he thought it very unfortunate that he should probably have to enter\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"he only waits the occasion to come forward; but he is quite wrong. I \\n know Lyle well, and he speaks to me without disguise. You see 'tis an \\n old Cavalier family, and Lyle has all the opinions and feelings of his \\n race. He will not ally himself with anti-monarchists, and democrats, \\n and infidels, and sectarians; at the same time, why should he support a \\n party who pretend to oppose these, but who never lose an opportunity\",\n \"1832. Now I do not ask you, Vere, to relinquish the political tenets \\n which in ordinary times would have been your inheritance. All I say is, \\n the constitution introduced by your ancestors having been subverted by \\n their descendants your contemporaries, beware of still holding Venetian \\n principles of government when you have not a Venetian constitution to \\n govern with. Do what I am doing, what Henry Sydney and Buckhurst are \\n doing, what other men that I could mention are doing, hold yourself\",\n \"change provided only it be effected by unauthorised means.' \\n \\n 'The first public association of men,' said Coningsby, 'who have worked \\n for an avowed end without enunciating a single principle.' \\n \\n 'And who have established political infidelity throughout the land,' \\n said Lord Henry. \\n \\n 'By Jove!' said Buckhurst, 'what infernal fools we have made ourselves \\n this last week!' \\n \\n 'Nay,' said Coningsby, smiling, 'it was our last schoolboy weakness.\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"without reserve; with a frankness which our short acquaintance scarcely \\n authorises; but Henry Sydney has so often talked to me of you, and \\n I have so long wished to know you, that I open my heart without \\n restraint.' \\n \\n 'My dear fellow,' said Coningsby, 'you have but described my feelings \\n when you depicted your own. My mind on these subjects has long been \\n a chaos. I float in a sea of troubles, and should long ago have \\n been wrecked had I not been sustained by a profound, however vague,\",\n \"fatal facility, on the very threshold of his career he devoted his \\n time and thought, labour and life, to one vast and noble purpose, the \\n elevation of the condition of the great body of the people. \\n \\n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \\n be content with being his gentleman usher.' \\n \\n 'It shall be put to the vote,' said Lord Vere. \\n \\n 'No one has a chance against Buckhurst,' said Coningsby. \\n\",\n \"his was to be a wilful error. He remembered his first visit to his \\n grandfather, and the delight of his friends at Eton at his report on his \\n return. After eight years of initiation was he to lose that favour then \\n so highly prized, when the results which they had so long counted on \\n were on the very eve of accomplishment? Parliament and riches, and rank \\n and power; these were facts, realities, substances, that none could \\n mistake. Was he to sacrifice them for speculations, theories, shadows,\",\n \"There was a knock at the door. It was Oswald. They embraced. It seemed \\n that Oswald was as excited as Coningsby. His eye sparkled, his manner \\n was energetic. \\n \\n 'We must talk it all over during our journey. We have not a minute to \\n spare.' \\n \\n During that journey Coningsby learned something of the course of affairs \\n which gradually had brought about so singular a revolution in his \\n favour. We mentioned that Sidonia had acquired a thorough knowledge of\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"There is nothing more interesting than to trace predisposition. An \\n indefinite, yet strong sympathy with the peasantry of the realm had been \\n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \\n schoolboy, he had busied himself with their pastimes and the details of \\n their cottage economy. As he advanced in life the horizon of his views \\n expanded with his intelligence and his experience; and the son of one of \\n the noblest of our houses, to whom the delights of life are offered with\"\n ],\n [\n \"loved and which loved them. One of their sons-in-law and his wife, and \\n Henry Sydney, completed the party. \\n \\n There are few conjunctures in life of a more startling interest, than to \\n meet the pretty little girl that we have gambolled with in our boyhood, \\n and to find her changed in the lapse of a very few years, which in some \\n instances may not have brought a corresponding alteration in our own \\n appearance, into a beautiful woman. Something of this flitted over\",\n \"had not quite arrived at that age when you make enemies. The moment, \\n therefore, that he found himself in the saloons of Sidonia, he was \\n accosted by many whose notice was flattering; but his eye wandered, \\n while he tried to be courteous and attempted to be sprightly. Where was \\n she? He had nearly reached the ball-room when he met her. She was on \\n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and\",\n \"deceive him, and that he does not want to deceive you. I wish he liked a \\n rubber more. Then he would be perfect.' \\n \\n 'They say he is going to be married,' said the Attaché. \\n \\n 'Poh!' said Lord Monmouth. \\n \\n 'Married!' exclaimed Lady Monmouth. 'To whom?' \\n \\n 'To your beautiful countrywoman, \\\"la belle Anglaise,\\\" that all the world \\n talks of,' said the Attaché. \\n\",\n \"one whom she never met, and by whom, if she met him, she would scarcely, \\n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \\n her life was absorbed; nor for her did the world contain an existence, \\n a thought, a sensation, beyond those that sprang from the image of \\n the noble youth who had sympathised with her in her sorrows, and had \\n softened the hard fortunes of dependence by his generous sensibility. \\n Happy that, with many mortifications, it was still her lot to live under\",\n \"are right not to dance. It is not in your way. You are ambitious, I \\n believe?' she added. \\n \\n 'I was not aware of it; everybody is ambitious.' \\n \\n 'You see I know something of your character. Henry has spoken of you to \\n me a great deal; long before we met,--met again, I should say, for we \\n are old friends, remember. Do you know your career much interests me? I \\n like ambitious men.' \\n \\n There is something fascinating in the first idea that your career\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"it with satisfaction. It was a circumstance which represented in his \\n mind a continuance of good eating and good drinking, fine horses, \\n luxurious baths, unceasing billiards. \\n \\n In this state of affairs appeared Sidonia, known before to her \\n step-mother, but seen by Lucretia for the first time. Truly, he came, \\n saw, and conquered. Those eyes that rarely met another's were fixed upon \\n his searching yet unimpassioned glance. She listened to that voice,\",\n \"boundless treasure, was his chosen friend; gained under circumstances \\n of romantic interest, when the reciprocal influence of their personal \\n qualities was affected by no accessory knowledge of their worldly \\n positions. He himself was in the very bloom of youth and health; the \\n child of a noble house, rich for his present wants, and with a future of \\n considerable fortunes. Entrancing love and dazzling friendship, a \\n high ambition and the pride of knowledge, the consciousness of a great\",\n \"dinner at Millbank, and the timid hostess whom he then addressed so \\n often in vain, as he gazed upon the bewitching and accomplished woman \\n whom he now passionately loved. It was a most agreeable dinner. Oswald, \\n happy in his friend being his guest, under his own roof, indulged in \\n unwonted gaiety. \\n \\n The ladies withdrew; Sir Joseph began to talk politics, although the \\n young men had threatened their fair companions immediately to follow\",\n \"Soon after this Coningsby led Edith to the dance. It was at a ball that \\n he had first met her at Paris, and this led to other reminiscences; \\n all most interesting. Coningsby was perfectly happy. All mysteries, all \\n difficulties, were driven from his recollection; he lived only in the \\n exciting and enjoyable present. Twenty-one and in love! \\n \\n Some time after this, Coningsby, who was inevitably separated from \\n Edith, met his host. \\n\",\n \"marry?' he added, with a fiendish laugh. \\n \\n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \\n that Monsieur Sidonia was about to marry her.' \\n \\n 'Is she so very beautiful?' inquired another gentleman. \\n \\n 'Yes,' said Lady Monmouth, calm, but pale. \\n \\n 'Poh!' said the Marquess again. \\n \\n 'I assure you that it is a fact,' said the Attaché, 'not at least an\",\n \"since he so suddenly quitted Paris at the beginning of the year. The \\n wound he had received was deep to one unused to wounds. Yet, after all, \\n none had outraged his feelings, no one had betrayed his hopes. He had \\n loved one who had loved another. Misery, but scarcely humiliation. And \\n yet 'tis a bitter pang under any circumstances to find another preferred \\n to yourself. It is about the same blow as one would probably feel if \\n falling from a balloon. Your Icarian flight melts into a grovelling\",\n \"Tronchet, but their owner bore the features of the senior Millbank. A \\n beautiful countenance that was alternately the face in the mysterious \\n picture, and then that of Edith, haunted him under all circumstances. He \\n woke little refreshed; restless, and yet sensible of some secret joy. \\n \\n He woke to think of her of whom he had dreamed. The light had dawned on \\n his soul. Coningsby loved. \\n \\n Ah! what is that ambition that haunts our youth, that thirst for power\",\n \"before; nor can I ever suppose that you could like me as you like Henry \\n Sydney and Buckhurst, or even as you like Vere; but still I hope you \\n will always think of me with kindness now, and let me sign myself, if \\n ever I do write to you, 'Your most attached, affectionate, and devoted \\n friend, \\n \\n 'OSWALD MILLBANK.' \\n \\n \\n \\n \\n CHAPTER XI. \\n \\n \\n About a fortnight after this nearly fatal adventure on the river, it was\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"advanced in youth. The ties of friendship which then united several of \\n them had only been confirmed by continued companionship. Coningsby \\n and Henry Sydney, and Buckhurst and Vere, were still bound together by \\n entire sympathy, and by the affection of which sympathy is the only \\n sure spring. But their intimacies had been increased by another familiar \\n friend. There had risen up between Coningsby and Millbank mutual \\n sentiments of deep, and even ardent, regard. Acquaintance had developed\",\n \"he sat in his chamber, with his eyes fixed on vacancy. All thoughts and \\n feelings, pursuits, desires, life, merge in one absorbing sentiment. \\n \\n It is impossible to exist without seeing her again, and instantly. He \\n had requested and gained permission to call on Lady Wallinger; he would \\n not lose a moment in availing himself of it. As early as was tolerably \\n decorous, and before, in all probability, they could quit their hotel,\",\n \"His heart was agitated, his countenance changed; he retained her hand \\n amid the chattering tourists, too full of their criticisms and their \\n egotistical commonplaces to notice what was passing. A sentimental \\n ebullition seemed to be on the point of taking place. Their eyes met. \\n The look of Edith was mournful and inquiring. \\n \\n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \\n with a radiant smile. \\n \\n \\n \\n\",\n \"though her organ wanted force. The gentlemen looked at each other, and \\n nodded approbation. There was something so unobtrusive in her mien, \\n that she instantly became a favourite with the ladies. The scene was not \\n long, but it was successful. \\n \\n Flora did not appear in the next scene. In the fourth and final one \\n of the act, she had to make a grand display. It was a love-scene, and \\n rather of an impassioned character; Villebecque was her suitor. He\",\n \"first love! Coningsby, of all places in the world, in the gardens of the \\n Luxembourg, encountered Sir Joseph Wallinger and Edith. \\n \\n To avoid them was impossible; they met face to face; and Sir Joseph \\n stopped, and immediately reminded him that it was three days since they \\n had seen him, as if to reproach him for so unprecedented a neglect. And \\n it seemed that Edith, though she said not as much, felt the same. And \\n Coningsby turned round and walked with them. He told them he was going\"\n ],\n [\n \"could Lord Monmouth leave his money? However he might cut and carve up \\n his fortunes, Rigby, and especially at a moment when he had so served \\n him, must come in for a considerable slice. \\n \\n His prescient mind was right. All the dispositions in favour of 'my \\n grandson Harry Coningsby' were revoked; and he inherited from his \\n grandfather only the interest of the sum of 10,000_l._ which had been\",\n \"cause of Coningsby being disinherited. Our hero, if one in such fallen \\n fortunes may still be described as a hero, had mentioned to Lord Eskdale \\n his sorrow that his grandfather had died in anger with him; but Lord \\n Eskdale, without dwelling on the subject, had assured him that he had \\n reason to believe that if Lord Monmouth had lived, affairs would have \\n been different. He had altered the disposition of his property at a \\n moment of great and general irritation and excitement; and had been too\",\n \"Coningsby, which rendered this generous conduct of his father-in-law no \\n longer necessary to his fortunes, though he never forgot its exercise. \\n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \\n which her spirit had never greatly sympathised. Perhaps she might have \\n lingered in life for yet a little while, had it not been for that fatal \\n inheritance which disturbed her peace and embittered her days, haunting \\n her heart with the recollection that she had been the unconscious\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"establishment generally,' said Mr. Rigby, 'will allow the connection \\n that at present subsists between that gentleman and his noble relative, \\n now that Lord Monmouth's eyes are open to his real character, to \\n terminate naturally, without the necessity of any formal explanation.' \\n \\n 'But what do you mean by the steps he is going to take in his \\n establishment generally?' \\n \\n 'Lord Monmouth thinks he requires change of scene.' \\n \\n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with\",\n \"large fortune which was to accompany the barony. Had not a separation \\n between Lord Monmouth and his wife taken place simultaneously with \\n Coningsby's difference with his grandfather, he was conscious that the \\n consequences might have been even altogether fatal to his prospects; but \\n the absence of her evil influence at such a conjuncture, its permanent \\n removal, indeed, from the scene, coupled with his fortunate though not \\n formal reconciliation with Lord Monmouth, had long ago banished from his \\n memory all those apprehensions to which he had felt it impossible at the\",\n \"Ladyship must allow me to place the circumstances of the case fairly \\n before your excellent judgment. Lord Monmouth has decided upon a course: \\n you know as well as I that he never swerves from his resolutions. He has \\n left peremptory instructions, and he will listen to no appeal. He has \\n empowered me to represent to your Ladyship that he wishes in every way \\n to consider your convenience. He suggests that everything, in short, \\n should be arranged as if his Lordship were himself unhappily no more;\",\n \"itself, if known to Lord Monmouth, would ensure the lad's annihilation.' \\n \\n 'And you kept this fine news for a winter campaign, my good Mr. Rigby,' \\n said Lady Monmouth, with a subtle smile. 'It was a weapon of service. I \\n give you my compliments.' \\n \\n 'The time is not always ripe,' said Mr. Rigby. \\n \\n 'But it is now most mature. Let us not conceal it from ourselves that,\",\n \"The health of Lord Monmouth was the subject which never was long absent \\n from the vigilance or meditation of Lucretia. She was well assured that \\n his life was no longer secure. She knew that after their marriage he had \\n made a will, which secured to her a large portion of his great wealth in \\n case of their having no issue, and after the accident at Paris all \\n hope in that respect was over. Recently the extreme anxiety which Lord \\n Monmouth had evinced about terminating the abeyance of the barony to\",\n \"'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \\n 'Our interests are inseparable, and therefore there can never be \\n any sacrifice of conduct on your part. What you mean by sacrifice of \\n affections, I don't comprehend; but as for your opinions, you have no \\n business to have any other than those I uphold. You are too young to \\n form opinions.' \\n \\n 'I am sure I wish to express them with no unbecoming confidence,'\",\n \"some enjoyment then; one is let alone. But the instant you have a large \\n fortune, duties commence. And then impudent fellows borrow your money; \\n and if you ask them for it again, they go about town saying you are a \\n screw.' \\n \\n Lord Monmouth had died suddenly at his Richmond villa, which latterly \\n he never quitted, at a little supper, with no persons near him but those \\n who were amusing. He suddenly found he could not lift his glass to his\",\n \"Indeed, Lord Monmouth was one of the most finished gentlemen that \\n ever lived; and as he was good-natured, and for a selfish man even \\n good-humoured, there was rarely a cloud of caprice or ill-temper to \\n prevent his fine manners having their fair play. The country neighbours \\n were all fascinated; they were received with so much dignity and \\n dismissed with so much grace. Nobody would believe a word of the stories \\n against him. Had he lived all his life at Coningsby, fulfilled every\",\n \"1832, when a codicil increased the 10,000_l._ left under the will to \\n Coningsby to 50,000_l._. \\n \\n After Coningsby's visit to the Castle in 1836 a very important change \\n occurred in the disposition of Lord Monmouth's estate. The legacy of \\n 50,000_l._ in his favour was revoked, and the same sum left to the\",\n \"or his convenience in a degree that counterbalanced the objections which \\n might be urged against their intentions, or their less pleasing and \\n profitable qualities. To be pleased was always a principal object with \\n Lord Monmouth; but when a man wants vengeance, gay amusement is not \\n exactly a satisfactory substitute. \\n \\n A month elapsed. Lord Monmouth with a serene or smiling visage to his \\n guests, but in private taciturn and morose, scarcely ever gave a word\",\n \"Monmouth did not become its possessor. Long as his mind had been intent \\n upon the subject, skilful as had been his combinations to secure his \\n prey, and unlimited the means which were to achieve his purpose, another \\n stepped in, and without his privity, without even the consolation of a \\n struggle, stole away the prize; and this too a man whom he hated, almost \\n the only individual out of his own family that he did hate; a man who \\n had crossed him before in similar enterprises; who was his avowed foe;\",\n \"trustee of your marriage settlement, well known also as Lord Monmouth's \\n executor,' said Mr. Rigby, his countenance gradually regaining its \\n usual callous confidence, and some degree of self-complacency, as he \\n remembered the good things which he enumerated. \\n \\n 'I have decided,' said Lady Monmouth. 'I will assert my rights. Your \\n master has mistaken my character and his own position. He shall rue the \\n day that he assailed me.' \\n\",\n \"turning him out you not only gain a vote for the Conservative cause \\n and our coronet, but you crush my foe. Spare nothing for that object; I \\n count on you, boy.' \\n \\n 'I should grieve to be backward in anything that concerned your \\n interest or your honour, sir,' said Coningsby, with an air of great \\n embarrassment. \\n \\n 'I am sure you would, I am sure you would,' said Lord Monmouth, in a \\n tone of some kindness. \\n\",\n \"'Quite amicable,' said Mr. Rigby. 'I would never have consented to \\n interfere in the affair, but to secure that most desirable point.' \\n \\n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \\n pallor aggravated into a ghoul-like tint. \\n \\n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \\n \\n 'Our conversation, sir, then finishes; I wait his return.' She bowed\",\n \"the Duke was right, and it would have been best to have left them to \\n themselves. I am glad you have come up at once, for I want you. The fact \\n is, I am going to be married.' \\n \\n This was not a startling announcement to Mr. Rigby; he was prepared for \\n it, though scarcely could have hoped that he would have been favoured \\n with it on the present occasion, instead of a morose comment on his \\n misfortunes. Marriage, then, was the predominant idea of Lord Monmouth\",\n \"'I was thinking,' said Coningsby, 'of poor mamma!' \\n \\n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \\n who are dead; so you must take care never to mention your mother or your \\n father.' \\n \\n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \\n Marquis thought he could read characters by a glance, and in general \\n he was successful, for his natural sagacity had been nurtured by great\"\n ],\n [\n \"approached Coningsby, and told him that he was wanted without. \\n \\n Our hero retired unperceived. A despatch had arrived for him from \\n London. Without any prescience of its purpose, he nevertheless broke \\n the seal with a trembling hand. His presence was immediately desired in \\n town: Lord Monmouth was dead. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n This was a crisis in the life of Coningsby; yet, like many critical \\n epochs, the person most interested in it was not sufficiently aware\",\n \"occurred, Coningsby fell asleep when the morning had far advanced, \\n resolved to rise when a little refreshed and find out Lady Wallinger, \\n who, he felt sure, would receive him with kindness. \\n \\n Yet it was fated that this step should not be taken, for while he was \\n at breakfast, his servant brought him a letter from Monmouth House, \\n apprising him that his grandfather wished to see him as soon as possible \\n on urgent business. \\n \\n \\n \\n \\n CHAPTER III. \\n \\n\",\n \"'And this is the end of Coningsby, the brilliant Coningsby, that we all \\n loved, that was to be our leader!' said Buckhurst to Lord Henry as \\n they quitted him. 'Well, come what may, life has lost something of its \\n bloom.' \\n \\n 'The great thing now,' said Lord Henry, 'is to keep up the chain of \\n our friendship. We must write to him very often, and contrive to be \\n frequently together. It is dreadful to think that in the ways of life\",\n \"still lived with her kind step-father. \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n Another year elapsed; not so fruitful in incidents to Coningsby as the \\n preceding ones, and yet not unprofitably passed. It had been spent in \\n the almost unremitting cultivation of his intelligence. He had read \\n deeply and extensively, digested his acquisitions, and had practised \\n himself in surveying them, free from those conventional conclusions \\n and those traditionary inferences that surrounded him. Although he had\",\n \"'I suppose Lord Monmouth does not trouble himself much about the New \\n Poor Law?' \\n \\n 'Hardly,' said Coningsby. 'My grandfather's frequent absence from \\n England, which his health, I believe, renders quite necessary, deprives \\n him of the advantage of personal observation on a subject, than which I \\n can myself conceive none more deeply interesting.' \\n \\n 'I am glad to hear you say so,' said the Duke, 'and it does you great \\n credit, and Henry too, whose attention, I observe, is directed very much\",\n \"letter for his grandfather, and tells me that he and Henry Sydney had \\n just had a capital run with the King's hounds.' \\n \\n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \\n 'Once he was often here. He was a great favourite of mine. I hardly ever \\n knew a more interesting boy.' \\n \\n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth\",\n \"you.' \\n \\n Coningsby said this with a gay air, but really with a depressed spirit. \\n He felt convinced that his grandfather was deeply displeased with him; \\n and as he rode away from the villa, he could not resist the strong \\n impression that he was destined never to re-enter it. Yet it was decreed \\n otherwise. It so happened that the idle message which Coningsby had left \\n for his grandfather, and which he never seriously supposed for a moment \\n that his late companions would have given their host, operated entirely\",\n \"with the parties concerned to feel assured that he had not learnt the \\n whole truth. What had really taken place, and what was the real cause of \\n the occurrences, were equally mystical to him: all he was convinced of \\n was, that some great domestic revolution had been suddenly effected. \\n \\n Coningsby entertained for his grandfather a sincere affection. With the \\n exception of their last unfortunate interview, he had experienced from \\n Lord Monmouth nothing but kindness both in phrase and deed. There was\",\n \"of its character. The first feeling which he experienced at the \\n intelligence was sincere affliction. He was fond of his grandfather; had \\n received great kindness from him, and at a period of life when it was \\n most welcome. The neglect and hardships of his early years, instead of \\n leaving a prejudice against one who, by some, might be esteemed their \\n author, had by their contrast only rendered Coningsby more keenly \\n sensible of the solicitude and enjoyment which had been lavished on his \\n happy youth. \\n\",\n \"Coningsby, which rendered this generous conduct of his father-in-law no \\n longer necessary to his fortunes, though he never forgot its exercise. \\n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \\n which her spirit had never greatly sympathised. Perhaps she might have \\n lingered in life for yet a little while, had it not been for that fatal \\n inheritance which disturbed her peace and embittered her days, haunting \\n her heart with the recollection that she had been the unconscious\",\n \"honours were proclaimed in the London Gazette, and her decease was not \\n even noticed in the County Chronicle; but the altars of Nemesis are \\n beneath every outraged roof, and the death of this unhappy lady, \\n apparently without an earthly friend or an earthly hope, desolate and \\n deserted, and dying in obscure poverty, was not forgotten. \\n \\n Coningsby was not more than nine years of age when he lost his last \\n parent; and he had then been separated from her for nearly three years.\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"The moon wanes; and Coningsby must leave these enchanted halls. Oswald \\n walked homeward with him until he reached the domain of his grandfather. \\n Then mounting his horse, Coningsby bade his friend farewell till the \\n morrow, and made his best way to the Castle. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n There is a romance in every life. The emblazoned page of Coningsby's \\n existence was now open. It had been prosperous before, with some moments\",\n \"The Marquess sent for Coningsby the morning after his arrival and asked \\n him to breakfast with him in his private rooms. Nothing could be \\n more kind or more agreeable than his grandfather. He appeared to be \\n interested in his grandson's progress, was glad to find Coningsby had \\n distinguished himself at Eton, solemnly adjured him not to neglect his \\n French. A classical education, he said, was a very admirable thing, and \\n one which all gentlemen should enjoy; but Coningsby would find some day\",\n \"sentence, and detected the ruling passion with the hand of a master. \\n Besides, he had seen everybody and had done everything; and though, on \\n the whole, too indolent for conversation, and loving to be talked to, \\n these were circumstances which made his too rare communications the more \\n precious. \\n \\n With these feelings, Coningsby resolved, the moment that he learned that \\n his grandfather was established at Richmond, to pay him a visit. He \\n was informed that Lord Monmouth was at home, and he was shown into a\",\n \"'I was thinking,' said Coningsby, 'of poor mamma!' \\n \\n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \\n who are dead; so you must take care never to mention your mother or your \\n father.' \\n \\n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \\n Marquis thought he could read characters by a glance, and in general \\n he was successful, for his natural sagacity had been nurtured by great\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"bless you. I will soon see you again.' Mournfully he bade her farewell. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n About a week after this interview with Flora, as Coningsby one morning \\n was about to sally forth from the Albany to visit some chambers in the \\n Temple, to which his notice had been attracted, there was a loud ring, a \\n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \\n\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"Millbank to his grandfather's dinner; the vindictive feud that existed \\n between the two families, and for which political opinion, or even party \\n passion, could not satisfactorily account; and he reasoned himself into \\n a conviction, that the solution of many perplexities was at hand, and \\n that all would be consummated to the satisfaction of every one, by his \\n unexpected but inevitable agency. \\n \\n Coningsby found Sir Joseph alone. The worthy Baronet was at any rate\"\n ],\n [\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"longer to be blind to the great change. That happy and equable gaiety of \\n spirit, which seemed to spring from an innocent enjoyment of existence, \\n and which had ever distinguished Edith, was wanting. Her sunny glance \\n was gone. She was not indeed always moody and dispirited, but she was \\n fitful, unequal in her tone. That temper whose sweetness had been a \\n domestic proverb had become a little uncertain. Not that her affection \\n for her father was diminished, but there were snatches of unusual\",\n \"manner in which he had parted from them; but they greeted him with \\n so much cordiality that he instantly recovered himself, and, turning, \\n became their companion. He hardly ventured to ask after Edith: at \\n length, in a depressed tone and a hesitating manner, he inquired whether \\n they had lately seen Miss Millbank. He was himself surprised at the \\n extreme light-heartedness which came over him the moment he heard she \\n was in England, at Millbank, with her family. He always very much liked\",\n \"'My good young friend, you will live, I doubt not, to be a happy one. \\n Happiness is not, as we are apt to fancy, entirely dependent on these \\n contingencies. It is the lot of most men to endure what you are now \\n suffering, and they can look back to such conjunctures through the vista \\n of years with calmness.' \\n \\n 'I may see Edith now?' \\n \\n 'Frankly, I should say, no. My daughter is in her room; I have had some\",\n \"very loud, knowing that the presence of his father would make Coningsby \\n hesitate about coming. Edith's heart fluttered; but she said nothing. It \\n was with delight she heard her father, after a moment's pause, say, \\n \\n 'Oh! I beg we may have that pleasure.' \\n \\n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \\n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \\n your journey has not fatigued you.'\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"never concealed his admiration of her charms or the interest he found \\n in her society. And Edith; what, after all, had passed between Edith \\n and himself which should at all gainsay this report, which he had been \\n particularly assured was not a mere report, but came from a quarter that \\n could not well be mistaken? She had received him with kindness. And \\n how should she receive one who was the friend and preserver of her only \\n brother, and apparently the intimate and cherished acquaintance of\",\n \"recognised a more satisfactory reason for the transient liveliness of \\n his daughter which had so greatly gratified him. \\n \\n About a month after Christmas, the meeting of Parliament summoned Mr. \\n Millbank up to London; and he had wished Edith to accompany him. But \\n London in February to Edith, without friends or connections, her father \\n always occupied and absent from her day and night, seemed to them \\n all, on reflection, to be a life not very conducive to health or\",\n \"they should pay a visit to their earlier home. Edith assented without \\n difficulty, but without interest. And yet, as Mr. Millbank immediately \\n perceived, the change was a judicious one; for certainly the spirits \\n of Edith seemed to improve after her return to their valley. There were \\n more objects of interest: change, too, is always beneficial. If \\n Mr. Millbank had been aware that Oswald had received a letter from \\n Coningsby, written before he quitted Spain, perhaps he might have\",\n \"'Edith!' he said in a tone of tremulous passion, 'Let me call you Edith! \\n Yes,' he continued, gently taking her hand, let me call you my Edith! I \\n love you!' \\n \\n She did not withdraw her hand; but turned away a face flushed as the \\n impending twilight. \\n \\n \\n \\n \\n CHAPTER VI. \\n \\n \\n It was past the dinner hour when Edith and Coningsby reached the Hall;\",\n \"Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \\n that it would be well that his daughter should accompany them in their \\n somewhat extensive travels. It was not, therefore, only that nature \\n had developed a beautiful woman out of a bashful girl since Coningsby's \\n visit to Millbank; but really, every means and every opportunity that \\n could contribute to render an individual capable of adorning the most \\n accomplished circles of life, had naturally, and without effort, fallen\",\n \"the circumstances which had occasioned and attended the disinheritance \\n of Coningsby. These he had told to Lady Wallinger, first by letter, \\n afterwards in more detail on her arrival in London. Lady Wallinger had \\n conferred with her husband. She was not surprised at the goodness of \\n Coningsby, and she sympathised with all his calamities. He had ever been \\n the favourite of her judgment, and her romance had always consisted in \\n blending his destinies with those of her beloved Edith. Sir Joseph was a\",\n \"dissolution brought affairs to a crisis. The misery of Oswald at the \\n position of Coningsby, the silent sadness of Edith, his own conviction, \\n which assured him that he could do nothing wiser or better than take \\n this young man to his heart, so ordained it that Mr. Millbank, who \\n was after all the creature of impulse, decided suddenly, and decided \\n rightly. Never making a single admission to all the representations of \\n his son, Mr. Millbank in a moment did all that his son could have dared\",\n \"'I will venture to say that there are very few men on our side in the \\n House of Commons,' said Sir Joseph, 'who are aware that they were born \\n under a Venetian Constitution.' \\n \\n 'Let us go to the ladies,' said Millbank, smiling. \\n \\n Edith was reading a letter as they entered. \\n \\n 'A letter from papa,' she exclaimed, looking up at her brother with \\n great animation. 'We may expect him every day; and yet, alas! he cannot \\n fix one.' \\n\",\n \"circumstances in your case, which, even if I were a member of the same \\n order as my Lord Monmouth, would prevent the possibility of a prosperous \\n union. Marry Edith, and you blast all the prospects of your life, and \\n entail on her a sense of unceasing humiliation. Would you do this? \\n Should I permit you to do this?' \\n \\n Coningsby, with his head resting on his arm, his face a little shaded, \\n his eyes fixed on the ground, listened in silence. There was a pause;\",\n \"an embarrassing circumstance, but mitigated by the conviction that they \\n had not to encounter a very critical inspection. What, then, were their \\n feelings when the first servant that they met informed them that Mr. \\n Millbank had arrived! Edith never could have believed that the return of \\n her beloved father to his home could ever have been to her other than \\n a cause of delight. And yet now she trembled when she heard the \\n announcement. The mysteries of love were fast involving her existence.\",\n \"the father of Edith, and his vanquished rival who was to bite the dust \\n before him was the author of all his misfortunes. Love, Vengeance, \\n Justice, the glorious pride of having acted rightly, the triumphant \\n sense of complete and absolute success, here were chaotic materials from \\n which order was at length evolved; and all subsided in an overwhelming \\n feeling of gratitude to that Providence that had so signally protected \\n him. \\n\",\n \"Edith. He looked upon them as persons who had deeply injured him; \\n though they really were individuals who had treated him with invariable \\n kindness. But he felt their existence was a source of mortification and \\n misery to him. With these feelings, sauntering away the last hours at \\n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \\n really, positively, undeniably unhappy; unhappy too for the first time \\n in his life; the first unhappiness; what a companion piece for the\",\n \"His heart was agitated, his countenance changed; he retained her hand \\n amid the chattering tourists, too full of their criticisms and their \\n egotistical commonplaces to notice what was passing. A sentimental \\n ebullition seemed to be on the point of taking place. Their eyes met. \\n The look of Edith was mournful and inquiring. \\n \\n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \\n with a radiant smile. \\n \\n \\n \\n\"\n ],\n [\n \"Lord Monmouth, became silent and sullen. As for Lady Monmouth, she \\n had learnt that Sidonia, whatever might be the result, was paying very \\n marked attention to another woman, for whom undoubtedly he was giving \\n that very ball which she had flattered herself was a homage to her \\n wishes, and for which she had projected a new dress of eclipsing \\n splendour. \\n \\n Coningsby felt quite sure that the story of Sidonia's marriage \\n with Edith was the most ridiculous idea that ever entered into the\",\n \"Coningsby, which rendered this generous conduct of his father-in-law no \\n longer necessary to his fortunes, though he never forgot its exercise. \\n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \\n which her spirit had never greatly sympathised. Perhaps she might have \\n lingered in life for yet a little while, had it not been for that fatal \\n inheritance which disturbed her peace and embittered her days, haunting \\n her heart with the recollection that she had been the unconscious\",\n \"circumstances in your case, which, even if I were a member of the same \\n order as my Lord Monmouth, would prevent the possibility of a prosperous \\n union. Marry Edith, and you blast all the prospects of your life, and \\n entail on her a sense of unceasing humiliation. Would you do this? \\n Should I permit you to do this?' \\n \\n Coningsby, with his head resting on his arm, his face a little shaded, \\n his eyes fixed on the ground, listened in silence. There was a pause;\",\n \"Indeed, Lord Monmouth was one of the most finished gentlemen that \\n ever lived; and as he was good-natured, and for a selfish man even \\n good-humoured, there was rarely a cloud of caprice or ill-temper to \\n prevent his fine manners having their fair play. The country neighbours \\n were all fascinated; they were received with so much dignity and \\n dismissed with so much grace. Nobody would believe a word of the stories \\n against him. Had he lived all his life at Coningsby, fulfilled every\",\n \"His father is a Lancashire manufacturer.' \\n \\n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \\n in the world that Lord Monmouth dislikes so much as Manchester \\n manufacturers, and particularly if they bear the name of Millbank. It \\n must not be thought of, my dear Harry. I hope you have not spoken to \\n the young man on the subject. I assure you it is out of the question. \\n It would make Lord Monmouth quite ill. It would spoil everything, quite \\n upset him.'\",\n \"Joseph spoke feebly. Lady Wallinger conveyed all this intelligence, and \\n all her impressions, to Oswald and Edith. The younger Millbank talked \\n with his father, who, making no admissions, listened with interest, \\n inveighed against Lord Monmouth, and condemned his will. \\n \\n After some time, Mr. Millbank made inquiries about Coningsby, took an \\n interest in his career, and, like Lord Eskdale, declared that when he \\n was called to the bar, his friends would have an opportunity to evince\",\n \"'What Buckhurst is that, Harry?' inquired Lord Monmouth, in a tone of \\n some interest, and for the first time calling him by his Christian name. \\n \\n 'Sir Charles Buckhurst, sir, a Berkshire man: Shirley Park is his \\n place.' \\n \\n 'Why, that must be Charley's son, Eskdale,' said Lord Monmouth; 'I had \\n no idea he could be so young.' \\n \\n 'He married late, you know, and had nothing but daughters for a long \\n time.'\",\n \"And yet, had she accorded him that peerless boon, her heart, with what \\n aspect was he to communicate this consummation of all his hopes to his \\n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \\n of an establishment for the daughter of his foe, of a man whose name was \\n never mentioned except to cloud his visage? Ah! what was that mystery \\n that connected the haughty house of Coningsby with the humble blood of \\n the Lancashire manufacturer? Why was the portrait of his mother beneath\",\n \"'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \\n 'Our interests are inseparable, and therefore there can never be \\n any sacrifice of conduct on your part. What you mean by sacrifice of \\n affections, I don't comprehend; but as for your opinions, you have no \\n business to have any other than those I uphold. You are too young to \\n form opinions.' \\n \\n 'I am sure I wish to express them with no unbecoming confidence,'\",\n \"Ladyship must allow me to place the circumstances of the case fairly \\n before your excellent judgment. Lord Monmouth has decided upon a course: \\n you know as well as I that he never swerves from his resolutions. He has \\n left peremptory instructions, and he will listen to no appeal. He has \\n empowered me to represent to your Ladyship that he wishes in every way \\n to consider your convenience. He suggests that everything, in short, \\n should be arranged as if his Lordship were himself unhappily no more;\",\n \"'I am not aware that she is going to be married to any one. Lord \\n Beaumanoir admires her, has always admired her. But Edith has given \\n him no encouragement, at least gave him no encouragement as long as she \\n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \\n am to blame; I have been to blame perhaps before, but indeed I think it \\n cruel, very cruel, that Edith and you are kept asunder.' \\n\",\n \"'I was thinking,' said Coningsby, 'of poor mamma!' \\n \\n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \\n who are dead; so you must take care never to mention your mother or your \\n father.' \\n \\n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \\n Marquis thought he could read characters by a glance, and in general \\n he was successful, for his natural sagacity had been nurtured by great\",\n \"desire, to beg him to return to England and meet Lord Monmouth there. \\n The letter was couched with all the respect and good feeling which \\n Villebecque really entertained for him whom he addressed; still a letter \\n on such a subject from such a person was not agreeable to Coningsby, and \\n his reply to it was direct to his grandfather; Lord Monmouth, however, \\n had entirely given over writing letters. \\n \\n Coningsby had met at Paris, on his way to England, Lord and Lady\",\n \"establishment generally,' said Mr. Rigby, 'will allow the connection \\n that at present subsists between that gentleman and his noble relative, \\n now that Lord Monmouth's eyes are open to his real character, to \\n terminate naturally, without the necessity of any formal explanation.' \\n \\n 'But what do you mean by the steps he is going to take in his \\n establishment generally?' \\n \\n 'Lord Monmouth thinks he requires change of scene.' \\n \\n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with\",\n \"'Quite amicable,' said Mr. Rigby. 'I would never have consented to \\n interfere in the affair, but to secure that most desirable point.' \\n \\n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \\n pallor aggravated into a ghoul-like tint. \\n \\n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \\n \\n 'Our conversation, sir, then finishes; I wait his return.' She bowed\",\n \"itself, if known to Lord Monmouth, would ensure the lad's annihilation.' \\n \\n 'And you kept this fine news for a winter campaign, my good Mr. Rigby,' \\n said Lady Monmouth, with a subtle smile. 'It was a weapon of service. I \\n give you my compliments.' \\n \\n 'The time is not always ripe,' said Mr. Rigby. \\n \\n 'But it is now most mature. Let us not conceal it from ourselves that,\",\n \"'I mean what Lord Monmouth means. He suggests that if your Ladyship were \\n to pass the summer at Kissengen, for example, and a paragraph in the \\n _Morning Post_ were to announce that his Lordship was about to join you \\n there, all awkwardness would be removed; and no one could for a moment \\n take the liberty of supposing, even if his Lordship did not ultimately \\n reach you, that anything like a separation had occurred.' \\n \\n 'A separation!' said Lady Monmouth. \\n\",\n \"Lord Monmouth was sitting in the same dressing-room in which he was \\n first introduced to the reader; on the table were several packets of \\n papers that were open and in course of reference; and he dictated his \\n observations to Monsieur Villebecque, who was writing at his left hand. \\n \\n Thus were they occupied when Coningsby was ushered into the room. \\n \\n 'You see, Harry,' said Lord Monmouth, 'that I am much occupied to-day, \\n yet the business on which I wish to communicate with you is so pressing\",\n \"sacrifice all the objects of life for the pursuit of some fantastical \\n puerilities.' \\n \\n His Lordship rang a bell on his table for Villebecque; and to prevent \\n any further conversation, resumed his papers. \\n \\n \\n \\n \\n CHAPTER IV. \\n \\n \\n It would have been difficult for any person, unconscious of crime, \\n to have felt more dejected than Coningsby when he rode out of the \\n court-yard of Monmouth House. The love of Edith would have consoled\",\n \"the Duke was right, and it would have been best to have left them to \\n themselves. I am glad you have come up at once, for I want you. The fact \\n is, I am going to be married.' \\n \\n This was not a startling announcement to Mr. Rigby; he was prepared for \\n it, though scarcely could have hoped that he would have been favoured \\n with it on the present occasion, instead of a morose comment on his \\n misfortunes. Marriage, then, was the predominant idea of Lord Monmouth\"\n ],\n [\n \"cause of Coningsby being disinherited. Our hero, if one in such fallen \\n fortunes may still be described as a hero, had mentioned to Lord Eskdale \\n his sorrow that his grandfather had died in anger with him; but Lord \\n Eskdale, without dwelling on the subject, had assured him that he had \\n reason to believe that if Lord Monmouth had lived, affairs would have \\n been different. He had altered the disposition of his property at a \\n moment of great and general irritation and excitement; and had been too\",\n \"Coningsby, which rendered this generous conduct of his father-in-law no \\n longer necessary to his fortunes, though he never forgot its exercise. \\n The gentle and unhappy daughter of Lord Monmouth quitted a scene with \\n which her spirit had never greatly sympathised. Perhaps she might have \\n lingered in life for yet a little while, had it not been for that fatal \\n inheritance which disturbed her peace and embittered her days, haunting \\n her heart with the recollection that she had been the unconscious\",\n \"Indeed, Lord Monmouth was greatly pleased that Harry had come to Paris; \\n it was the University of the World, where everybody should graduate. \\n Paris and London ought to be the great objects of all travellers; the \\n rest was mere landscape. \\n \\n It cannot be denied that between Lucretia and Coningsby there existed \\n from the first a certain antipathy; and though circumstances for a short \\n time had apparently removed or modified the aversion, the manner of the\",\n \"His father is a Lancashire manufacturer.' \\n \\n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \\n in the world that Lord Monmouth dislikes so much as Manchester \\n manufacturers, and particularly if they bear the name of Millbank. It \\n must not be thought of, my dear Harry. I hope you have not spoken to \\n the young man on the subject. I assure you it is out of the question. \\n It would make Lord Monmouth quite ill. It would spoil everything, quite \\n upset him.'\",\n \"Lord Monmouth, became silent and sullen. As for Lady Monmouth, she \\n had learnt that Sidonia, whatever might be the result, was paying very \\n marked attention to another woman, for whom undoubtedly he was giving \\n that very ball which she had flattered herself was a homage to her \\n wishes, and for which she had projected a new dress of eclipsing \\n splendour. \\n \\n Coningsby felt quite sure that the story of Sidonia's marriage \\n with Edith was the most ridiculous idea that ever entered into the\",\n \"House of Lords, Mr. Rigby had made that visit to Eton which had summoned \\n very unexpectedly the youthful Coningsby to London. He was the orphan \\n child of the youngest of the two sons of the Marquess of Monmouth. It \\n was a family famous for its hatreds. The eldest son hated his father; \\n and, it was said, in spite had married a lady to whom that father was \\n attached, and with whom Lord Monmouth then meditated a second alliance.\",\n \"suddenly from his seat, and pacing the room, 'and did that melt his \\n heart? The experience of your own lot should have guarded you from the \\n perils that you have so rashly meditated encountering, and the misery \\n which you have been preparing for others besides yourself. Is my \\n daughter to be treated like your mother? And by the same hand? Your \\n mother's family were not Lord Monmouth's foes. They were simple and \\n innocent people, free from all the bad passions of our nature, and\",\n \"deplored and unjustifiable; but they exist, mutually exist; and have not \\n been confined to words. Lord Monmouth would crush me, had he the power, \\n like a worm; and I have curbed his proud fortunes often. Were it not \\n for this feeling I should not be here; I purchased this estate merely \\n to annoy him, as I have done a thousand other acts merely for his \\n discomfiture and mortification. In our long encounter I have done him\",\n \"And yet, had she accorded him that peerless boon, her heart, with what \\n aspect was he to communicate this consummation of all his hopes to his \\n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \\n of an establishment for the daughter of his foe, of a man whose name was \\n never mentioned except to cloud his visage? Ah! what was that mystery \\n that connected the haughty house of Coningsby with the humble blood of \\n the Lancashire manufacturer? Why was the portrait of his mother beneath\",\n \"or his convenience in a degree that counterbalanced the objections which \\n might be urged against their intentions, or their less pleasing and \\n profitable qualities. To be pleased was always a principal object with \\n Lord Monmouth; but when a man wants vengeance, gay amusement is not \\n exactly a satisfactory substitute. \\n \\n A month elapsed. Lord Monmouth with a serene or smiling visage to his \\n guests, but in private taciturn and morose, scarcely ever gave a word\",\n \"with the parties concerned to feel assured that he had not learnt the \\n whole truth. What had really taken place, and what was the real cause of \\n the occurrences, were equally mystical to him: all he was convinced of \\n was, that some great domestic revolution had been suddenly effected. \\n \\n Coningsby entertained for his grandfather a sincere affection. With the \\n exception of their last unfortunate interview, he had experienced from \\n Lord Monmouth nothing but kindness both in phrase and deed. There was\",\n \"Lucretia, acting on the unconscious intimation of Flora, had in the \\n course of four-and-twenty hours obtained pretty ample and accurate \\n details of the cause of contention between Coningsby and her husband. \\n She could inform Mr. Rigby not only that Lord Monmouth was \\n highly incensed against his grandson, but that the cause of their \\n misunderstanding arose about a seat in the House of Commons, and that \\n seat too the one which Mr. Rigby had long appropriated to himself,\",\n \"'I can't follow you, sir,' said Lord Monmouth, again in his hard tone. \\n 'Our interests are inseparable, and therefore there can never be \\n any sacrifice of conduct on your part. What you mean by sacrifice of \\n affections, I don't comprehend; but as for your opinions, you have no \\n business to have any other than those I uphold. You are too young to \\n form opinions.' \\n \\n 'I am sure I wish to express them with no unbecoming confidence,'\",\n \"'Quite amicable,' said Mr. Rigby. 'I would never have consented to \\n interfere in the affair, but to secure that most desirable point.' \\n \\n 'I will see Lord Monmouth at once,' said Lucretia, rising, her natural \\n pallor aggravated into a ghoul-like tint. \\n \\n 'His Lordship has gone out,' said Mr. Rigby, rather stubbornly. \\n \\n 'Our conversation, sir, then finishes; I wait his return.' She bowed\",\n \"circumstances in your case, which, even if I were a member of the same \\n order as my Lord Monmouth, would prevent the possibility of a prosperous \\n union. Marry Edith, and you blast all the prospects of your life, and \\n entail on her a sense of unceasing humiliation. Would you do this? \\n Should I permit you to do this?' \\n \\n Coningsby, with his head resting on his arm, his face a little shaded, \\n his eyes fixed on the ground, listened in silence. There was a pause;\",\n \"large fortune which was to accompany the barony. Had not a separation \\n between Lord Monmouth and his wife taken place simultaneously with \\n Coningsby's difference with his grandfather, he was conscious that the \\n consequences might have been even altogether fatal to his prospects; but \\n the absence of her evil influence at such a conjuncture, its permanent \\n removal, indeed, from the scene, coupled with his fortunate though not \\n formal reconciliation with Lord Monmouth, had long ago banished from his \\n memory all those apprehensions to which he had felt it impossible at the\",\n \"Indeed, Lord Monmouth was one of the most finished gentlemen that \\n ever lived; and as he was good-natured, and for a selfish man even \\n good-humoured, there was rarely a cloud of caprice or ill-temper to \\n prevent his fine manners having their fair play. The country neighbours \\n were all fascinated; they were received with so much dignity and \\n dismissed with so much grace. Nobody would believe a word of the stories \\n against him. Had he lived all his life at Coningsby, fulfilled every\",\n \"in his favour. Whatever were the feelings with respect to Coningsby at \\n the bottom of Lord Monmouth's heart, he was actuated in his refusal to \\n see him not more from displeasure than from an anticipatory horror of \\n something like a scene. Even a surrender from Coningsby without terms, \\n and an offer to declare himself a candidate for Darlford, or to do \\n anything else that his grandfather wished, would have been disagreeable \\n to Lord Monmouth in his present mood. As in politics a revolution is\",\n \"had lavished treasure to oppose him in elections; raised associations \\n against his interest; established journals to assail him; denounced him \\n in public; agitated against him in private; had declared more than \\n once that he would make 'the county too hot for him;' his personal, \\n inveterate, indomitable foe, Mr. Millbank of Millbank. \\n \\n The loss of Hellingsley was a bitter disappointment to Lord Monmouth; \\n but the loss of it to such an adversary touched him to the quick. He did\",\n \"establishment generally,' said Mr. Rigby, 'will allow the connection \\n that at present subsists between that gentleman and his noble relative, \\n now that Lord Monmouth's eyes are open to his real character, to \\n terminate naturally, without the necessity of any formal explanation.' \\n \\n 'But what do you mean by the steps he is going to take in his \\n establishment generally?' \\n \\n 'Lord Monmouth thinks he requires change of scene.' \\n \\n 'Oh! is he going to drag me abroad again?' exclaimed Lady Monmouth, with\"\n ],\n [\n \"becoming his own master by the liberty wisely entrusted to him in his \\n boyhood, and which is, in general, discreetly exercised. But there were \\n also other reasons why Coningsby should have been less impressed with \\n the novelty of his life, and have encountered less temptations than \\n commonly are met with in the new existence which an University opens to \\n youth. In the interval which had elapsed between quitting Eton and going \\n to Cambridge, brief as the period may comparatively appear, Coningsby\",\n \"Lord Monmouth, who was at Rome, that he should go at once to Eton. \\n This was the first great epoch of his life. There never was a youth \\n who entered into that wonderful little world with more eager zest than \\n Coningsby. Nor was it marvellous. \\n \\n That delicious plain, studded with every creation of graceful \\n culture; hamlet and hall and grange; garden and grove and park; that \\n castle-palace, grey with glorious ages; those antique spires, hoar with\",\n \"a very fair, regular, routine life. They all read a little, but not \\n with the enthusiasm which they had once projected. Buckhurst drove \\n four-in-hand, and they all of them sometimes assisted him; but not \\n immoderately. Their suppers were sometimes gay, but never outrageous; \\n and, among all of them, the school friendship was maintained unbroken, \\n and even undisturbed. \\n \\n The fame of Coningsby preceded him at Cambridge. No man ever went up\",\n \"studies in chain armour. The calmer Henry Sydney was consoled for the \\n misfortunes of Coningsby by a fanciful project himself to pass a portion \\n of his life amid these halls and courts, gardens and terraces, that \\n maintain in the heart of a great city in the nineteenth century, so much \\n of the grave romance and picturesque decorum of our past manners. \\n Henry Sydney was sanguine; he was reconciled to the disinheritance of \\n Coningsby by the conviction that it was a providential dispensation to\",\n \"could only have been mastered by a mental discipline of a severe and \\n exalted character. At the end of the term Coningsby took his degree, and \\n in a few days was about to quit that university where, on the whole, \\n he had passed three serene and happy years in the society of fond and \\n faithful friends, and in ennobling pursuits. He had many plans for his \\n impending movements, yet none of them very mature ones. Lord Vere wished \\n Coningsby to visit his family in the north, and afterwards to go to\",\n \"bless you. I will soon see you again.' Mournfully he bade her farewell. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n About a week after this interview with Flora, as Coningsby one morning \\n was about to sally forth from the Albany to visit some chambers in the \\n Temple, to which his notice had been attracted, there was a loud ring, a \\n bustle in the hall, and Henry Sydney and Buckhurst were ushered in. \\n\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"renounced his once cherished purpose of trying for University honours, \\n an aim which he found discordant with the investigations on which his \\n mind was bent, he had rarely quitted Cambridge. The society of his \\n friends, the great convenience of public libraries, and the general \\n tone of studious life around, rendered an University for him a genial \\n residence. There is a moment in life, when the pride and thirst of \\n knowledge seem to absorb our being, and so it happened now to Coningsby,\",\n \"to a favourite pupil, in whose abilities he had confidence, and whose \\n future position in life would afford him the opportunity of influencing \\n opinion. Among others, they fell upon the ear of Coningsby. They were \\n addressed to a mind which was prepared for such researches. \\n \\n There is a Library at Eton formed by the boys and governed by the boys; \\n one of those free institutions which are the just pride of that noble \\n school, which shows the capacity of the boys for self-government, and\",\n \"of Paris, impressions of Hellingsley, his visit to Oxford, Lady \\n Wallinger's visit to Cambridge. In ten minutes their voices seemed to \\n sound to each other as they did in the Rue de Rivoli, and their mutual \\n perplexity had in a great degree subsided. \\n \\n Oswald and Sir Joseph now entered the room, and the conversation became \\n general. Hellingsley was the subject on which Coningsby dwelt; he was \\n charmed with all that he had seen! wished to see more. Sir Joseph was\",\n \"which political institutions are meat without salt; the Crown a \\n bauble, the Church an establishment, Parliaments debating-clubs, and \\n Civilisation itself but a fitful and transient dream. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n Less than a year after the arrival of Coningsby at Cambridge, and which \\n he had only once quitted in the interval, and that to pass a short \\n time in Berkshire with his friend Buckhurst, occurred the death of\",\n \"disappeared; then quitting the window, she threw herself into a chair, \\n and buried her face in her shawl. \\n \\n END OF BOOK IV. \\n \\n \\n \\n \\n BOOK V. \\n \\n \\n CHAPTER I. \\n \\n \\n An University life did not bring to Coningsby that feeling of \\n emancipation usually experienced by freshmen. The contrast between \\n school and college life is perhaps, under any circumstances, less \\n striking to the Etonian than to others: he has been prepared for\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"of power and peril; a world for which a great preparation was indeed \\n necessary, severe and profound, but not altogether such an one as was \\n now offered to him. Yet this want must be supplied, and by himself. \\n Coningsby had already acquirements sufficiently considerable, with some \\n formal application, to ensure him at all times his degree. He was no \\n longer engrossed by the intention he once proudly entertained of trying \\n for honours, and he chalked out for himself that range of reading,\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"Coningsby, class as 'Corporals;' and are severally followed by one or \\n more lower boys, who are denominated 'Polemen,' but who appear in their \\n ordinary dress. \\n \\n It was a fine, bright morning; the bells of Eton and Windsor rang \\n merrily; everybody was astir, and every moment some gay equipage \\n drove into the town. Gaily clustering in the thronged precincts of \\n the College, might be observed many a glistening form: airy Greek or\",\n \"with one to his old schoolfellow and friend. Now that was practicable. \\n And immediately Coningsby wrote to apprise Millbank that he had \\n taken his degree, was free, and prepared to pay him immediately the \\n long-projected visit. Three years and more had elapsed since they had \\n quitted Eton. How much had happened in the interval! What new ideas, new \\n feelings, vast and novel knowledge! Though they had not met, they were \\n nevertheless familiar with the progress and improvement of each other's\",\n \"December term, Coningsby quitted Cambridge for Paris. \\n \\n Passing through London, he made his first visit to his banker at Charing \\n Cross, on whom he had periodically drawn since he commenced his college \\n life. He was in the outer counting-house, making some inquiries about a \\n letter of credit, when one of the partners came out from an inner room, \\n and invited him to enter. This firm had been for generations the bankers \\n of the Coningsby family; and it appeared that there was a sealed box\",\n \"In this mood, the day after the visit of Buckhurst and Henry Sydney, \\n Coningsby called on Millbank, but finding his medical attendant with \\n him, Coningsby availed himself of that excuse for going away without \\n seeing him. \\n \\n The next day he left Millbank a newspaper on his way to school, time not \\n permitting a visit. Two days after, going into his room, he found on his \\n table a letter addressed to 'Harry Coningsby, Esq.' \\n\"\n ],\n [\n \"re-entered, and demanded his master's pleasure, which was, that he \\n should pour some water in the teapot. This being accomplished, St. John \\n really made his escape, and retired to a pupil-room, where the bullying \\n of a tutor, because he had no derivations, exceeded in all probability \\n the bullying of his master, had he contrived in his passage from the \\n Christopher to have upset the goose or dropped the sausages. \\n\",\n \"This change in the life of Coningsby contributed to his happiness. The \\n various characters which a large school exhibited interested a young \\n mind whose active energies were beginning to stir. His previous \\n acquirements made his studies light; and he was fond of sports, in which \\n he was qualified to excel. He did not particularly like Mr. Rigby. There \\n was something jarring and grating in that gentleman's voice and modes, \\n from which the chords of the young heart shrank. He was not tender,\",\n \"a hard-working curate, and affectionately tended by the curate's \\n unsophisticated wife. He was sent to a fashionable school preparatory \\n to Eton, where he found about two hundred youths of noble families \\n and connections, lodged in a magnificent villa, that had once been \\n the retreat of a minister, superintended by a sycophantic Doctor of \\n Divinity, already well beneficed, and not despairing of a bishopric by\",\n \"and Mr. Ormsby, an old hand, seized one of these critical instants to \\n address a good-natured question to Coningsby, whose acquaintance he had \\n already cultivated by taking wine with him. \\n \\n 'And how do you like Eton?' asked Mr. Ormsby. \\n \\n It was the identical question which had been presented to Coningsby in \\n the memorable interview of the morning, and which had received no reply; \\n or rather had produced on his part a sentimental ebullition that had\",\n \"There the personal qualities strike without any intervening and \\n counteracting causes. A gracious presence, noble sentiments, or a happy \\n talent, make their way there at once, without preliminary inquiries as \\n to what set they are in, or what family they are of, how much they \\n have a-year, or where they live. Now, on no spirit had the influence of \\n Coningsby, already the favourite, and soon probably to become the idol, \\n of the school, fallen more effectually than on that of Millbank, though\",\n \"and made him already looked to as the future hero of the school. But \\n Millbank possessed one of those strong, industrious volitions whose \\n perseverance amounts almost to genius, and nearly attains its results. \\n Though Coningsby was by a year his junior, they were rivals. This \\n circumstance had no tendency to remove the prejudice which Coningsby \\n entertained against him, but its bias on the part of Millbank had a \\n contrary effect. \\n \\n The influence of the individual is nowhere so sensible as at school.\",\n \"Every heart was agitated. \\n \\n What boy? When, where, how? Who was absent? Who had been on the river \\n to-day? Buckhurst. The report ran that Buckhurst was drowned. Great were \\n the trouble and consternation. Buckhurst was ever much liked; and now no \\n one remembered anything but his good qualities. \\n \\n 'Who heard it was Buckhurst?' said Sedgwick, captain of the school, \\n coming forward. \\n\",\n \"observed, as night fell, that his mind wandered. \\n \\n The illness of Millbank, the character of which soon transpired, and was \\n soon exaggerated, attracted the public attention with increased interest \\n to the circumstances out of which it had arisen, and from which the \\n parties principally concerned had wished to have diverted notice. The \\n sufferer, indeed, had transgressed the rules of the school by bathing at \\n an unlicensed spot, where there were no expert swimmers in attendance,\",\n \"Other boys went to see their mothers! he, at least, could talk of his. \\n Now he was alone. His grandfather was to him only a name. Lord Monmouth \\n resided almost constantly abroad, and during his rare visits to England \\n had found no time or inclination to see the orphan, with whom he felt \\n no sympathy. Even the death of the boy's mother, and the consequent \\n arrangements, were notified to his master by a stranger. The letter \\n which brought the sad intelligence was from Mr. Rigby. It was the first\",\n \"in bed, he said with imperturbable calmness, and as if he had been \\n talking of trying a new horse, 'Rigby, I should like to see the boy at \\n Eton.' \\n \\n There might be some objection to grant leave to Coningsby at this \\n moment; but it was a rule with Mr. Rigby never to make difficulties, or \\n at least to persuade his patron that he, and he only, could remove \\n them. He immediately undertook that the boy should be forthcoming, and\",\n \"absolutely destined or doomed him to the Church. \\n \\n 'I should like to see the fellow who did not like Eton,' said Coningsby, \\n briskly, determined this time to be very brave. \\n \\n 'Gad I must go down and see the old place,' said Mr. Ormsby, touched by \\n a pensive reminiscence. 'One can get a good bed and bottle of port at \\n the Christopher, still?' \\n \\n 'You had better come and try, sir,' said Coningsby. 'If you will come\",\n \"go up to Maidenhead.' \\n \\n 'Agreed; agreed!' \\n \\n \\n \\n \\n CHAPTER IX. \\n \\n \\n Millbank was the son of one of the wealthiest manufacturers in \\n Lancashire. His father, whose opinions were of a very democratic bent, \\n sent his son to Eton, though he disapproved of the system of education \\n pursued there, to show that he had as much right to do so as any duke in\",\n \"Monmouth travel from London to Naples at four-and-twenty hours' notice, \\n it was to avoid a scene. He hated scenes. He hated feelings. He saw \\n instantly the mistake he had made in sending for his grandchild. He \\n was afraid that Coningsby was tender-hearted like his father. Another \\n tender-hearted Coningsby! Unfortunate family! Degenerate race! He \\n decided in his mind that Coningsby must be provided for in the Church, \\n and looked at Mr. Rigby, whose principal business it always was to\",\n \"Duke, which he had observed to be awry, the gentleman for whom he had \\n been all this time waiting entered the room. \\n \\n 'Floreat Etona!' hastily exclaimed the gentleman, in a sharp voice; 'you \\n are setting the Duke to rights. I have left you a long time a prisoner; \\n but I found them so busy here, that I made my escape with some \\n difficulty.' \\n \\n He who uttered these words was a man of middle size and age, originally\",\n \"But he remembered the sweetness of his nursery days. His mother, \\n too, had written to him frequently since he quitted her, and her fond \\n expressions had cherished the tenderness of his heart. He wept bitterly \\n when his schoolmaster broke to him the news of his mother's death. True \\n it was they had been long parted, and their prospect of again meeting \\n was vague and dim; but his mother seemed to him his only link to human \\n society. It was something to have a mother, even if he never saw her.\",\n \"that there were two educations, one which his position required, and \\n another which was demanded by the world. 'French, my dear Harry,' he \\n continued, 'is the key to this second education. In a couple of years \\n or so you will enter the world; it is a different thing to what you read \\n about. It is a masquerade; a motley, sparkling multitude, in which \\n you may mark all forms and colours, and listen to all sentiments and \\n opinions; but where all you see and hear has only one object, plunder.\",\n \"At this moment there entered the room a little boy, the scion of a noble \\n house, bearing a roasted goose, which he had carried from the kitchen of \\n the opposite inn, the Christopher. The lower boy or fag, depositing \\n his burthen, asked his master whether he had further need of him; and \\n Buckhurst, after looking round the table, and ascertaining that he had \\n not, gave him permission to retire; but he had scarcely disappeared, \\n when his master singing out, 'Lower boy, St. John!' he immediately\",\n \"he made Coningsby such a bow as Louis Quatorze might have bestowed on \\n the ambassador of the United Provinces. Then extending his right hand, \\n which the boy tremblingly touched, Lord Monmouth said: \\n \\n 'How do you like Eton?' \\n \\n This contrast to the reception which he had imagined, hoped, feared, \\n paralysed the reviving energies of young Coningsby. He felt stupefied; \\n he looked almost aghast. In the chaotic tumult of his mind, his memory\",\n \"suddenly seemed to receive some miraculous inspiration. Mysterious \\n phrases heard in his earliest boyhood, unnoticed then, long since \\n forgotten, rose to his ear. Who was this grandfather, seen not before, \\n seen now for the first time? Where was the intervening link of blood \\n between him and this superb and icy being? The boy sank into the chair \\n which had been placed for him, and leaning on the table burst into \\n tears. \\n \\n Here was a business! If there were one thing which would have made Lord\",\n \"Lord Monmouth, who was at Rome, that he should go at once to Eton. \\n This was the first great epoch of his life. There never was a youth \\n who entered into that wonderful little world with more eager zest than \\n Coningsby. Nor was it marvellous. \\n \\n That delicious plain, studded with every creation of graceful \\n culture; hamlet and hall and grange; garden and grove and park; that \\n castle-palace, grey with glorious ages; those antique spires, hoar with\"\n ],\n [\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"his friends; and then, splitting up a pen or two, delivered himself of a \\n yawn which seemed the climax of his weariness. \\n \\n And yet the youth's appearance did not betoken a character that, if \\n the opportunity had offered, could not have found amusement and even \\n instruction. His countenance, radiant with health and the lustre of \\n innocence, was at the same time thoughtful and resolute. The expression \\n of his deep blue eyes was serious. Without extreme regularity of\",\n \"his thoughts were, how soon he could contrive to get back again; and \\n he told them endless stories of actresses, and dinners at fashionable \\n _cafés_. Vere enjoyed Cambridge most, because he had been staying \\n with his family since he quitted Eton. Henry Sydney was full of \\n church architecture, national sports, restoration of the order of the \\n Peasantry, and was to maintain a constant correspondence on these and \\n similar subjects with Eustace Lyle. Finally, however, they all fell into\",\n \"After eight o'clock school, the day following the return of Coningsby, \\n according to custom, he repaired to Buckhurst's room, where Henry \\n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \\n were all in the fifth form, and habitual companions, on the river or on \\n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \\n their leader alike in sport and study, inspired them to-day with unusual\",\n \"The ladies themselves soon withdrew; the gentlemen lingered for a \\n while; the Duke took up his candle, and bid his guests good night; Lord \\n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \\n Henry and his friend sat up talking over the past. They were too young \\n to call them old times; and yet what a life seemed to have elapsed since \\n they had quitted Eton, dear old Eton! Their boyish feelings, and still \\n latent boyish character, developed with their reminiscences. \\n\",\n \"name, that he might occasionally have the pleasure of meeting an Eton or \\n Cambridge friend without the annoyance of encountering any of his former \\n fashionable acquaintances. He lighted in his walk on Mr. Tadpole and \\n Mr. Taper, both of whom he knew. The latter did not notice him, but Mr. \\n Tadpole, more good-natured, bestowed on him a rough nod, not unmarked by \\n a slight expression of coarse pity. \\n\",\n \"He seemed close and cold; but he was courageous, just, and inflexible; \\n never bullied, and to his utmost would prevent tyranny. The little boys \\n looked up to him as a stern protector; and his word, too, throughout the \\n school was a proverb: and truth ranks a great quality among boys. In \\n a word, Millbank was respected by those among whom he lived; and \\n school-boys scan character more nicely than men suppose. \\n \\n A brother of Henry Sydney, quartered in Lancashire, had been wounded\",\n \"So they went without him. They found Millbank up and reading. \\n \\n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \\n before, but they would not let us. And you are quite right now, eh?' \\n \\n 'Quite. Has there been any row about it?' \\n \\n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \\n \\n 'I have seen nobody yet,' said Millbank; 'they would not let me till\",\n \"'I thought, sir, being here only for a day, and as a friend of your \\n son--' \\n \\n Mr. Millbank stopped and said, \\n \\n 'Oh! a friend of Oswald's, eh? What, at Eton?' \\n \\n 'Yes, sir, at Eton; and I had hoped perhaps to have found him here.' \\n \\n 'I am very much engaged, sir, at this moment,' said Mr. Millbank; 'I am \\n sorry I cannot pay you any personal attention, but my clerk will show\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"the cleverest; indeed, I always thought that there was no one like you; \\n but I never would say this or show this, because you never seemed to \\n care for me, and because I was afraid you would think I merely wanted to \\n con with you, as they used to say of some other fellows, whose names I \\n will not mention, because they always tried to do so with Henry Sydney \\n and you. I do not want this at all; but I want, though we may not speak \\n to each other more than before, that we may be friends; and that you\",\n \"'I must say, I was very happy when I met Mr. Coningsby again at \\n Cambridge,' said Lady Wallinger. 'It gave me much greater pleasure than \\n seeing any of the colleges.' \\n \\n 'How delighted Oswald seems at having Mr. Coningsby for a companion \\n again!' said Edith. \\n \\n 'And very naturally,' said Lady Wallinger. 'Oswald ought to deem \\n himself fortunate in having such a friend. I am sure the kindness of Mr.\",\n \"Coningsby's relative and most familiar friend, would at the first \\n glance have appeared, independently of all other considerations, a most \\n desirable result for Millbank to accomplish. But, perhaps, this \\n very circumstance afforded additional reasons for the absence of all \\n encouragement with which he received the overtures of Lord Henry. \\n Millbank suspected that Coningsby was not affected in his favour, and \\n his pride recoiled from gaining, by any indirect means, an intimacy \\n which to have obtained in a plain and express manner would have deeply\",\n \"withstood such hard neglect. All that he knew of the power of the softer \\n passions might be found in the fanciful and romantic annals of schoolboy \\n friendship. \\n \\n And those friends too, so fond, so sympathising, so devoted, where were \\n they now? Already they were dispersed; the first great separation of \\n life had been experienced; the former schoolboy had planted his foot on \\n the threshold of manhood. True, many of them might meet again; many of\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"heroes, as if they were marching from Athens, or Thebes, or Sparta, to \\n some heroic deed, encircled the mount; the ensign reaches its summit, \\n and then, amid a deafening cry of 'Floreat Etona!' he unfurls, and \\n thrice waves the consecrated standard. \\n \\n 'Lord Monmouth,' said Mr. Rigby to Coningsby, 'wishes that you should \\n beg your friends to dine with him. Of course you will ask Lord Henry and\",\n \"with one to his old schoolfellow and friend. Now that was practicable. \\n And immediately Coningsby wrote to apprise Millbank that he had \\n taken his degree, was free, and prepared to pay him immediately the \\n long-projected visit. Three years and more had elapsed since they had \\n quitted Eton. How much had happened in the interval! What new ideas, new \\n feelings, vast and novel knowledge! Though they had not met, they were \\n nevertheless familiar with the progress and improvement of each other's\",\n \"'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \\n very great friend of yours?' \\n \\n 'Very.' \\n \\n 'He is very amiable.' \\n \\n 'Very.' \\n \\n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \\n it not?' \\n \\n 'Very.' \\n \\n 'As fine as Coningsby?' \\n\",\n \"his name is in the upper school, very large, under Charles Fox. I say, \\n Townshend, did you see Saville's turban? What was it made of? He says \\n his mother brought it from Grand Cairo. Didn't he just look like the \\n Saracen's Head? Here are some Dons. That's Hallam! We'll give him a \\n cheer. I say, Townshend, look at this fellow. He doesn't think small\"\n ],\n [\n \"at the end of one of the avenues. His eye lightened; his lip became \\n compressed; he advanced to meet them. \\n \\n 'Are you going to fish to-day, Oswald?' he inquired of his son. \\n \\n 'We had some thoughts of it, sir.' \\n \\n 'A fine day for sport, I should think,' he observed, as he turned \\n towards the Hall with them. \\n \\n Coningsby remarked the fanciful beauty of the portal; its twisted\",\n \"in a provincial solitude, Oswald began to curse wealth, and to \\n ask himself what was the use of all their marvellous industry and \\n supernatural skill? He addressed his father with that irresistible \\n frankness which a strong faith can alone inspire. What are the objects \\n of wealth, if not to bless those who possess our hearts? The only \\n daughter, the friend to whom the only son was indebted for his life, \\n here are two beings surely whom one would care to bless, and both are\",\n \"their sincerity. Affairs remained in this state, until Oswald thought \\n that circumstances were sufficiently ripe to urge his father on \\n the subject. The position which Oswald had assumed at Millbank had \\n necessarily made him acquainted with the affairs and fortune of his \\n father. When he computed the vast wealth which he knew was at his \\n parent's command, and recalled Coningsby in his humble chambers, toiling \\n after all his noble efforts without any results, and his sister pining\",\n \"the land. He had, however, brought up his only boy with a due prejudice \\n against every sentiment or institution of an aristocratic character, \\n and had especially impressed upon him in his school career, to avoid the \\n slightest semblance of courting the affections or society of any member \\n of the falsely-held superior class. \\n \\n The character of the son as much as the influence of the father, tended \\n to the fulfilment of these injunctions. Oswald Millbank was of a\",\n \"There was a knock at the door. It was Oswald. They embraced. It seemed \\n that Oswald was as excited as Coningsby. His eye sparkled, his manner \\n was energetic. \\n \\n 'We must talk it all over during our journey. We have not a minute to \\n spare.' \\n \\n During that journey Coningsby learned something of the course of affairs \\n which gradually had brought about so singular a revolution in his \\n favour. We mentioned that Sidonia had acquired a thorough knowledge of\",\n \"letter for his grandfather, and tells me that he and Henry Sydney had \\n just had a capital run with the King's hounds.' \\n \\n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \\n 'Once he was often here. He was a great favourite of mine. I hardly ever \\n knew a more interesting boy.' \\n \\n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth\",\n \"The day was fast declining, and the inevitable moment of separation was \\n at hand. Oswald wished to appear at the dinner-table of Hellingsley, \\n that no suspicion might arise in the mind of his father of his having \\n accompanied Coningsby home. But just as he was beginning to mention the \\n necessity of his departure, a flash of lightning seemed to transfix the \\n heavens. The sky was very dark; though studded here and there with dingy \\n spots. The young men sprang up at the same time. \\n\",\n \"carried Oswald away, though he was rather puzzled why his father should \\n be so anxious about the preparation of the fishing-tackle, as he rarely \\n used it. His son had no sooner departed than Mr. Millbank turned to \\n Coningsby, and said very abruptly, \\n \\n 'You have never seen my own room here, Mr. Coningsby; step in, for I \\n wish to say a word to you.' And thus speaking, he advanced before the \\n astonished, and rather agitated Coningsby, and led the way through a\",\n \"suddenly seemed to receive some miraculous inspiration. Mysterious \\n phrases heard in his earliest boyhood, unnoticed then, long since \\n forgotten, rose to his ear. Who was this grandfather, seen not before, \\n seen now for the first time? Where was the intervening link of blood \\n between him and this superb and icy being? The boy sank into the chair \\n which had been placed for him, and leaning on the table burst into \\n tears. \\n \\n Here was a business! If there were one thing which would have made Lord\",\n \"spirits, which, to say the truth, were never particularly depressed. \\n Where he had been, what he had seen, what he had done, what sort of \\n fellow his grandfather was, whether the visit had been a success; here \\n were materials for almost endless inquiry. And, indeed, to do them \\n justice, the last question was not the least exciting to them; for the \\n deep and cordial interest which all felt in Coningsby's welfare far \\n outweighed the curiosity which, under ordinary circumstances, they\",\n \"was profound and firm. But unquestionably this sudden vision had brought \\n before him, in startling and more vivid colours, the relations that \\n subsisted between them. There was the being whom he loved and who loved \\n him; and whatever were the barriers which the circumstances of life \\n placed against their union, they were partakers of the solemn sacrament \\n of an unpolluted heart. \\n \\n Coningsby, as we have mentioned, had signified to Oswald his return to\",\n \"caricatures, French novels, and endless miniatures of foreign dancers, \\n princesses, and sovereigns. \\n \\n But Coningsby was so impressed with the impending interview with his \\n grandfather, that he neither sought nor required diversion. Now that the \\n crisis was at hand, he felt agitated and nervous, and wished that he was \\n again at Eton. The suspense was sickening, yet he dreaded still more the \\n summons. He was not long alone; the door opened; he started, grew pale;\",\n \"neck of Oswald, as if they were once more in the playing fields of Eton. \\n \\n 'By Jove! my dear fellow,' he exclaimed, 'I am so sorry we kept your \\n father from dinner.' \\n \\n As Edith headed her father's table, according to his rigid rule, \\n Coningsby was on one side of her. They never spoke so little; Coningsby \\n would have never unclosed his lips, had he followed his humour. He was \\n in a stupor of happiness; the dining room took the appearance of\",\n \"dissolution brought affairs to a crisis. The misery of Oswald at the \\n position of Coningsby, the silent sadness of Edith, his own conviction, \\n which assured him that he could do nothing wiser or better than take \\n this young man to his heart, so ordained it that Mr. Millbank, who \\n was after all the creature of impulse, decided suddenly, and decided \\n rightly. Never making a single admission to all the representations of \\n his son, Mr. Millbank in a moment did all that his son could have dared\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"The moon wanes; and Coningsby must leave these enchanted halls. Oswald \\n walked homeward with him until he reached the domain of his grandfather. \\n Then mounting his horse, Coningsby bade his friend farewell till the \\n morrow, and made his best way to the Castle. \\n \\n \\n \\n \\n CHAPTER V. \\n \\n \\n There is a romance in every life. The emblazoned page of Coningsby's \\n existence was now open. It had been prosperous before, with some moments\",\n \"Coningsby quitted them. \\n \\n ''Tis the grandson of Monmouth; young Coningsby.' \\n \\n 'Ah! The new generation then promises. I met him once before, by chance; \\n he interests me.' \\n \\n 'They tell me he is a lively lad. He is a prodigious favourite here, and \\n I should not be surprised if Monmouth made him his heir.' \\n \\n 'I hope he does not dream of inheritance,' said Sidonia. ''Tis the most \\n enervating of visions.'\",\n \"Joseph spoke feebly. Lady Wallinger conveyed all this intelligence, and \\n all her impressions, to Oswald and Edith. The younger Millbank talked \\n with his father, who, making no admissions, listened with interest, \\n inveighed against Lord Monmouth, and condemned his will. \\n \\n After some time, Mr. Millbank made inquiries about Coningsby, took an \\n interest in his career, and, like Lord Eskdale, declared that when he \\n was called to the bar, his friends would have an opportunity to evince\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"appeal to his affections and his sympathy, and whom Oswald was now going \\n to desert in the midst of his lonely and unsolaced woe. \\n \\n 'I ought not to enter here,' said Oswald, holding the hand of Coningsby \\n as he hesitated to advance; 'and yet there are duties more sacred even \\n than obedience to a father. I cannot leave you thus, friend of my best \\n heart!' \\n \\n The morning passed away in unceasing yet fruitless speculation on the\"\n ],\n [\n \"loved and which loved them. One of their sons-in-law and his wife, and \\n Henry Sydney, completed the party. \\n \\n There are few conjunctures in life of a more startling interest, than to \\n meet the pretty little girl that we have gambolled with in our boyhood, \\n and to find her changed in the lapse of a very few years, which in some \\n instances may not have brought a corresponding alteration in our own \\n appearance, into a beautiful woman. Something of this flitted over\",\n \"deceive him, and that he does not want to deceive you. I wish he liked a \\n rubber more. Then he would be perfect.' \\n \\n 'They say he is going to be married,' said the Attaché. \\n \\n 'Poh!' said Lord Monmouth. \\n \\n 'Married!' exclaimed Lady Monmouth. 'To whom?' \\n \\n 'To your beautiful countrywoman, \\\"la belle Anglaise,\\\" that all the world \\n talks of,' said the Attaché. \\n\",\n \"had not quite arrived at that age when you make enemies. The moment, \\n therefore, that he found himself in the saloons of Sidonia, he was \\n accosted by many whose notice was flattering; but his eye wandered, \\n while he tried to be courteous and attempted to be sprightly. Where was \\n she? He had nearly reached the ball-room when he met her. She was on \\n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and\",\n \"before; nor can I ever suppose that you could like me as you like Henry \\n Sydney and Buckhurst, or even as you like Vere; but still I hope you \\n will always think of me with kindness now, and let me sign myself, if \\n ever I do write to you, 'Your most attached, affectionate, and devoted \\n friend, \\n \\n 'OSWALD MILLBANK.' \\n \\n \\n \\n \\n CHAPTER XI. \\n \\n \\n About a fortnight after this nearly fatal adventure on the river, it was\",\n \"are right not to dance. It is not in your way. You are ambitious, I \\n believe?' she added. \\n \\n 'I was not aware of it; everybody is ambitious.' \\n \\n 'You see I know something of your character. Henry has spoken of you to \\n me a great deal; long before we met,--met again, I should say, for we \\n are old friends, remember. Do you know your career much interests me? I \\n like ambitious men.' \\n \\n There is something fascinating in the first idea that your career\",\n \"Tronchet, but their owner bore the features of the senior Millbank. A \\n beautiful countenance that was alternately the face in the mysterious \\n picture, and then that of Edith, haunted him under all circumstances. He \\n woke little refreshed; restless, and yet sensible of some secret joy. \\n \\n He woke to think of her of whom he had dreamed. The light had dawned on \\n his soul. Coningsby loved. \\n \\n Ah! what is that ambition that haunts our youth, that thirst for power\",\n \"one whom she never met, and by whom, if she met him, she would scarcely, \\n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \\n her life was absorbed; nor for her did the world contain an existence, \\n a thought, a sensation, beyond those that sprang from the image of \\n the noble youth who had sympathised with her in her sorrows, and had \\n softened the hard fortunes of dependence by his generous sensibility. \\n Happy that, with many mortifications, it was still her lot to live under\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"sympathy had inspired. His sensibility and his inordinate self-respect \\n were always at variance. And he seldom exchanged a word with the being \\n whose idea engrossed his affection. \\n \\n And now, suddenly, an event had occurred, like all events, unforeseen, \\n which in a few, brief, agitating, tumultuous moments had singularly and \\n utterly changed the relations that previously subsisted between him and \\n the former object of his concealed tenderness. Millbank now stood with\",\n \"dinner at Millbank, and the timid hostess whom he then addressed so \\n often in vain, as he gazed upon the bewitching and accomplished woman \\n whom he now passionately loved. It was a most agreeable dinner. Oswald, \\n happy in his friend being his guest, under his own roof, indulged in \\n unwonted gaiety. \\n \\n The ladies withdrew; Sir Joseph began to talk politics, although the \\n young men had threatened their fair companions immediately to follow\",\n \"since he so suddenly quitted Paris at the beginning of the year. The \\n wound he had received was deep to one unused to wounds. Yet, after all, \\n none had outraged his feelings, no one had betrayed his hopes. He had \\n loved one who had loved another. Misery, but scarcely humiliation. And \\n yet 'tis a bitter pang under any circumstances to find another preferred \\n to yourself. It is about the same blow as one would probably feel if \\n falling from a balloon. Your Icarian flight melts into a grovelling\",\n \"marry?' he added, with a fiendish laugh. \\n \\n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \\n that Monsieur Sidonia was about to marry her.' \\n \\n 'Is she so very beautiful?' inquired another gentleman. \\n \\n 'Yes,' said Lady Monmouth, calm, but pale. \\n \\n 'Poh!' said the Marquess again. \\n \\n 'I assure you that it is a fact,' said the Attaché, 'not at least an\",\n \"His heart was agitated, his countenance changed; he retained her hand \\n amid the chattering tourists, too full of their criticisms and their \\n egotistical commonplaces to notice what was passing. A sentimental \\n ebullition seemed to be on the point of taking place. Their eyes met. \\n The look of Edith was mournful and inquiring. \\n \\n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \\n with a radiant smile. \\n \\n \\n \\n\",\n \"He rose as if to depart. When she saw that, she started, and seemed to \\n summon all her energies. \\n \\n 'You are going,' she exclaimed, 'and I have said nothing, I have said \\n nothing; and I shall never see you again. Let me tell you what I mean. \\n This fortune is yours; it must be yours. It is an arrow in my heart. Do \\n not think I am speaking from a momentary impulse. I know myself. I have\",\n \"is in vain to speak of the enmities that are fostered between you and \\n my grandfather; the love that exists between your daughter and myself is \\n stronger than all your hatreds.' \\n \\n 'You speak like a young man, and a young man that is in love,' said Mr. \\n Millbank. 'This is mere rhapsody; it will vanish in an instant \\n before the reality of life. And you have arrived at that reality,' he \\n continued, speaking with emphasis, leaning over the back of his chair,\",\n \"it with satisfaction. It was a circumstance which represented in his \\n mind a continuance of good eating and good drinking, fine horses, \\n luxurious baths, unceasing billiards. \\n \\n In this state of affairs appeared Sidonia, known before to her \\n step-mother, but seen by Lucretia for the first time. Truly, he came, \\n saw, and conquered. Those eyes that rarely met another's were fixed upon \\n his searching yet unimpassioned glance. She listened to that voice,\",\n \"which she had given him in the days of their happy hearts. That was all \\n that was to remain of their loves. He was to bear it to the future \\n scene of his labours, to remind him through revolving years of toil and \\n routine, that he too had had his romance, had roamed in fair gardens, \\n and whispered in willing ears the secrets of his passion. That drawing \\n was to become the altar-piece of his life. \\n \\n Coningsby passed an agitated night of broken sleep, waking often with a\",\n \"Yes, they might meet again, but the gushing and secret tenderness was \\n gone for ever. \\n \\n Nor could our pensive youth conceal it from himself that it was \\n affection, and mainly affection, that had bound him to these dear \\n companions. They could not be to him what he had been to them. His had \\n been the inspiring mind that had guided their opinions, formed their \\n tastes, directed the bent and tenor of their lives and thoughts. \\n Often, indeed, had he needed, sometimes he had even sighed for,\",\n \"Soon after this Coningsby led Edith to the dance. It was at a ball that \\n he had first met her at Paris, and this led to other reminiscences; \\n all most interesting. Coningsby was perfectly happy. All mysteries, all \\n difficulties, were driven from his recollection; he lived only in the \\n exciting and enjoyable present. Twenty-one and in love! \\n \\n Some time after this, Coningsby, who was inevitably separated from \\n Edith, met his host. \\n\",\n \"Thus we have attempted to give some faint idea how life glided away at \\n the Castle the first fortnight that Coningsby passed there. Perhaps we \\n ought not to omit that Mrs. Guy Flouncey, to the infinite disgust of \\n Lady St. Julians, who had a daughter with her, successfully entrapped \\n the devoted attentions of the young Marquess of Beaumanoir, who was \\n never very backward if a lady would take trouble enough; while his \\n friend, Mr. Melton, whose barren homage Lady St. Julians wished\"\n ],\n [\n \"few hours he was to meet her again, infused into his being a degree of \\n transport, which the very necessity of repressing before his companion \\n rendered more magical and thrilling. How often it happens in life that \\n we have with a grave face to discourse of ordinary topics, while all the \\n time our heart and memory are engrossed with some enchanting secret! \\n \\n The castle of his grandfather presented a far different scene on the \\n arrival of Coningsby from that which it had offered on his first visit.\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"Lordship's grandson, seemed somewhat ridiculous: to address his \\n grandfather as Lord Monmouth would serve no purpose: to style Lord \\n Monmouth 'grandfather' would make every one laugh, and seem stiff and \\n unnatural. What was he to do? To fall into an attitude and exclaim, \\n 'Behold your grandchild!' or, 'Have you forgotten your Harry?' \\n \\n Even to catch Lord Monmouth's glance was not an easy affair; he was \\n much occupied on one side by the great lady, on the other were several\",\n \"is in vain to speak of the enmities that are fostered between you and \\n my grandfather; the love that exists between your daughter and myself is \\n stronger than all your hatreds.' \\n \\n 'You speak like a young man, and a young man that is in love,' said Mr. \\n Millbank. 'This is mere rhapsody; it will vanish in an instant \\n before the reality of life. And you have arrived at that reality,' he \\n continued, speaking with emphasis, leaning over the back of his chair,\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"'And who may she be, pray?' said the Marquess. 'I have so many beautiful \\n countrywomen.' \\n \\n 'Mademoiselle Millbank,' said the Attaché. \\n \\n 'Millbank!' said the Marquess, with a lowering brow. 'There are so many \\n Millbanks. Do you know what Millbank this is, Harry?' he inquired of his \\n grandson, who had listened to the conversation with a rather embarrassed \\n and even agitated spirit. \\n\",\n \"life, he devoted himself to a love that seemed hopeless, and to a fame \\n that was perhaps a dream. \\n \\n It was under the influence of these solemn resolutions that he wrote, \\n on his return home, a letter to Lord Monmouth, in which he expressed \\n all that affection which he really felt for his grandfather, and all \\n the pangs which it cost him to adhere to the conclusions he had already \\n announced. In terms of tenderness, and even humility, he declined to\",\n \"caricatures, French novels, and endless miniatures of foreign dancers, \\n princesses, and sovereigns. \\n \\n But Coningsby was so impressed with the impending interview with his \\n grandfather, that he neither sought nor required diversion. Now that the \\n crisis was at hand, he felt agitated and nervous, and wished that he was \\n again at Eton. The suspense was sickening, yet he dreaded still more the \\n summons. He was not long alone; the door opened; he started, grew pale;\",\n \"with the parties concerned to feel assured that he had not learnt the \\n whole truth. What had really taken place, and what was the real cause of \\n the occurrences, were equally mystical to him: all he was convinced of \\n was, that some great domestic revolution had been suddenly effected. \\n \\n Coningsby entertained for his grandfather a sincere affection. With the \\n exception of their last unfortunate interview, he had experienced from \\n Lord Monmouth nothing but kindness both in phrase and deed. There was\",\n \"somewhat astounded him; but Coningsby was fond of his grandfather, and \\n he wrote Lord Monmouth a letter of congratulation, full of feeling and \\n ingenuousness, and which, while it much pleased the person to whom it \\n was addressed, unintentionally convinced him that Coningsby had never \\n received his original communication. Lord Monmouth spoke to Villebecque, \\n who could throw sufficient light upon the subject, but it was never \\n mentioned to Lady Monmouth. The Marquess was a man who always found out\",\n \"he thought it was his grandfather; it was not even Mr. Rigby. It was \\n Lord Monmouth's valet. \\n \\n 'Monsieur Konigby?' \\n \\n 'My name is Coningsby,' said the boy. \\n \\n 'Milor is ready to receive you,' said the valet. \\n \\n Coningsby sprang forward with that desperation which the scaffold \\n requires. His face was pale; his hand was moist; his heart beat with\",\n \"Flora, and thanked her with all his courtesy. \\n \\n 'You are not hurt, then, sir?' she ventured to ask with a look that \\n expressed the infinite solicitude which her tongue did not venture to \\n convey. \\n \\n 'By no means, my good little girl;' and he extended his hand to her, \\n which she reverently bent over and embraced. \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n When Coningsby had returned to his grandfather's hotel that morning, it\",\n \"that of his grandson, he led him across the room, and presented him \\n in due form to some royal blood that was his guest, in the shape of \\n a Russian Grand-duke. His Imperial Highness received our hero as \\n graciously as the grandson of Lord Monmouth might expect; but no \\n greeting can be imagined warmer than the one he received from the lady \\n with whom the Grand-duke was conversing. She was a dame whose beauty was \\n mature, but still radiant. Her figure was superb; her dark hair crowned\",\n \"spirits, which, to say the truth, were never particularly depressed. \\n Where he had been, what he had seen, what he had done, what sort of \\n fellow his grandfather was, whether the visit had been a success; here \\n were materials for almost endless inquiry. And, indeed, to do them \\n justice, the last question was not the least exciting to them; for the \\n deep and cordial interest which all felt in Coningsby's welfare far \\n outweighed the curiosity which, under ordinary circumstances, they\",\n \"of excitement, some of delight; but they had all found, as it were, \\n their origin in worldly considerations, or been inevitably mixed up with \\n them. At Paris, for example, he loved, or thought he loved. But there \\n not an hour could elapse without his meeting some person, or hearing \\n something, which disturbed the beauty of his emotions, or broke his \\n spell-bound thoughts. There was his grandfather hating the Millbanks, \\n or Sidonia loving them; and common people, in the common world, making\",\n \"vague and indefinite desires it engenders, generally makes those whose \\n characters are not formed, affected. The Duchess, who was a fine judge \\n of character, and who greatly regarded Coningsby, often mentioned this \\n trait as one which, combined with his great abilities and acquirements \\n so unusual at his age, rendered him very interesting. In the present \\n instance it happened that, while Coningsby was watching his grandfather, \\n he observed a gentleman advance, make his bow, say and receive a few\",\n \"a dishonest glance, so a demeanour that was by no means deficient in \\n self-possession and facility, was tainted by an innate vulgarity, which \\n in the long run, though seldom, yet surely developed itself. \\n \\n The youth had jumped off his chair on the entrance of the gentleman, and \\n then taking up his hat, said: \\n \\n 'Shall we go to grandpapa now, sir?' \\n \\n 'By all means, my dear boy,' said the gentleman, putting his arm within\",\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"words and retire. This little incident, however, made a momentary \\n diversion in the immediate circle of Lord Monmouth, and before they \\n could all resume their former talk and fall into their previous \\n positions, an impulse sent forth Coningsby, who walked up to Lord \\n Monmouth, and standing before him, said, \\n \\n 'How do you do, grandpapa?' \\n \\n Lord Monmouth beheld his grandson. His comprehensive and penetrating \\n glance took in every point with a flash. There stood before him one of\",\n \"the handsomest youths he had ever seen, with a mien as graceful as his \\n countenance was captivating; and his whole air breathing that freshness \\n and ingenuousness which none so much appreciates as the used man of the \\n world. And this was his child; the only one of his blood to whom he had \\n been kind. It would be exaggeration to say that Lord Monmouth's heart \\n was touched; but his goodnature effervesced, and his fine taste was\"\n ],\n [\n \"entirely devoted himself to his new pursuit. His being was completely \\n absorbed in it. There was nothing to haunt his mind; no unexperienced \\n scene or sensation of life to distract his intelligence. One sacred \\n thought alone indeed there remained, shrined in the innermost sanctuary \\n of his heart and consciousness. But it was a tradition, no longer a \\n hope. The moment that he had fairly recovered from the first shock of \\n his grandfather's will; had clearly ascertained the consequences to\",\n \"suddenly seemed to receive some miraculous inspiration. Mysterious \\n phrases heard in his earliest boyhood, unnoticed then, long since \\n forgotten, rose to his ear. Who was this grandfather, seen not before, \\n seen now for the first time? Where was the intervening link of blood \\n between him and this superb and icy being? The boy sank into the chair \\n which had been placed for him, and leaning on the table burst into \\n tears. \\n \\n Here was a business! If there were one thing which would have made Lord\",\n \"life, he devoted himself to a love that seemed hopeless, and to a fame \\n that was perhaps a dream. \\n \\n It was under the influence of these solemn resolutions that he wrote, \\n on his return home, a letter to Lord Monmouth, in which he expressed \\n all that affection which he really felt for his grandfather, and all \\n the pangs which it cost him to adhere to the conclusions he had already \\n announced. In terms of tenderness, and even humility, he declined to\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"spirits, which, to say the truth, were never particularly depressed. \\n Where he had been, what he had seen, what he had done, what sort of \\n fellow his grandfather was, whether the visit had been a success; here \\n were materials for almost endless inquiry. And, indeed, to do them \\n justice, the last question was not the least exciting to them; for the \\n deep and cordial interest which all felt in Coningsby's welfare far \\n outweighed the curiosity which, under ordinary circumstances, they\",\n \"of its character. The first feeling which he experienced at the \\n intelligence was sincere affliction. He was fond of his grandfather; had \\n received great kindness from him, and at a period of life when it was \\n most welcome. The neglect and hardships of his early years, instead of \\n leaving a prejudice against one who, by some, might be esteemed their \\n author, had by their contrast only rendered Coningsby more keenly \\n sensible of the solicitude and enjoyment which had been lavished on his \\n happy youth. \\n\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"time to shut his eyes. Before he left town for Scotland he had made a \\n farewell visit to his grandfather, who, though not as cordial as in \\n old days, had been gracious; and Coningsby, during his excursion to the \\n moors, and his various visits to the country, had continued at intervals \\n to write to his grandfather, as had been for some years his custom. On \\n the whole, with an indefinite feeling which, in spite of many a rational \\n effort, did nevertheless haunt his mind, that this great and sudden\",\n \"He was still in the vigour of life, and was not a mere money-making \\n machine. He had a general intelligence equal to his position, and looked \\n forward to the period when some relaxation from his vast enterprises and \\n exertions might enable him to direct his energies to great objects of \\n public benefit. But in the height of his vast prosperity he suddenly \\n died, leaving only one child, a youth still of tender years, and heir to \\n the greatest fortune in Europe, so great, indeed, that it could only be \\n calculated by millions. \\n\",\n \"you.' \\n \\n Coningsby said this with a gay air, but really with a depressed spirit. \\n He felt convinced that his grandfather was deeply displeased with him; \\n and as he rode away from the villa, he could not resist the strong \\n impression that he was destined never to re-enter it. Yet it was decreed \\n otherwise. It so happened that the idle message which Coningsby had left \\n for his grandfather, and which he never seriously supposed for a moment \\n that his late companions would have given their host, operated entirely\",\n \"undisturbed; he pulled up his horse, and summoned all his mind to the \\n contemplation of his prospects. \\n \\n Edith was lost. Now, should he return to his grandfather, accept his \\n mission, and go down to Darlford on Friday? Favour and fortune, power, \\n prosperity, rank, distinction would be the consequence of this step; \\n might not he add even vengeance? Was there to be no term to his \\n endurance? Might not he teach this proud, prejudiced manufacturer, with\",\n \"with a clog my psychological observations will be imperfect.' \\n \\n 'You are, indeed, a friend; and had I debts I would ask you to pay \\n them. I have nothing of the kind. My grandfather was so lavish in his \\n allowance to me that I never got into difficulties. Besides, there \\n are horses and things without end which I must sell, and money at \\n Drummonds'.' \\n \\n 'That will produce your outfit, whatever the course you adopt. I \\n conceive there are two careers which deserve your consideration. In the\",\n \"his was to be a wilful error. He remembered his first visit to his \\n grandfather, and the delight of his friends at Eton at his report on his \\n return. After eight years of initiation was he to lose that favour then \\n so highly prized, when the results which they had so long counted on \\n were on the very eve of accomplishment? Parliament and riches, and rank \\n and power; these were facts, realities, substances, that none could \\n mistake. Was he to sacrifice them for speculations, theories, shadows,\",\n \"approached Coningsby, and told him that he was wanted without. \\n \\n Our hero retired unperceived. A despatch had arrived for him from \\n London. Without any prescience of its purpose, he nevertheless broke \\n the seal with a trembling hand. His presence was immediately desired in \\n town: Lord Monmouth was dead. \\n \\n \\n \\n \\n CHAPTER II. \\n \\n \\n This was a crisis in the life of Coningsby; yet, like many critical \\n epochs, the person most interested in it was not sufficiently aware\",\n \"Monmouth travel from London to Naples at four-and-twenty hours' notice, \\n it was to avoid a scene. He hated scenes. He hated feelings. He saw \\n instantly the mistake he had made in sending for his grandchild. He \\n was afraid that Coningsby was tender-hearted like his father. Another \\n tender-hearted Coningsby! Unfortunate family! Degenerate race! He \\n decided in his mind that Coningsby must be provided for in the Church, \\n and looked at Mr. Rigby, whose principal business it always was to\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"Other boys went to see their mothers! he, at least, could talk of his. \\n Now he was alone. His grandfather was to him only a name. Lord Monmouth \\n resided almost constantly abroad, and during his rare visits to England \\n had found no time or inclination to see the orphan, with whom he felt \\n no sympathy. Even the death of the boy's mother, and the consequent \\n arrangements, were notified to his master by a stranger. The letter \\n which brought the sad intelligence was from Mr. Rigby. It was the first\",\n \"he thought it was his grandfather; it was not even Mr. Rigby. It was \\n Lord Monmouth's valet. \\n \\n 'Monsieur Konigby?' \\n \\n 'My name is Coningsby,' said the boy. \\n \\n 'Milor is ready to receive you,' said the valet. \\n \\n Coningsby sprang forward with that desperation which the scaffold \\n requires. His face was pale; his hand was moist; his heart beat with\",\n \"occurred, Coningsby fell asleep when the morning had far advanced, \\n resolved to rise when a little refreshed and find out Lady Wallinger, \\n who, he felt sure, would receive him with kindness. \\n \\n Yet it was fated that this step should not be taken, for while he was \\n at breakfast, his servant brought him a letter from Monmouth House, \\n apprising him that his grandfather wished to see him as soon as possible \\n on urgent business. \\n \\n \\n \\n \\n CHAPTER III. \\n \\n\"\n ],\n [\n \"very loud, knowing that the presence of his father would make Coningsby \\n hesitate about coming. Edith's heart fluttered; but she said nothing. It \\n was with delight she heard her father, after a moment's pause, say, \\n \\n 'Oh! I beg we may have that pleasure.' \\n \\n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \\n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \\n your journey has not fatigued you.'\",\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"recognised a more satisfactory reason for the transient liveliness of \\n his daughter which had so greatly gratified him. \\n \\n About a month after Christmas, the meeting of Parliament summoned Mr. \\n Millbank up to London; and he had wished Edith to accompany him. But \\n London in February to Edith, without friends or connections, her father \\n always occupied and absent from her day and night, seemed to them \\n all, on reflection, to be a life not very conducive to health or\",\n \"an embarrassing circumstance, but mitigated by the conviction that they \\n had not to encounter a very critical inspection. What, then, were their \\n feelings when the first servant that they met informed them that Mr. \\n Millbank had arrived! Edith never could have believed that the return of \\n her beloved father to his home could ever have been to her other than \\n a cause of delight. And yet now she trembled when she heard the \\n announcement. The mysteries of love were fast involving her existence.\",\n \"Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \\n that it would be well that his daughter should accompany them in their \\n somewhat extensive travels. It was not, therefore, only that nature \\n had developed a beautiful woman out of a bashful girl since Coningsby's \\n visit to Millbank; but really, every means and every opportunity that \\n could contribute to render an individual capable of adorning the most \\n accomplished circles of life, had naturally, and without effort, fallen\",\n \"circumstances in your case, which, even if I were a member of the same \\n order as my Lord Monmouth, would prevent the possibility of a prosperous \\n union. Marry Edith, and you blast all the prospects of your life, and \\n entail on her a sense of unceasing humiliation. Would you do this? \\n Should I permit you to do this?' \\n \\n Coningsby, with his head resting on his arm, his face a little shaded, \\n his eyes fixed on the ground, listened in silence. There was a pause;\",\n \"undisturbed; he pulled up his horse, and summoned all his mind to the \\n contemplation of his prospects. \\n \\n Edith was lost. Now, should he return to his grandfather, accept his \\n mission, and go down to Darlford on Friday? Favour and fortune, power, \\n prosperity, rank, distinction would be the consequence of this step; \\n might not he add even vengeance? Was there to be no term to his \\n endurance? Might not he teach this proud, prejudiced manufacturer, with\",\n \"'My good young friend, you will live, I doubt not, to be a happy one. \\n Happiness is not, as we are apt to fancy, entirely dependent on these \\n contingencies. It is the lot of most men to endure what you are now \\n suffering, and they can look back to such conjunctures through the vista \\n of years with calmness.' \\n \\n 'I may see Edith now?' \\n \\n 'Frankly, I should say, no. My daughter is in her room; I have had some\",\n \"to the fortunate lot of the manufacturer's daughter. Edith possessed \\n an intelligence equal to those occasions. Without losing the native \\n simplicity of her character, which sprang from the heart, and which \\n the strong and original bent of her father's mind had fostered, she had \\n imbibed all the refinement and facility of the polished circles in which \\n she moved. She had a clear head, a fine taste, and a generous spirit; \\n had received so much admiration, that, though by no means insensible to\",\n \"longer to be blind to the great change. That happy and equable gaiety of \\n spirit, which seemed to spring from an innocent enjoyment of existence, \\n and which had ever distinguished Edith, was wanting. Her sunny glance \\n was gone. She was not indeed always moody and dispirited, but she was \\n fitful, unequal in her tone. That temper whose sweetness had been a \\n domestic proverb had become a little uncertain. Not that her affection \\n for her father was diminished, but there were snatches of unusual\",\n \"of his fortunes he must immolate his first and enduring love. Before, \\n he had a perilous position to offer Edith; now he had none. The future \\n might then have aided them; there was no combination which could improve \\n his present. Under any circumstances he must, after all his thoughts and \\n studies, commence a new novitiate, and before he could enter the arena \\n must pass years of silent and obscure preparation. 'Twas very bitter. \\n He looked up, his eye caught that drawing of the towers of Hellingsley\",\n \"'I am not aware that she is going to be married to any one. Lord \\n Beaumanoir admires her, has always admired her. But Edith has given \\n him no encouragement, at least gave him no encouragement as long as she \\n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \\n am to blame; I have been to blame perhaps before, but indeed I think it \\n cruel, very cruel, that Edith and you are kept asunder.' \\n\",\n \"manner in which he had parted from them; but they greeted him with \\n so much cordiality that he instantly recovered himself, and, turning, \\n became their companion. He hardly ventured to ask after Edith: at \\n length, in a depressed tone and a hesitating manner, he inquired whether \\n they had lately seen Miss Millbank. He was himself surprised at the \\n extreme light-heartedness which came over him the moment he heard she \\n was in England, at Millbank, with her family. He always very much liked\",\n \"and the clearest voice exclaimed from above, 'Papa! papa!' and instantly \\n a young girl came bounding down the stairs, but suddenly seeing a \\n stranger with her father she stopped upon the landing-place, and was \\n evidently on the point of as rapidly retreating as she had advanced, \\n when Mr. Millbank waved his hand to her and begged her to descend. She \\n came down slowly; as she approached them her father said, 'A friend you \\n have often heard of, Edith: this is Mr. Coningsby.' \\n\",\n \"His father is a Lancashire manufacturer.' \\n \\n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \\n in the world that Lord Monmouth dislikes so much as Manchester \\n manufacturers, and particularly if they bear the name of Millbank. It \\n must not be thought of, my dear Harry. I hope you have not spoken to \\n the young man on the subject. I assure you it is out of the question. \\n It would make Lord Monmouth quite ill. It would spoil everything, quite \\n upset him.'\",\n \"This rather disturbed Mr. Millbank again; he had not seen enough of his \\n daughter; he wished to hear her sing. But Edith managed to reappear; and \\n even to sing. Then Coningsby went up to her and asked her to sing the \\n song of the Girls of Granada. She said in a low voice, and with a fond \\n yet serious look, \\n \\n 'I am not in the mood for such a song, but if you wish me--' \\n\",\n \"seraphs. He thought of Edith in her hours of fondness; he thought of \\n the pure and solemn moments when to mingle his name with the heroes of \\n humanity was his aspiration, and to achieve immortal fame the inspiring \\n purpose of his life. What were the tawdry accidents of vulgar ambition \\n to him? No domestic despot could deprive him of his intellect, his \\n knowledge, the sustaining power of an unpolluted conscience. If he \\n possessed the intelligence in which he had confidence, the world\",\n \"'The Duke will be deuced glad to see Beau settled, I take it,' said Mr. \\n Cassilis. \\n \\n 'A good deal depends on the tin,' said his friend. \\n \\n Coningsby threw down the 'Court Guide' with a sinking heart. In spite \\n of every insuperable difficulty, hitherto the end and object of all his \\n aspirations and all his exploits, sometimes even almost unconsciously \\n to himself, was Edith. It was over. The strange manner of last night was\",\n \"the exquisite suspicion that there was a flattering distinction in her \\n carriage to himself. Under the influence of these feelings, he began \\n daily to be more conscious that separation would be an intolerable \\n calamity; he began to meditate upon the feasibility of keeping a half \\n term, and of postponing his departure to Cambridge to a period nearer \\n the time when Edith would probably return to England. \\n \\n In the meanwhile, the Parisian world talked much of the grand fete which\"\n ],\n [\n \"fatal facility, on the very threshold of his career he devoted his \\n time and thought, labour and life, to one vast and noble purpose, the \\n elevation of the condition of the great body of the people. \\n \\n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \\n be content with being his gentleman usher.' \\n \\n 'It shall be put to the vote,' said Lord Vere. \\n \\n 'No one has a chance against Buckhurst,' said Coningsby. \\n\",\n \"'Now, Sir Charles,' said Lady Everingham, 'your absolute sway is about \\n to commence. And what is your will?' \\n \\n 'The first thing must be my formal installation,' said Buckhurst. 'I \\n vote the Boar's head be carried in procession thrice round the hall, and \\n Beau shall be the champion to challenge all who may question my right. \\n Duke, you shall be my chief butler, the Duchess my herb-woman. She is to\",\n \"it, if possible, to be without distinction of party. He had come to \\n reside among his old friends, to live and die where he was born. \\n The Chairman of the Conservative Association and the Vice President \\n exchanged glances, which would have become Tadpole and Taper; the \\n four attorneys nibbed their pens with increased energy, and vowed that \\n nothing could withstand the influence of the aristocracy 'in the long \\n run.' All went and dined at the Castle; all returned home overpowered\",\n \"the season, at once sacred and merry. There are carols for the eventful \\n eve, and mummers for the festive day. \\n \\n The Duke and Duchess, and every member of the family, had consented this \\n year to keep their Christmas with the newly-married couple. Coningsby, \\n too, was there, and all his friends. The party was numerous, gay, \\n hearty, and happy; for they were all united by sympathy. \\n \\n They were planning that Henry Sydney should be appointed Lord of\",\n \"The president and vice-president of the Conservative Association, the \\n secretary and the four solicitors who were agents, had impressed upon \\n Mr. Rigby that it was of the utmost importance, and must produce a \\n great moral effect, if he obtain the show of hands. With his powers of \\n eloquence and their secret organisation, they flattered themselves it \\n might be done. With this view, Rigby inflicted a speech of more than \\n two hours' duration on the electors, who bore it very kindly, as the mob\",\n \"speak. Henry Sydney indeed looked pale and nervous; but his companion, \\n flushed and resolute, knew exactly how to hit a popular assembly, and at \\n once came to the point. \\n \\n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \\n nobody is drowned.' \\n \\n There was a cheer that might have been heard at Windsor Castle. Then, \\n turning to Sedgwick, in an undertone Buckhurst added, \\n\",\n \"So they went without him. They found Millbank up and reading. \\n \\n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \\n before, but they would not let us. And you are quite right now, eh?' \\n \\n 'Quite. Has there been any row about it?' \\n \\n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \\n \\n 'I have seen nobody yet,' said Millbank; 'they would not let me till\",\n \"Rigby had resigned. He was, however, requested to remain at Birmingham, \\n as they did not wish him to enter Darlford, except to be chaired, so \\n he was to arrive there in the morning. At Birmingham, therefore, they \\n remained. \\n \\n There was Oswald's election to talk of as well as Coningsby's. They had \\n hardly had time for this. Now they were both Members of Parliament. \\n Men must have been at school together, to enjoy the real fun of meeting\",\n \"'But what a task! What a variety of qualities, what a combination \\n of circumstances is requisite! What bright abilities and what noble \\n patience! What confidence from the people, what favour from the Most \\n High!' \\n \\n 'But He will favour us,' said Millbank. 'And I say to you as Nathan said \\n unto David, \\\"Thou art the man!\\\" You were our leader at Eton; the friends \\n of your heart and boyhood still cling and cluster round you! they are\",\n \"to hear him, it was long before their enthusiasm could subside into \\n silence. At length that silence was deep and absolute. He spoke; his \\n powerful and rich tones reached every ear. In five minutes' time every \\n one looked at his neighbour, and without speaking they agreed that there \\n never was anything like this heard in Darlford before. \\n \\n He addressed them for a considerable time, for he had a great deal to \\n say; not only to express his gratitude for the unprecedented manner in \\n which he had become their representative, and for the spirit in which\",\n \"leader. \\n \\n But we must return to the Darlford election. The class of thoughtful \\n voters was sufficiently numerous in that borough to render the result \\n of the contest doubtful to the last; and on the eve of the day of \\n nomination both parties were equally sanguine. \\n \\n Nomination-day altogether is an unsatisfactory affair. There is little \\n to be done, and that little mere form. The tedious hours remain, and no \\n one can settle his mind to anything. It is not a holiday, for every one\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"higher impulses of his nature had been preparing him. It was a keen \\n trial of a man. Every one of his friends and old companions were \\n candidates, and with sanguine prospects. Lord Henry was certain for a \\n division of his county; Buckhurst harangued a large agricultural \\n borough in his vicinity; Eustace Lyle and Vere stood in coalition for \\n a Yorkshire town; and Oswald Millbank solicited the suffrages of an \\n important manufacturing constituency. They sent their addresses to\",\n \"to tell it, and that something very much to their own satisfaction. \\n The only grave countenance that was occasionally ushered into the room \\n belonged to some individual whose destiny was not in doubt, and who was \\n already practising the official air that was in future to repress the \\n familiarity of his former fellow-stragglers. \\n \\n 'Do you hear anything?' said a great noble who wanted something in the \\n general scramble, but what he knew not; only he had a vague feeling he\",\n \"All his hopes were now staked on the successful result of this contest. \\n It were impossible if he were returned that his friends could refuse him \\n high office. The whole of Lord Monmouth's reduced legacy was devoted \\n to this end. The third edition of the _Sun_ left Mr. Rigby in vain \\n attempting to address an infuriated populace. \\n \\n Here was a revolution in the fortunes of our forlorn Coningsby! When his \\n grandfather first sent for him to Monmouth House, his destiny was\",\n \"to govern England. The very day that he arrived he had his audience with \\n the King. \\n \\n It was two days after this audience; the town, though November, in a \\n state of excitement; clubs crowded, not only morning rooms, but halls \\n and staircases swarming with members eager to give and to receive \\n rumours equally vain; streets lined with cabs and chariots, grooms and \\n horses; it was two days after this audience that Mr. Ormsby, celebrated\",\n \"'And this is the end of Coningsby, the brilliant Coningsby, that we all \\n loved, that was to be our leader!' said Buckhurst to Lord Henry as \\n they quitted him. 'Well, come what may, life has lost something of its \\n bloom.' \\n \\n 'The great thing now,' said Lord Henry, 'is to keep up the chain of \\n our friendship. We must write to him very often, and contrive to be \\n frequently together. It is dreadful to think that in the ways of life\",\n \"consideration. He had got them a candidate, and one of high mark, the \\n son of a Peer, and connected with the highest Whig houses. Their eyes \\n sparkled. A real honourable. If they liked he would introduce them \\n immediately to the Honourable Alberic de Crecy. He had only to introduce \\n them, as there was no difficulty either as to means or opinions, \\n expenses or pledges. \\n \\n The secretary returned with a young gentleman, whose diminutive stature\",\n \"The ladies themselves soon withdrew; the gentlemen lingered for a \\n while; the Duke took up his candle, and bid his guests good night; Lord \\n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \\n Henry and his friend sat up talking over the past. They were too young \\n to call them old times; and yet what a life seemed to have elapsed since \\n they had quitted Eton, dear old Eton! Their boyish feelings, and still \\n latent boyish character, developed with their reminiscences. \\n\"\n ],\n [\n \"reputation, with whom he had become acquainted in former days of equal \\n brotherhood. No one was more faithful to his early friends than Mr. \\n Rigby, particularly if they could write a squib. \\n \\n It was in this refined retirement that Mr. Rigby found time enough, \\n snatched from the toils of official life and parliamentary struggles, \\n to compose a letter on the study of History, addressed to Coningsby. \\n The style was as much like that of Lord Bolingbroke as if it had been\",\n \"of English realistic fiction, but in this special field none of them \\n has surpassed him. From this point of view, accordingly, \\\"Coningsby\\\" is \\n appropriately included in this series. \\n \\n \\n \\n \\n TO HENRY HOPE \\n \\n \\n It is not because this work was conceived and partly executed amid the \\n glades and galleries of the DEEPDENE that I have inscribed it with your \\n name. Nor merely because I was desirous to avail myself of the most\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"studies in chain armour. The calmer Henry Sydney was consoled for the \\n misfortunes of Coningsby by a fanciful project himself to pass a portion \\n of his life amid these halls and courts, gardens and terraces, that \\n maintain in the heart of a great city in the nineteenth century, so much \\n of the grave romance and picturesque decorum of our past manners. \\n Henry Sydney was sanguine; he was reconciled to the disinheritance of \\n Coningsby by the conviction that it was a providential dispensation to\",\n \"'I was thinking,' said Coningsby, 'of poor mamma!' \\n \\n 'Hush!' said Mr. Rigby; 'Lord Monmouth never likes to hear of people \\n who are dead; so you must take care never to mention your mother or your \\n father.' \\n \\n In the meantime Lord Monmouth had decided on the fate of Coningsby. The \\n Marquis thought he could read characters by a glance, and in general \\n he was successful, for his natural sagacity had been nurtured by great\",\n \"fellow for history at White's. He was always boring one with William the \\n Conqueror, Julius Caesar, and all that sort of thing.' \\n \\n 'I tell you what,' said Mr. Ormsby, looking both sly and solemn, 'I \\n should not be surprised if, some day or another, we have a history about \\n Lady Everingham and young Coningsby.' \\n \\n 'Poh!' said Mr. Melton; 'he is engaged to be married to her sister, Lady \\n Theresa.' \\n\",\n \"Coningsby's relative and most familiar friend, would at the first \\n glance have appeared, independently of all other considerations, a most \\n desirable result for Millbank to accomplish. But, perhaps, this \\n very circumstance afforded additional reasons for the absence of all \\n encouragement with which he received the overtures of Lord Henry. \\n Millbank suspected that Coningsby was not affected in his favour, and \\n his pride recoiled from gaining, by any indirect means, an intimacy \\n which to have obtained in a plain and express manner would have deeply\",\n \"speak. Henry Sydney indeed looked pale and nervous; but his companion, \\n flushed and resolute, knew exactly how to hit a popular assembly, and at \\n once came to the point. \\n \\n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \\n nobody is drowned.' \\n \\n There was a cheer that might have been heard at Windsor Castle. Then, \\n turning to Sedgwick, in an undertone Buckhurst added, \\n\",\n \"senates to have their beards plucked in the forum. We live in an age of \\n prudence. The leaders of the people, now, generally follow. The truth \\n is, the peers were in a fright. 'Twas a pity; there is scarcely a less \\n dignified entity than a patrician in a panic. \\n \\n Among the most intimate companions of Coningsby at Eton, was Lord Henry \\n Sydney, his kinsman. Coningsby had frequently passed his holydays of\",\n \"especially at Paris. He was master of his subject; in all things the \\n secret of success, and without which, however they may from accident \\n dazzle the world, the statesman, the orator, the author, all alike feel \\n the damning consciousness of being charlatans. \\n \\n Coningsby had made a visit to M. Villebecque and Flora the day after \\n his arrival. It was a recollection and a courtesy that evidently greatly \\n gratified them. Villebecque talked very much and amusingly; and Flora,\",\n \"makes me laugh now when I think of it. I tell you who was a good fellow, \\n Kangaroo Gray; I liked him. I don't know any fellow who sang a better \\n song!' \\n \\n 'By the bye,' said Coningsby, 'what sort of fellow is Eustace Lyle? I \\n rather liked his look.' \\n \\n 'Oh! I will tell you all about him,' said Lord Henry. 'He is a great \\n ally of mine, and I think you will like him very much. It is a Roman\",\n \"Beaumanoir, who always hovered about her, deterred them from a rivalry \\n which might have made the boldest despair. As for Coningsby, he passed \\n his life principally with the various members of the Sydney family, and \\n was almost daily riding with Lady Everingham and her sister, generally \\n accompanied by Lord Henry and his friend Eustace Lyle, between whom, \\n indeed, and Coningsby there were relations of intimacy scarcely less \\n inseparable. Coningsby had spoken to Lady Everingham of the rumoured\",\n \"'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \\n very great friend of yours?' \\n \\n 'Very.' \\n \\n 'He is very amiable.' \\n \\n 'Very.' \\n \\n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \\n it not?' \\n \\n 'Very.' \\n \\n 'As fine as Coningsby?' \\n\",\n \"letter for his grandfather, and tells me that he and Henry Sydney had \\n just had a capital run with the King's hounds.' \\n \\n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \\n 'Once he was often here. He was a great favourite of mine. I hardly ever \\n knew a more interesting boy.' \\n \\n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth\",\n \"the season, at once sacred and merry. There are carols for the eventful \\n eve, and mummers for the festive day. \\n \\n The Duke and Duchess, and every member of the family, had consented this \\n year to keep their Christmas with the newly-married couple. Coningsby, \\n too, was there, and all his friends. The party was numerous, gay, \\n hearty, and happy; for they were all united by sympathy. \\n \\n They were planning that Henry Sydney should be appointed Lord of\",\n \"to his grandfather, solely to political emulation and local rivalries. \\n Still there were the portrait and the miniature. That was a fact; a clue \\n which ultimately, he was persuaded, must lead to some solution. \\n \\n Coningsby had met with great social success at Paris. He was at once a \\n favourite. The Parisian dames decided in his favour. He was a specimen \\n of the highest style of English beauty, which is popular in France. His \\n air was acknowledged as distinguished. The men also liked him; he\",\n \"Indeed, Lord Monmouth was one of the most finished gentlemen that \\n ever lived; and as he was good-natured, and for a selfish man even \\n good-humoured, there was rarely a cloud of caprice or ill-temper to \\n prevent his fine manners having their fair play. The country neighbours \\n were all fascinated; they were received with so much dignity and \\n dismissed with so much grace. Nobody would believe a word of the stories \\n against him. Had he lived all his life at Coningsby, fulfilled every\",\n \"studies peculiarly to that period if you had not chanced to draw him \\n to the Italian middle ages. And even these startling revelations were \\n almost eclipsed by his anecdotes of the Court of Henry III. of France, \\n with every character of which he was as familiar as with the brilliant \\n groups that at this moment filled the saloons of Madame de R----d. \\n \\n \\n \\n \\n CHAPTER III. \\n \\n The image of Edith Millbank was the last thought of Coningsby, as he\",\n \"correspondence between Lady Everingham and Henry Sydney, while they \\n were at the moors, had apprised him that Lord Beaumanoir's suit had \\n terminated unsuccessfully almost immediately after his brother had \\n quitted London. \\n \\n It was late in the evening when Coningsby arrived in town: he called at \\n once on Lord Eskdale, who was one of Lord Monmouth's executors; and he \\n persuaded Coningsby, whom he saw depressed, to dine with him alone. \\n\",\n \"'There is nothing I should like so much,' said Coningsby. \\n \\n 'Ah!' said the lady, with the sweetest smile, 'he is frank.' \\n \\n The ladies bowed and retired; Mr. Rigby returned to the Marquess, and \\n the groom of the chambers led Coningsby to his room. \\n \\n This lady, so courteous to Coningsby, was the Princess Colonna, a Roman \\n dame, the second wife of Prince Paul Colonna. The prince had first\"\n ],\n [\n \"He seemed close and cold; but he was courageous, just, and inflexible; \\n never bullied, and to his utmost would prevent tyranny. The little boys \\n looked up to him as a stern protector; and his word, too, throughout the \\n school was a proverb: and truth ranks a great quality among boys. In \\n a word, Millbank was respected by those among whom he lived; and \\n school-boys scan character more nicely than men suppose. \\n \\n A brother of Henry Sydney, quartered in Lancashire, had been wounded\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"After eight o'clock school, the day following the return of Coningsby, \\n according to custom, he repaired to Buckhurst's room, where Henry \\n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \\n were all in the fifth form, and habitual companions, on the river or on \\n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \\n their leader alike in sport and study, inspired them to-day with unusual\",\n \"In this mood, the day after the visit of Buckhurst and Henry Sydney, \\n Coningsby called on Millbank, but finding his medical attendant with \\n him, Coningsby availed himself of that excuse for going away without \\n seeing him. \\n \\n The next day he left Millbank a newspaper on his way to school, time not \\n permitting a visit. Two days after, going into his room, he found on his \\n table a letter addressed to 'Harry Coningsby, Esq.' \\n\",\n \"The ladies themselves soon withdrew; the gentlemen lingered for a \\n while; the Duke took up his candle, and bid his guests good night; Lord \\n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \\n Henry and his friend sat up talking over the past. They were too young \\n to call them old times; and yet what a life seemed to have elapsed since \\n they had quitted Eton, dear old Eton! Their boyish feelings, and still \\n latent boyish character, developed with their reminiscences. \\n\",\n \"his thoughts were, how soon he could contrive to get back again; and \\n he told them endless stories of actresses, and dinners at fashionable \\n _cafés_. Vere enjoyed Cambridge most, because he had been staying \\n with his family since he quitted Eton. Henry Sydney was full of \\n church architecture, national sports, restoration of the order of the \\n Peasantry, and was to maintain a constant correspondence on these and \\n similar subjects with Eustace Lyle. Finally, however, they all fell into\",\n \"This change in the life of Coningsby contributed to his happiness. The \\n various characters which a large school exhibited interested a young \\n mind whose active energies were beginning to stir. His previous \\n acquirements made his studies light; and he was fond of sports, in which \\n he was qualified to excel. He did not particularly like Mr. Rigby. There \\n was something jarring and grating in that gentleman's voice and modes, \\n from which the chords of the young heart shrank. He was not tender,\",\n \"Yet Millbank was the very last boy in the school who would have had \\n credit given him by his companions for profound and ardent feeling. He \\n was not indeed unpopular. The favourite of the school like Coningsby, he \\n could, under no circumstances, ever have become; nor was he qualified \\n to obtain that general graciousness among the multitude, which the sweet \\n disposition of Henry Sydney, or the gay profusion of Buckhurst, acquired \\n without any effort. Millbank was not blessed with the charm of manner.\",\n \"his name is in the upper school, very large, under Charles Fox. I say, \\n Townshend, did you see Saville's turban? What was it made of? He says \\n his mother brought it from Grand Cairo. Didn't he just look like the \\n Saracen's Head? Here are some Dons. That's Hallam! We'll give him a \\n cheer. I say, Townshend, look at this fellow. He doesn't think small\",\n \"a hard-working curate, and affectionately tended by the curate's \\n unsophisticated wife. He was sent to a fashionable school preparatory \\n to Eton, where he found about two hundred youths of noble families \\n and connections, lodged in a magnificent villa, that had once been \\n the retreat of a minister, superintended by a sycophantic Doctor of \\n Divinity, already well beneficed, and not despairing of a bishopric by\",\n \"that there were two educations, one which his position required, and \\n another which was demanded by the world. 'French, my dear Harry,' he \\n continued, 'is the key to this second education. In a couple of years \\n or so you will enter the world; it is a different thing to what you read \\n about. It is a masquerade; a motley, sparkling multitude, in which \\n you may mark all forms and colours, and listen to all sentiments and \\n opinions; but where all you see and hear has only one object, plunder.\",\n \"So they went without him. They found Millbank up and reading. \\n \\n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \\n before, but they would not let us. And you are quite right now, eh?' \\n \\n 'Quite. Has there been any row about it?' \\n \\n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \\n \\n 'I have seen nobody yet,' said Millbank; 'they would not let me till\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\",\n \"Lord Monmouth, who was at Rome, that he should go at once to Eton. \\n This was the first great epoch of his life. There never was a youth \\n who entered into that wonderful little world with more eager zest than \\n Coningsby. Nor was it marvellous. \\n \\n That delicious plain, studded with every creation of graceful \\n culture; hamlet and hall and grange; garden and grove and park; that \\n castle-palace, grey with glorious ages; those antique spires, hoar with\",\n \"and made him already looked to as the future hero of the school. But \\n Millbank possessed one of those strong, industrious volitions whose \\n perseverance amounts almost to genius, and nearly attains its results. \\n Though Coningsby was by a year his junior, they were rivals. This \\n circumstance had no tendency to remove the prejudice which Coningsby \\n entertained against him, but its bias on the part of Millbank had a \\n contrary effect. \\n \\n The influence of the individual is nowhere so sensible as at school.\",\n \"with one to his old schoolfellow and friend. Now that was practicable. \\n And immediately Coningsby wrote to apprise Millbank that he had \\n taken his degree, was free, and prepared to pay him immediately the \\n long-projected visit. Three years and more had elapsed since they had \\n quitted Eton. How much had happened in the interval! What new ideas, new \\n feelings, vast and novel knowledge! Though they had not met, they were \\n nevertheless familiar with the progress and improvement of each other's\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"of a great public school? What fame of after days equals the rapture of \\n celebrity that thrills the youthful poet, as in tones of rare emotion he \\n recites his triumphant verses amid the devoted plaudits of the flower \\n of England? That's fame, that's power; real, unquestioned, undoubted, \\n catholic. Alas! the schoolboy, when he becomes a man, finds that power, \\n even fame, like everything else, is an affair of party. \\n\",\n \"withstood such hard neglect. All that he knew of the power of the softer \\n passions might be found in the fanciful and romantic annals of schoolboy \\n friendship. \\n \\n And those friends too, so fond, so sympathising, so devoted, where were \\n they now? Already they were dispersed; the first great separation of \\n life had been experienced; the former schoolboy had planted his foot on \\n the threshold of manhood. True, many of them might meet again; many of\",\n \"There is nothing more interesting than to trace predisposition. An \\n indefinite, yet strong sympathy with the peasantry of the realm had been \\n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \\n schoolboy, he had busied himself with their pastimes and the details of \\n their cottage economy. As he advanced in life the horizon of his views \\n expanded with his intelligence and his experience; and the son of one of \\n the noblest of our houses, to whom the delights of life are offered with\"\n ],\n [\n \"will always know that there is nothing I will not do for you, and that \\n I like you better than any fellow at Eton. And I do not mean that this \\n shall be only at Eton, but afterwards, wherever we may be, that you will \\n always remember that there is nothing I will not do for you. Not because \\n you saved my life, though that is a great thing, but because before that \\n I would have done anything for you; only, for the cause above mentioned, \\n I would not show it. I do not expect that we shall be more together than\",\n \"of genius. Nor was this submission of such spirits to be held cheap. \\n Although they were willing to take the colour of their minds from him, \\n they were in intellect and attainments, in personal accomplishments and \\n general character, the leaders of the school; an authority not to be \\n won from five hundred high-spirited boys without the possession of great \\n virtues and great talents. \\n \\n As for the dominion of Coningsby himself, it was not limited to the \\n immediate circle of his friends. He had become the hero of Eton; the\",\n \"much perplexed and harassed. He tried occasionally his inferences on his \\n companions, who were intelligent and full of fervour. Millbank was more \\n than this. He was of a thoughtful mood; had also caught up from a new \\n school some principles, which were materials for discussion. One way or \\n other, however, before he quitted Eton there prevailed among this circle \\n of friends, the initial idea doubtless emanating from Coningsby, an \\n earnest, though a rather vague, conviction that the present state of\",\n \"'I thought, sir, being here only for a day, and as a friend of your \\n son--' \\n \\n Mr. Millbank stopped and said, \\n \\n 'Oh! a friend of Oswald's, eh? What, at Eton?' \\n \\n 'Yes, sir, at Eton; and I had hoped perhaps to have found him here.' \\n \\n 'I am very much engaged, sir, at this moment,' said Mr. Millbank; 'I am \\n sorry I cannot pay you any personal attention, but my clerk will show\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"to a favourite pupil, in whose abilities he had confidence, and whose \\n future position in life would afford him the opportunity of influencing \\n opinion. Among others, they fell upon the ear of Coningsby. They were \\n addressed to a mind which was prepared for such researches. \\n \\n There is a Library at Eton formed by the boys and governed by the boys; \\n one of those free institutions which are the just pride of that noble \\n school, which shows the capacity of the boys for self-government, and\",\n \"with one to his old schoolfellow and friend. Now that was practicable. \\n And immediately Coningsby wrote to apprise Millbank that he had \\n taken his degree, was free, and prepared to pay him immediately the \\n long-projected visit. Three years and more had elapsed since they had \\n quitted Eton. How much had happened in the interval! What new ideas, new \\n feelings, vast and novel knowledge! Though they had not met, they were \\n nevertheless familiar with the progress and improvement of each other's\",\n \"and Mr. Ormsby, an old hand, seized one of these critical instants to \\n address a good-natured question to Coningsby, whose acquaintance he had \\n already cultivated by taking wine with him. \\n \\n 'And how do you like Eton?' asked Mr. Ormsby. \\n \\n It was the identical question which had been presented to Coningsby in \\n the memorable interview of the morning, and which had received no reply; \\n or rather had produced on his part a sentimental ebullition that had\",\n \"looked upon their interesting walls, breathing with the portraits of the \\n heroes whom Eton boasts, from Wotton to Wellesley. Music sounded in \\n the quadrangle of the College, in which the boys were already quickly \\n assembling. The Duke of Wellington had arrived, and the boys were \\n cheering a hero, who was an Eton field-marshal. From an oriel window \\n in one of the Provost's rooms, Lord Monmouth, surrounded by every \\n circumstance that could make life delightful, watched with some\",\n \"Duke, which he had observed to be awry, the gentleman for whom he had \\n been all this time waiting entered the room. \\n \\n 'Floreat Etona!' hastily exclaimed the gentleman, in a sharp voice; 'you \\n are setting the Duke to rights. I have left you a long time a prisoner; \\n but I found them so busy here, that I made my escape with some \\n difficulty.' \\n \\n He who uttered these words was a man of middle size and age, originally\",\n \"Lord Monmouth, who was at Rome, that he should go at once to Eton. \\n This was the first great epoch of his life. There never was a youth \\n who entered into that wonderful little world with more eager zest than \\n Coningsby. Nor was it marvellous. \\n \\n That delicious plain, studded with every creation of graceful \\n culture; hamlet and hall and grange; garden and grove and park; that \\n castle-palace, grey with glorious ages; those antique spires, hoar with\",\n \"name, that he might occasionally have the pleasure of meeting an Eton or \\n Cambridge friend without the annoyance of encountering any of his former \\n fashionable acquaintances. He lighted in his walk on Mr. Tadpole and \\n Mr. Taper, both of whom he knew. The latter did not notice him, but Mr. \\n Tadpole, more good-natured, bestowed on him a rough nod, not unmarked by \\n a slight expression of coarse pity. \\n\",\n \"of another school, which Coningsby had at command, still they were, \\n unconsciously to the recipient, materials for thought, and insensibly \\n provoked in his mind a spirit of inquiry into political questions, for \\n which he had a predisposition. \\n \\n It may be said, indeed, that generally among the upper boys there might \\n be observed at this time, at Eton, a reigning inclination for political \\n discussion. The school truly had at all times been proud of its \\n statesmen and its parliamentary heroes, but this was merely a\",\n \"'I liked him, the best fellow at Eton,' responded his companion, in a \\n smothered tone. \\n \\n 'What a clever fellow he was!' \\n \\n 'And so deuced generous!' \\n \\n 'He would have got the medal if he had lived.' \\n \\n 'And how came he to be drowned? for he was such a fine swimmer!' \\n \\n 'I heerd Mr. Coningsby was saving another's life,' continued Boots in \\n his evidence, 'which makes it in a manner more sorrowful.'\",\n \"in bed, he said with imperturbable calmness, and as if he had been \\n talking of trying a new horse, 'Rigby, I should like to see the boy at \\n Eton.' \\n \\n There might be some objection to grant leave to Coningsby at this \\n moment; but it was a rule with Mr. Rigby never to make difficulties, or \\n at least to persuade his patron that he, and he only, could remove \\n them. He immediately undertook that the boy should be forthcoming, and\",\n \"ETON, May--, 1832. \\n \\n 'DEAR CONINGSBY, I very much fear that you must think me a very \\n ungrateful fellow, because you have not heard from me before; but I was \\n in hopes that I might get out and say to you what I feel; but whether I \\n speak or write, it is quite impossible for me to make you understand the \\n feelings of my heart to you. Now, I will say at once, that I have always \\n liked you better than any fellow in the school, and always thought you\",\n \"this Library, as a Venetian of his name being inscribed in the Golden \\n Book. Indeed an old Etonian, who still remembers with tenderness the \\n sacred scene of youth, could scarcely do better than build a Gothic \\n apartment for the reception of the collection. It cannot be doubted that \\n the Provost and fellows would be gratified in granting a piece of ground \\n for the purpose. \\n \\n Great were the obligations of Coningsby to this Eton Library. It\",\n \"absolutely destined or doomed him to the Church. \\n \\n 'I should like to see the fellow who did not like Eton,' said Coningsby, \\n briskly, determined this time to be very brave. \\n \\n 'Gad I must go down and see the old place,' said Mr. Ormsby, touched by \\n a pensive reminiscence. 'One can get a good bed and bottle of port at \\n the Christopher, still?' \\n \\n 'You had better come and try, sir,' said Coningsby. 'If you will come\",\n \"a hard-working curate, and affectionately tended by the curate's \\n unsophisticated wife. He was sent to a fashionable school preparatory \\n to Eton, where he found about two hundred youths of noble families \\n and connections, lodged in a magnificent villa, that had once been \\n the retreat of a minister, superintended by a sycophantic Doctor of \\n Divinity, already well beneficed, and not despairing of a bishopric by\",\n \"After eight o'clock school, the day following the return of Coningsby, \\n according to custom, he repaired to Buckhurst's room, where Henry \\n Sydney, Lord Vere, and our hero held with him their breakfast mess. They \\n were all in the fifth form, and habitual companions, on the river or on \\n the Fives' Wall, at cricket or at foot-ball. The return of Coningsby, \\n their leader alike in sport and study, inspired them to-day with unusual\"\n ],\n [\n \"loved and which loved them. One of their sons-in-law and his wife, and \\n Henry Sydney, completed the party. \\n \\n There are few conjunctures in life of a more startling interest, than to \\n meet the pretty little girl that we have gambolled with in our boyhood, \\n and to find her changed in the lapse of a very few years, which in some \\n instances may not have brought a corresponding alteration in our own \\n appearance, into a beautiful woman. Something of this flitted over\",\n \"had not quite arrived at that age when you make enemies. The moment, \\n therefore, that he found himself in the saloons of Sidonia, he was \\n accosted by many whose notice was flattering; but his eye wandered, \\n while he tried to be courteous and attempted to be sprightly. Where was \\n she? He had nearly reached the ball-room when he met her. She was on \\n the arm of Lord Beaumanoir, who had made her acquaintance at Rome, and\",\n \"deceive him, and that he does not want to deceive you. I wish he liked a \\n rubber more. Then he would be perfect.' \\n \\n 'They say he is going to be married,' said the Attaché. \\n \\n 'Poh!' said Lord Monmouth. \\n \\n 'Married!' exclaimed Lady Monmouth. 'To whom?' \\n \\n 'To your beautiful countrywoman, \\\"la belle Anglaise,\\\" that all the world \\n talks of,' said the Attaché. \\n\",\n \"one whom she never met, and by whom, if she met him, she would scarcely, \\n perhaps, be recognised. Yet in that passion, fanciful, almost ideal, \\n her life was absorbed; nor for her did the world contain an existence, \\n a thought, a sensation, beyond those that sprang from the image of \\n the noble youth who had sympathised with her in her sorrows, and had \\n softened the hard fortunes of dependence by his generous sensibility. \\n Happy that, with many mortifications, it was still her lot to live under\",\n \"are right not to dance. It is not in your way. You are ambitious, I \\n believe?' she added. \\n \\n 'I was not aware of it; everybody is ambitious.' \\n \\n 'You see I know something of your character. Henry has spoken of you to \\n me a great deal; long before we met,--met again, I should say, for we \\n are old friends, remember. Do you know your career much interests me? I \\n like ambitious men.' \\n \\n There is something fascinating in the first idea that your career\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"it with satisfaction. It was a circumstance which represented in his \\n mind a continuance of good eating and good drinking, fine horses, \\n luxurious baths, unceasing billiards. \\n \\n In this state of affairs appeared Sidonia, known before to her \\n step-mother, but seen by Lucretia for the first time. Truly, he came, \\n saw, and conquered. Those eyes that rarely met another's were fixed upon \\n his searching yet unimpassioned glance. She listened to that voice,\",\n \"boundless treasure, was his chosen friend; gained under circumstances \\n of romantic interest, when the reciprocal influence of their personal \\n qualities was affected by no accessory knowledge of their worldly \\n positions. He himself was in the very bloom of youth and health; the \\n child of a noble house, rich for his present wants, and with a future of \\n considerable fortunes. Entrancing love and dazzling friendship, a \\n high ambition and the pride of knowledge, the consciousness of a great\",\n \"dinner at Millbank, and the timid hostess whom he then addressed so \\n often in vain, as he gazed upon the bewitching and accomplished woman \\n whom he now passionately loved. It was a most agreeable dinner. Oswald, \\n happy in his friend being his guest, under his own roof, indulged in \\n unwonted gaiety. \\n \\n The ladies withdrew; Sir Joseph began to talk politics, although the \\n young men had threatened their fair companions immediately to follow\",\n \"Soon after this Coningsby led Edith to the dance. It was at a ball that \\n he had first met her at Paris, and this led to other reminiscences; \\n all most interesting. Coningsby was perfectly happy. All mysteries, all \\n difficulties, were driven from his recollection; he lived only in the \\n exciting and enjoyable present. Twenty-one and in love! \\n \\n Some time after this, Coningsby, who was inevitably separated from \\n Edith, met his host. \\n\",\n \"marry?' he added, with a fiendish laugh. \\n \\n 'I have seen the young lady,' said Lady Monmouth; 'but I had not heard \\n that Monsieur Sidonia was about to marry her.' \\n \\n 'Is she so very beautiful?' inquired another gentleman. \\n \\n 'Yes,' said Lady Monmouth, calm, but pale. \\n \\n 'Poh!' said the Marquess again. \\n \\n 'I assure you that it is a fact,' said the Attaché, 'not at least an\",\n \"since he so suddenly quitted Paris at the beginning of the year. The \\n wound he had received was deep to one unused to wounds. Yet, after all, \\n none had outraged his feelings, no one had betrayed his hopes. He had \\n loved one who had loved another. Misery, but scarcely humiliation. And \\n yet 'tis a bitter pang under any circumstances to find another preferred \\n to yourself. It is about the same blow as one would probably feel if \\n falling from a balloon. Your Icarian flight melts into a grovelling\",\n \"Tronchet, but their owner bore the features of the senior Millbank. A \\n beautiful countenance that was alternately the face in the mysterious \\n picture, and then that of Edith, haunted him under all circumstances. He \\n woke little refreshed; restless, and yet sensible of some secret joy. \\n \\n He woke to think of her of whom he had dreamed. The light had dawned on \\n his soul. Coningsby loved. \\n \\n Ah! what is that ambition that haunts our youth, that thirst for power\",\n \"before; nor can I ever suppose that you could like me as you like Henry \\n Sydney and Buckhurst, or even as you like Vere; but still I hope you \\n will always think of me with kindness now, and let me sign myself, if \\n ever I do write to you, 'Your most attached, affectionate, and devoted \\n friend, \\n \\n 'OSWALD MILLBANK.' \\n \\n \\n \\n \\n CHAPTER XI. \\n \\n \\n About a fortnight after this nearly fatal adventure on the river, it was\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"advanced in youth. The ties of friendship which then united several of \\n them had only been confirmed by continued companionship. Coningsby \\n and Henry Sydney, and Buckhurst and Vere, were still bound together by \\n entire sympathy, and by the affection of which sympathy is the only \\n sure spring. But their intimacies had been increased by another familiar \\n friend. There had risen up between Coningsby and Millbank mutual \\n sentiments of deep, and even ardent, regard. Acquaintance had developed\",\n \"he sat in his chamber, with his eyes fixed on vacancy. All thoughts and \\n feelings, pursuits, desires, life, merge in one absorbing sentiment. \\n \\n It is impossible to exist without seeing her again, and instantly. He \\n had requested and gained permission to call on Lady Wallinger; he would \\n not lose a moment in availing himself of it. As early as was tolerably \\n decorous, and before, in all probability, they could quit their hotel,\",\n \"His heart was agitated, his countenance changed; he retained her hand \\n amid the chattering tourists, too full of their criticisms and their \\n egotistical commonplaces to notice what was passing. A sentimental \\n ebullition seemed to be on the point of taking place. Their eyes met. \\n The look of Edith was mournful and inquiring. \\n \\n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \\n with a radiant smile. \\n \\n \\n \\n\",\n \"though her organ wanted force. The gentlemen looked at each other, and \\n nodded approbation. There was something so unobtrusive in her mien, \\n that she instantly became a favourite with the ladies. The scene was not \\n long, but it was successful. \\n \\n Flora did not appear in the next scene. In the fourth and final one \\n of the act, she had to make a grand display. It was a love-scene, and \\n rather of an impassioned character; Villebecque was her suitor. He\",\n \"first love! Coningsby, of all places in the world, in the gardens of the \\n Luxembourg, encountered Sir Joseph Wallinger and Edith. \\n \\n To avoid them was impossible; they met face to face; and Sir Joseph \\n stopped, and immediately reminded him that it was three days since they \\n had seen him, as if to reproach him for so unprecedented a neglect. And \\n it seemed that Edith, though she said not as much, felt the same. And \\n Coningsby turned round and walked with them. He told them he was going\"\n ],\n [\n \"is in vain to speak of the enmities that are fostered between you and \\n my grandfather; the love that exists between your daughter and myself is \\n stronger than all your hatreds.' \\n \\n 'You speak like a young man, and a young man that is in love,' said Mr. \\n Millbank. 'This is mere rhapsody; it will vanish in an instant \\n before the reality of life. And you have arrived at that reality,' he \\n continued, speaking with emphasis, leaning over the back of his chair,\",\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"her embrace. 'He tells you that his grandfather, my Lord Marquess, I \\n believe, sir, that every one, that--' \\n \\n 'Oh, no, no, no!' said Flora, shaking her head. 'He comes here because \\n he is generous, because he is a gentleman; and he wished to soothe the \\n soul that he knew was suffering. Thank him, my father, thank him for \\n me and before me, and promise in his presence that the stage and your \\n daughter have parted for ever.' \\n\",\n \"life, he devoted himself to a love that seemed hopeless, and to a fame \\n that was perhaps a dream. \\n \\n It was under the influence of these solemn resolutions that he wrote, \\n on his return home, a letter to Lord Monmouth, in which he expressed \\n all that affection which he really felt for his grandfather, and all \\n the pangs which it cost him to adhere to the conclusions he had already \\n announced. In terms of tenderness, and even humility, he declined to\",\n \"few hours he was to meet her again, infused into his being a degree of \\n transport, which the very necessity of repressing before his companion \\n rendered more magical and thrilling. How often it happens in life that \\n we have with a grave face to discourse of ordinary topics, while all the \\n time our heart and memory are engrossed with some enchanting secret! \\n \\n The castle of his grandfather presented a far different scene on the \\n arrival of Coningsby from that which it had offered on his first visit.\",\n \"of excitement, some of delight; but they had all found, as it were, \\n their origin in worldly considerations, or been inevitably mixed up with \\n them. At Paris, for example, he loved, or thought he loved. But there \\n not an hour could elapse without his meeting some person, or hearing \\n something, which disturbed the beauty of his emotions, or broke his \\n spell-bound thoughts. There was his grandfather hating the Millbanks, \\n or Sidonia loving them; and common people, in the common world, making\",\n \"with the parties concerned to feel assured that he had not learnt the \\n whole truth. What had really taken place, and what was the real cause of \\n the occurrences, were equally mystical to him: all he was convinced of \\n was, that some great domestic revolution had been suddenly effected. \\n \\n Coningsby entertained for his grandfather a sincere affection. With the \\n exception of their last unfortunate interview, he had experienced from \\n Lord Monmouth nothing but kindness both in phrase and deed. There was\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"that he was about to invite his grandson to their wedding, and the lady \\n had received the intimation with satisfaction. It so happened that a \\n few hours after, Lucretia, who now entered the private rooms of Lord \\n Monmouth without previously announcing her arrival, met Villebecque with \\n the letter to Coningsby in his hand. Lucretia took it away from him, \\n and said it should be posted with her own letters. It never reached its \\n destination. Our friend learnt the marriage from the newspapers, which\",\n \"entirely devoted himself to his new pursuit. His being was completely \\n absorbed in it. There was nothing to haunt his mind; no unexperienced \\n scene or sensation of life to distract his intelligence. One sacred \\n thought alone indeed there remained, shrined in the innermost sanctuary \\n of his heart and consciousness. But it was a tradition, no longer a \\n hope. The moment that he had fairly recovered from the first shock of \\n his grandfather's will; had clearly ascertained the consequences to\",\n \"when he made the discovery. When he had recovered himself, he sealed up \\n the contents of the box, with the exception of his mother's letters and \\n the miniature, which he took away with him, and then re-delivered it to \\n his banker for custody until his return. \\n \\n Coningsby found Lord and Lady Monmouth in a splendid hotel in the \\n Faubourg St. Honoré, near the English Embassy. His grandfather looked at \\n him with marked attention, and received him with evident satisfaction.\",\n \"somewhat astounded him; but Coningsby was fond of his grandfather, and \\n he wrote Lord Monmouth a letter of congratulation, full of feeling and \\n ingenuousness, and which, while it much pleased the person to whom it \\n was addressed, unintentionally convinced him that Coningsby had never \\n received his original communication. Lord Monmouth spoke to Villebecque, \\n who could throw sufficient light upon the subject, but it was never \\n mentioned to Lady Monmouth. The Marquess was a man who always found out\",\n \"suddenly from his seat, and pacing the room, 'and did that melt his \\n heart? The experience of your own lot should have guarded you from the \\n perils that you have so rashly meditated encountering, and the misery \\n which you have been preparing for others besides yourself. Is my \\n daughter to be treated like your mother? And by the same hand? Your \\n mother's family were not Lord Monmouth's foes. They were simple and \\n innocent people, free from all the bad passions of our nature, and\",\n \"letter for his grandfather, and tells me that he and Henry Sydney had \\n just had a capital run with the King's hounds.' \\n \\n 'It is three years since we have seen Mr. Coningsby,' said the Duchess. \\n 'Once he was often here. He was a great favourite of mine. I hardly ever \\n knew a more interesting boy.' \\n \\n 'Yes, I have done a great deal for him,' said Mr. Rigby. 'Lord Monmouth\",\n \"Flora, and thanked her with all his courtesy. \\n \\n 'You are not hurt, then, sir?' she ventured to ask with a look that \\n expressed the infinite solicitude which her tongue did not venture to \\n convey. \\n \\n 'By no means, my good little girl;' and he extended his hand to her, \\n which she reverently bent over and embraced. \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n When Coningsby had returned to his grandfather's hotel that morning, it\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"And yet, had she accorded him that peerless boon, her heart, with what \\n aspect was he to communicate this consummation of all his hopes to his \\n grandfather, ask Lord Monmouth for his blessing, and the gracious favour \\n of an establishment for the daughter of his foe, of a man whose name was \\n never mentioned except to cloud his visage? Ah! what was that mystery \\n that connected the haughty house of Coningsby with the humble blood of \\n the Lancashire manufacturer? Why was the portrait of his mother beneath\",\n \"spirits, which, to say the truth, were never particularly depressed. \\n Where he had been, what he had seen, what he had done, what sort of \\n fellow his grandfather was, whether the visit had been a success; here \\n were materials for almost endless inquiry. And, indeed, to do them \\n justice, the last question was not the least exciting to them; for the \\n deep and cordial interest which all felt in Coningsby's welfare far \\n outweighed the curiosity which, under ordinary circumstances, they\",\n \"His father is a Lancashire manufacturer.' \\n \\n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \\n in the world that Lord Monmouth dislikes so much as Manchester \\n manufacturers, and particularly if they bear the name of Millbank. It \\n must not be thought of, my dear Harry. I hope you have not spoken to \\n the young man on the subject. I assure you it is out of the question. \\n It would make Lord Monmouth quite ill. It would spoil everything, quite \\n upset him.'\",\n \"words and retire. This little incident, however, made a momentary \\n diversion in the immediate circle of Lord Monmouth, and before they \\n could all resume their former talk and fall into their previous \\n positions, an impulse sent forth Coningsby, who walked up to Lord \\n Monmouth, and standing before him, said, \\n \\n 'How do you do, grandpapa?' \\n \\n Lord Monmouth beheld his grandson. His comprehensive and penetrating \\n glance took in every point with a flash. There stood before him one of\"\n ],\n [\n \"entirely devoted himself to his new pursuit. His being was completely \\n absorbed in it. There was nothing to haunt his mind; no unexperienced \\n scene or sensation of life to distract his intelligence. One sacred \\n thought alone indeed there remained, shrined in the innermost sanctuary \\n of his heart and consciousness. But it was a tradition, no longer a \\n hope. The moment that he had fairly recovered from the first shock of \\n his grandfather's will; had clearly ascertained the consequences to\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"suddenly seemed to receive some miraculous inspiration. Mysterious \\n phrases heard in his earliest boyhood, unnoticed then, long since \\n forgotten, rose to his ear. Who was this grandfather, seen not before, \\n seen now for the first time? Where was the intervening link of blood \\n between him and this superb and icy being? The boy sank into the chair \\n which had been placed for him, and leaning on the table burst into \\n tears. \\n \\n Here was a business! If there were one thing which would have made Lord\",\n \"of its character. The first feeling which he experienced at the \\n intelligence was sincere affliction. He was fond of his grandfather; had \\n received great kindness from him, and at a period of life when it was \\n most welcome. The neglect and hardships of his early years, instead of \\n leaving a prejudice against one who, by some, might be esteemed their \\n author, had by their contrast only rendered Coningsby more keenly \\n sensible of the solicitude and enjoyment which had been lavished on his \\n happy youth. \\n\",\n \"Other boys went to see their mothers! he, at least, could talk of his. \\n Now he was alone. His grandfather was to him only a name. Lord Monmouth \\n resided almost constantly abroad, and during his rare visits to England \\n had found no time or inclination to see the orphan, with whom he felt \\n no sympathy. Even the death of the boy's mother, and the consequent \\n arrangements, were notified to his master by a stranger. The letter \\n which brought the sad intelligence was from Mr. Rigby. It was the first\",\n \"better chance of being a field-marshal than he has of being a Lord \\n Chancellor.' \\n \\n 'I feel quite convinced that Coningsby will be Lord Chancellor,' said \\n Henry Sydney, gravely. \\n \\n This change of life for Coningsby was a great social revolution. It was \\n sudden and complete. Within a month after the death of his grandfather \\n his name had been erased from all his fashionable clubs, and his horses \\n and carriages sold, and he had become a student of the Temple. He\",\n \"studies in chain armour. The calmer Henry Sydney was consoled for the \\n misfortunes of Coningsby by a fanciful project himself to pass a portion \\n of his life amid these halls and courts, gardens and terraces, that \\n maintain in the heart of a great city in the nineteenth century, so much \\n of the grave romance and picturesque decorum of our past manners. \\n Henry Sydney was sanguine; he was reconciled to the disinheritance of \\n Coningsby by the conviction that it was a providential dispensation to\",\n \"He was still in the vigour of life, and was not a mere money-making \\n machine. He had a general intelligence equal to his position, and looked \\n forward to the period when some relaxation from his vast enterprises and \\n exertions might enable him to direct his energies to great objects of \\n public benefit. But in the height of his vast prosperity he suddenly \\n died, leaving only one child, a youth still of tender years, and heir to \\n the greatest fortune in Europe, so great, indeed, that it could only be \\n calculated by millions. \\n\",\n \"time to shut his eyes. Before he left town for Scotland he had made a \\n farewell visit to his grandfather, who, though not as cordial as in \\n old days, had been gracious; and Coningsby, during his excursion to the \\n moors, and his various visits to the country, had continued at intervals \\n to write to his grandfather, as had been for some years his custom. On \\n the whole, with an indefinite feeling which, in spite of many a rational \\n effort, did nevertheless haunt his mind, that this great and sudden\",\n \"spirits, which, to say the truth, were never particularly depressed. \\n Where he had been, what he had seen, what he had done, what sort of \\n fellow his grandfather was, whether the visit had been a success; here \\n were materials for almost endless inquiry. And, indeed, to do them \\n justice, the last question was not the least exciting to them; for the \\n deep and cordial interest which all felt in Coningsby's welfare far \\n outweighed the curiosity which, under ordinary circumstances, they\",\n \"Coningsby addressed himself to the point with Sir Joseph. He inquired of \\n the uncle explicitly whether he knew anything on the subject. Sir Joseph \\n was of opinion that it was something that Millbank had somewhere 'picked \\n up.' Millbank used often to 'pick up' pictures. \\n \\n Disappointed in his love, Coningsby sought refuge in the excitement \\n of study, and in the brooding imagination of an aspiring spirit. The \\n softness of his heart seemed to have quitted him for ever. He recurred\",\n \"life, he devoted himself to a love that seemed hopeless, and to a fame \\n that was perhaps a dream. \\n \\n It was under the influence of these solemn resolutions that he wrote, \\n on his return home, a letter to Lord Monmouth, in which he expressed \\n all that affection which he really felt for his grandfather, and all \\n the pangs which it cost him to adhere to the conclusions he had already \\n announced. In terms of tenderness, and even humility, he declined to\",\n \"everything, and enjoyed the secret. \\n \\n Rather more than a year after the marriage, when Coningsby had completed \\n his twenty-first year, the year which he had passed so quietly at \\n Cambridge, he received a letter from his grandfather, informing him that \\n after a variety of movements Lady Monmouth and himself were established \\n in Paris for the season, and desiring that he would not fail to come \\n over as soon as practicable, and pay them as long a visit as the \\n regulations of the University would permit. So, at the close of the\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"The ladies themselves soon withdrew; the gentlemen lingered for a \\n while; the Duke took up his candle, and bid his guests good night; Lord \\n Everingham drank a glass of Seltzer water, nodded, and vanished. Lord \\n Henry and his friend sat up talking over the past. They were too young \\n to call them old times; and yet what a life seemed to have elapsed since \\n they had quitted Eton, dear old Eton! Their boyish feelings, and still \\n latent boyish character, developed with their reminiscences. \\n\",\n \"occurred, Coningsby fell asleep when the morning had far advanced, \\n resolved to rise when a little refreshed and find out Lady Wallinger, \\n who, he felt sure, would receive him with kindness. \\n \\n Yet it was fated that this step should not be taken, for while he was \\n at breakfast, his servant brought him a letter from Monmouth House, \\n apprising him that his grandfather wished to see him as soon as possible \\n on urgent business. \\n \\n \\n \\n \\n CHAPTER III. \\n \\n\",\n \"He seemed close and cold; but he was courageous, just, and inflexible; \\n never bullied, and to his utmost would prevent tyranny. The little boys \\n looked up to him as a stern protector; and his word, too, throughout the \\n school was a proverb: and truth ranks a great quality among boys. In \\n a word, Millbank was respected by those among whom he lived; and \\n school-boys scan character more nicely than men suppose. \\n \\n A brother of Henry Sydney, quartered in Lancashire, had been wounded\",\n \"honours were proclaimed in the London Gazette, and her decease was not \\n even noticed in the County Chronicle; but the altars of Nemesis are \\n beneath every outraged roof, and the death of this unhappy lady, \\n apparently without an earthly friend or an earthly hope, desolate and \\n deserted, and dying in obscure poverty, was not forgotten. \\n \\n Coningsby was not more than nine years of age when he lost his last \\n parent; and he had then been separated from her for nearly three years.\",\n \"with the parties concerned to feel assured that he had not learnt the \\n whole truth. What had really taken place, and what was the real cause of \\n the occurrences, were equally mystical to him: all he was convinced of \\n was, that some great domestic revolution had been suddenly effected. \\n \\n Coningsby entertained for his grandfather a sincere affection. With the \\n exception of their last unfortunate interview, he had experienced from \\n Lord Monmouth nothing but kindness both in phrase and deed. There was\"\n ],\n [\n \"He seemed close and cold; but he was courageous, just, and inflexible; \\n never bullied, and to his utmost would prevent tyranny. The little boys \\n looked up to him as a stern protector; and his word, too, throughout the \\n school was a proverb: and truth ranks a great quality among boys. In \\n a word, Millbank was respected by those among whom he lived; and \\n school-boys scan character more nicely than men suppose. \\n \\n A brother of Henry Sydney, quartered in Lancashire, had been wounded\",\n \"recently in a riot, and had received great kindness from the Millbank \\n family, in whose immediate neighbourhood the disturbance had occurred. \\n The kind Duke had impressed on Henry Sydney to acknowledge with \\n cordiality to the younger Millbank at Eton, the sense which his family \\n entertained of these benefits; but though Henry lost neither time nor \\n opportunity in obeying an injunction, which was grateful to his own \\n heart, he failed in cherishing, or indeed creating, any intimacy \\n with the object of his solicitude. A companionship with one who was\",\n \"of insulting his religion, and would deprive him, if possible, of \\n the advantages of the very institutions which his family assisted in \\n establishing?' \\n \\n 'Why, indeed? I am glad to have made his acquaintance,' said Coningsby. \\n 'Is he clever?' \\n \\n 'I think so,' said Lord Henry. 'He is the most shy fellow, especially \\n among women, that I ever knew, but he is very popular in the county. He\",\n \"speak. Henry Sydney indeed looked pale and nervous; but his companion, \\n flushed and resolute, knew exactly how to hit a popular assembly, and at \\n once came to the point. \\n \\n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \\n nobody is drowned.' \\n \\n There was a cheer that might have been heard at Windsor Castle. Then, \\n turning to Sedgwick, in an undertone Buckhurst added, \\n\",\n \"loved and which loved them. One of their sons-in-law and his wife, and \\n Henry Sydney, completed the party. \\n \\n There are few conjunctures in life of a more startling interest, than to \\n meet the pretty little girl that we have gambolled with in our boyhood, \\n and to find her changed in the lapse of a very few years, which in some \\n instances may not have brought a corresponding alteration in our own \\n appearance, into a beautiful woman. Something of this flitted over\",\n \"So they went without him. They found Millbank up and reading. \\n \\n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \\n before, but they would not let us. And you are quite right now, eh?' \\n \\n 'Quite. Has there been any row about it?' \\n \\n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \\n \\n 'I have seen nobody yet,' said Millbank; 'they would not let me till\",\n \"of English realistic fiction, but in this special field none of them \\n has surpassed him. From this point of view, accordingly, \\\"Coningsby\\\" is \\n appropriately included in this series. \\n \\n \\n \\n \\n TO HENRY HOPE \\n \\n \\n It is not because this work was conceived and partly executed amid the \\n glades and galleries of the DEEPDENE that I have inscribed it with your \\n name. Nor merely because I was desirous to avail myself of the most\",\n \"the cleverest; indeed, I always thought that there was no one like you; \\n but I never would say this or show this, because you never seemed to \\n care for me, and because I was afraid you would think I merely wanted to \\n con with you, as they used to say of some other fellows, whose names I \\n will not mention, because they always tried to do so with Henry Sydney \\n and you. I do not want this at all; but I want, though we may not speak \\n to each other more than before, that we may be friends; and that you\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"not seek to control his anger; he could not succeed even in concealing \\n his agitation. He threw upon Rigby that glance so rare with him, but \\n under which men always quailed; that play of the eye which Lord Monmouth \\n shared in common with Henry VIII., that struck awe into the trembling \\n Commons when they had given an obnoxious vote, as the King entered the \\n gallery of his palace, and looked around him. \\n \\n It was a look which implied that dreadful question, 'Why have I bought\",\n \"senates to have their beards plucked in the forum. We live in an age of \\n prudence. The leaders of the people, now, generally follow. The truth \\n is, the peers were in a fright. 'Twas a pity; there is scarcely a less \\n dignified entity than a patrician in a panic. \\n \\n Among the most intimate companions of Coningsby at Eton, was Lord Henry \\n Sydney, his kinsman. Coningsby had frequently passed his holydays of\",\n \"there was one individual absent from the breakfast-table whose \\n non-appearance could scarcely be passed over without notice; and several \\n inquired with some anxiety, whether their host were indisposed. \\n \\n 'The Duke has received some letters from London which detain him,' \\n replied the Duchess. 'He will join us.' \\n \\n 'Your Grace will be glad to hear that your son Henry is very well,' said \\n Mr. Rigby; 'I heard of him this morning. Harry Coningsby enclosed me a\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"impressions. To notice lesser sources of influence in his estimate of \\n the domestic tie, he had witnessed under the roof of Beaumanoir the \\n existence of a family bound together by the most beautiful affections. \\n He could not forget how Henry Sydney was embraced by his sisters when he \\n returned home; what frank and fraternal love existed between his kinsman \\n and his elder brother; how affectionately the kind Duke had welcomed his \\n son once more to the house where they had both been born; and the dim\",\n \"pictures was ever a source of great excitement to Henry Sydney, who \\n always lamented his ill-luck in not living in such days; nay, would \\n insist that all others must equally deplore their evil destiny. \\n \\n 'See, Coningsby, this battery on the Upper Park,' said Lord Henry. \\n 'This did the business: how it rakes up the valley; Sir Eustace works it \\n himself. Mother, what a pity Beaumanoir was not besieged!' \\n\",\n \"'It was my fault,' said the amiable Henry Sydney; 'but I really wanted \\n to be civil to Millbank, and as you were not here, I put Buckhurst up to \\n ask him.' \\n \\n 'Well,' said Coningsby, as if sullenly resigned, 'never mind; but why \\n should you ask an infernal manufacturer?' \\n \\n 'Why, the Duke always wished me to pay him some attention,' said \\n Lord Henry, mildly. 'His family were so civil to us when we were at \\n Manchester.' \\n\",\n \"There is nothing more interesting than to trace predisposition. An \\n indefinite, yet strong sympathy with the peasantry of the realm had been \\n one of the characteristic sensibilities of Lord Henry at Eton. Yet a \\n schoolboy, he had busied himself with their pastimes and the details of \\n their cottage economy. As he advanced in life the horizon of his views \\n expanded with his intelligence and his experience; and the son of one of \\n the noblest of our houses, to whom the delights of life are offered with\",\n \"I shall never forget it as long as I live. However, there was the Lock \\n House at hand; and we got blankets and brandy. Coningsby was soon all \\n right; but Millbank, I can tell you, gave us some trouble. I thought it \\n was all up. Didn't you, Henry Sydney?' \\n \\n 'The most fishy thing I ever saw,' said Henry Sydney. \\n \\n 'Well, we were fairly frightened here,' said Sedgwick. 'The first\",\n \"'Your eyes laugh. Now tell me, Mr. Coningsby, Lord Henry Sydney is a \\n very great friend of yours?' \\n \\n 'Very.' \\n \\n 'He is very amiable.' \\n \\n 'Very.' \\n \\n 'He does a great deal for the poor at Beaumanoir. A very fine place, is \\n it not?' \\n \\n 'Very.' \\n \\n 'As fine as Coningsby?' \\n\",\n \"himself, and had resolved on the course to pursue; he had communicated \\n unreservedly with Oswald Millbank, and had renounced those pretensions \\n to the hand of his sister which it ill became the destitute to prefer. \\n \\n His letter was answered in person. Millbank met Henry Sydney and \\n Buckhurst at the chambers of Coningsby. Once more they were all \\n four together; but under what different circumstances, and with what \\n different prospects from those which attended their separation at Eton!\"\n ],\n [\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"circumstances in your case, which, even if I were a member of the same \\n order as my Lord Monmouth, would prevent the possibility of a prosperous \\n union. Marry Edith, and you blast all the prospects of your life, and \\n entail on her a sense of unceasing humiliation. Would you do this? \\n Should I permit you to do this?' \\n \\n Coningsby, with his head resting on his arm, his face a little shaded, \\n his eyes fixed on the ground, listened in silence. There was a pause;\",\n \"very loud, knowing that the presence of his father would make Coningsby \\n hesitate about coming. Edith's heart fluttered; but she said nothing. It \\n was with delight she heard her father, after a moment's pause, say, \\n \\n 'Oh! I beg we may have that pleasure.' \\n \\n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \\n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \\n your journey has not fatigued you.'\",\n \"marriage. Nothing but the influence of Sidonia could have effected this. \\n Therefore, of course, Edith is attached to him almost as much as I am. \\n In short, he is our dearest friend; our counsellor in all our cares. But \\n as for marrying him, the idea is ridiculous to those who know Monsieur \\n Sidonia. No earthly consideration would ever induce him to impair that \\n purity of race on which he prides himself. Besides, there are other \\n obvious objections which would render an alliance between him and my\",\n \"Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \\n that it would be well that his daughter should accompany them in their \\n somewhat extensive travels. It was not, therefore, only that nature \\n had developed a beautiful woman out of a bashful girl since Coningsby's \\n visit to Millbank; but really, every means and every opportunity that \\n could contribute to render an individual capable of adorning the most \\n accomplished circles of life, had naturally, and without effort, fallen\",\n \"dissolution brought affairs to a crisis. The misery of Oswald at the \\n position of Coningsby, the silent sadness of Edith, his own conviction, \\n which assured him that he could do nothing wiser or better than take \\n this young man to his heart, so ordained it that Mr. Millbank, who \\n was after all the creature of impulse, decided suddenly, and decided \\n rightly. Never making a single admission to all the representations of \\n his son, Mr. Millbank in a moment did all that his son could have dared\",\n \"'Edith!' he said in a tone of tremulous passion, 'Let me call you Edith! \\n Yes,' he continued, gently taking her hand, let me call you my Edith! I \\n love you!' \\n \\n She did not withdraw her hand; but turned away a face flushed as the \\n impending twilight. \\n \\n \\n \\n \\n CHAPTER VI. \\n \\n \\n It was past the dinner hour when Edith and Coningsby reached the Hall;\",\n \"instrument of injuring the only being whom she loved, and embarrassing \\n and encumbering her with duties foreign to her experience and her \\n nature. The marriage of Coningsby had greatly affected her, and from \\n that day she seemed gradually to decline. She died towards the end \\n of the autumn, and, subject to an ample annuity to Villebecque, she \\n bequeathed the whole of her fortune to the husband of Edith. Gratifying \\n as it was to him to present such an inheritance to his wife, it was not\",\n \"'My good young friend, you will live, I doubt not, to be a happy one. \\n Happiness is not, as we are apt to fancy, entirely dependent on these \\n contingencies. It is the lot of most men to endure what you are now \\n suffering, and they can look back to such conjunctures through the vista \\n of years with calmness.' \\n \\n 'I may see Edith now?' \\n \\n 'Frankly, I should say, no. My daughter is in her room; I have had some\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"'The Duke will be deuced glad to see Beau settled, I take it,' said Mr. \\n Cassilis. \\n \\n 'A good deal depends on the tin,' said his friend. \\n \\n Coningsby threw down the 'Court Guide' with a sinking heart. In spite \\n of every insuperable difficulty, hitherto the end and object of all his \\n aspirations and all his exploits, sometimes even almost unconsciously \\n to himself, was Edith. It was over. The strange manner of last night was\",\n \"'I am not aware that she is going to be married to any one. Lord \\n Beaumanoir admires her, has always admired her. But Edith has given \\n him no encouragement, at least gave him no encouragement as long as she \\n believed; but why dwell on such an unhappy subject, Mr. Coningsby? I \\n am to blame; I have been to blame perhaps before, but indeed I think it \\n cruel, very cruel, that Edith and you are kept asunder.' \\n\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"was Edith, radiant with loveliness and beaming with love. Their agitated \\n hearts told at a glance the tumult of their joy. The father joined their \\n hands, and blessed them with words of tenderness. \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n The marriage of Coningsby and Edith took place early in the autumn. \\n It was solemnised at Millbank, and they passed their first moon at \\n Hellingsley, which place was in future to be the residence of the member\",\n \"recognised a more satisfactory reason for the transient liveliness of \\n his daughter which had so greatly gratified him. \\n \\n About a month after Christmas, the meeting of Parliament summoned Mr. \\n Millbank up to London; and he had wished Edith to accompany him. But \\n London in February to Edith, without friends or connections, her father \\n always occupied and absent from her day and night, seemed to them \\n all, on reflection, to be a life not very conducive to health or\",\n \"As for Coningsby, notwithstanding the elation of his heart, and the \\n ethereal joy which flowed in all his veins, the name of Mr. Millbank \\n sounded, something like a knell. However, this was not the time to \\n reflect. He obeyed the hint of Edith; made the most rapid toilet that \\n ever was consummated by a happy lover, and in a few minutes entered the \\n drawing-room of Hellingsley, to encounter the gentleman whom he hoped by\",\n \"'Why?' inquired Mr. Millbank. \\n \\n 'Because I believe she possesses every charm, quality, and virtue, that \\n can bless man; and because, though I can make her no equivalent return, \\n I have a heart, if I know myself, that would struggle to deserve her.' \\n \\n 'I know you to be a man of sense; I believe you to be a man of honour,' \\n replied Mr. Millbank. 'As the first, you must feel that an union between\",\n \"her embrace. 'He tells you that his grandfather, my Lord Marquess, I \\n believe, sir, that every one, that--' \\n \\n 'Oh, no, no, no!' said Flora, shaking her head. 'He comes here because \\n he is generous, because he is a gentleman; and he wished to soothe the \\n soul that he knew was suffering. Thank him, my father, thank him for \\n me and before me, and promise in his presence that the stage and your \\n daughter have parted for ever.' \\n\",\n \"CHAPTER VII. \\n \\n \\n To be alone; to have no need of feigning a tranquillity he could not \\n feel; of coining common-place courtesy when his heart was gushing \\n with rapture; this was a great relief to Coningsby, though gained by a \\n separation from Edith. \\n \\n The deed was done; he had breathed his long-brooding passion, he \\n had received the sweet expression of her sympathy, he had gained \\n the long-coveted heart. Youth, beauty, love, the innocence of\",\n \"His heart was agitated, his countenance changed; he retained her hand \\n amid the chattering tourists, too full of their criticisms and their \\n egotistical commonplaces to notice what was passing. A sentimental \\n ebullition seemed to be on the point of taking place. Their eyes met. \\n The look of Edith was mournful and inquiring. \\n \\n 'We will say farewell at the ball,' said Coningsby, and she rewarded him \\n with a radiant smile. \\n \\n \\n \\n\"\n ],\n [\n \"contrast to that which he expected rather perplexed him. He entered into \\n the details of the election, talked rapidly of the next registration, \\n the propriety of petitioning; accustomed himself to hearing his voice \\n with its habitual volubility in a chamber where he had feared it might \\n not sound for some time. \\n \\n 'D----n politics!' said the Marquess. 'These fellows are in for this \\n Parliament, and I am really weary of the whole affair. I begin to think\",\n \"higher impulses of his nature had been preparing him. It was a keen \\n trial of a man. Every one of his friends and old companions were \\n candidates, and with sanguine prospects. Lord Henry was certain for a \\n division of his county; Buckhurst harangued a large agricultural \\n borough in his vicinity; Eustace Lyle and Vere stood in coalition for \\n a Yorkshire town; and Oswald Millbank solicited the suffrages of an \\n important manufacturing constituency. They sent their addresses to\",\n \"fatal facility, on the very threshold of his career he devoted his \\n time and thought, labour and life, to one vast and noble purpose, the \\n elevation of the condition of the great body of the people. \\n \\n 'I vote for Buckhurst being Lord of Misrule,' said Lord Henry: 'I will \\n be content with being his gentleman usher.' \\n \\n 'It shall be put to the vote,' said Lord Vere. \\n \\n 'No one has a chance against Buckhurst,' said Coningsby. \\n\",\n \"first time in the history of this country since the introduction of the \\n system of parliamentary sovereignty, the Government of England depended \\n on the fate of single elections; and indeed, by a single vote, it is \\n remarkable to observe, the fate of the Whig Government was ultimately \\n decided. \\n \\n This critical state of affairs, duly reported to Lord Monmouth, revived \\n his political passions, and offered him that excitement which he was \\n ever seeking, and yet for which he had often sighed. The Marquess, too,\",\n \"Rigby had resigned. He was, however, requested to remain at Birmingham, \\n as they did not wish him to enter Darlford, except to be chaired, so \\n he was to arrive there in the morning. At Birmingham, therefore, they \\n remained. \\n \\n There was Oswald's election to talk of as well as Coningsby's. They had \\n hardly had time for this. Now they were both Members of Parliament. \\n Men must have been at school together, to enjoy the real fun of meeting\",\n \"There never was such a cordial meeting; and yet the faces of his \\n friends were serious. The truth is, the paragraphs in the newspapers had \\n circulated in the country, they had written to Coningsby, and after a \\n brief delay he had confirmed their worst apprehensions. Immediately they \\n came up to town. Henry Sydney, a younger son, could offer little but \\n sympathy, but he declared it was his intention also to study for the \\n bar, so that they should not be divided. Buckhurst, after many embraces\",\n \"to govern England. The very day that he arrived he had his audience with \\n the King. \\n \\n It was two days after this audience; the town, though November, in a \\n state of excitement; clubs crowded, not only morning rooms, but halls \\n and staircases swarming with members eager to give and to receive \\n rumours equally vain; streets lined with cabs and chariots, grooms and \\n horses; it was two days after this audience that Mr. Ormsby, celebrated\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"speak. Henry Sydney indeed looked pale and nervous; but his companion, \\n flushed and resolute, knew exactly how to hit a popular assembly, and at \\n once came to the point. \\n \\n 'It is all a false report, an infernal lie; Coningsby is quite safe, and \\n nobody is drowned.' \\n \\n There was a cheer that might have been heard at Windsor Castle. Then, \\n turning to Sedgwick, in an undertone Buckhurst added, \\n\",\n \"It was early in November, 1834, and a large shooting party was assembled \\n at Beaumanoir, the seat of that great nobleman, who was the father \\n of Henry Sydney. England is unrivalled for two things, sporting and \\n politics. They were combined at Beaumanoir; for the guests came not \\n merely to slaughter the Duke's pheasants, but to hold council on the \\n prospects of the party, which it was supposed by the initiated, began at \\n this time to indicate some symptoms of brightening. \\n\",\n \"So they went without him. They found Millbank up and reading. \\n \\n 'Well, old fellow,' said Buckhurst, 'how are you? We should have come up \\n before, but they would not let us. And you are quite right now, eh?' \\n \\n 'Quite. Has there been any row about it?' \\n \\n 'All blown over,' said Henry Sydney; 'C*******y behaved like a trump.' \\n \\n 'I have seen nobody yet,' said Millbank; 'they would not let me till\",\n \"and public life then indeed becomes a noble career, and a seat in \\n Parliament an enviable distinction.' \\n \\n 'I tell you what it is, Harry,' said Lord Monmouth, very drily, 'members \\n of this family may think as they like, but they must act as I please. \\n You must go down on Friday to Darlford and declare yourself a candidate \\n for the town, or I shall reconsider our mutual positions. I would say, \\n you must go to-morrow; but it is only courteous to Rigby to give him a\",\n \"it, if possible, to be without distinction of party. He had come to \\n reside among his old friends, to live and die where he was born. \\n The Chairman of the Conservative Association and the Vice President \\n exchanged glances, which would have become Tadpole and Taper; the \\n four attorneys nibbed their pens with increased energy, and vowed that \\n nothing could withstand the influence of the aristocracy 'in the long \\n run.' All went and dined at the Castle; all returned home overpowered\",\n \"the season, at once sacred and merry. There are carols for the eventful \\n eve, and mummers for the festive day. \\n \\n The Duke and Duchess, and every member of the family, had consented this \\n year to keep their Christmas with the newly-married couple. Coningsby, \\n too, was there, and all his friends. The party was numerous, gay, \\n hearty, and happy; for they were all united by sympathy. \\n \\n They were planning that Henry Sydney should be appointed Lord of\",\n \"that it could not be postponed.' He made a sign to Villebecque, and his \\n secretary instantly retired. \\n \\n 'I was right in pressing your return to England,' continued Lord \\n Monmouth to his grandson, who was a little anxious as to the impending \\n communication, which he could not in any way anticipate. 'These are not \\n times when young men should be out of sight. Your public career will \\n commence immediately. The Government have resolved on a dissolution. My \\n information is from the highest quarter. You may be astonished, but\",\n \"Coningsby did not sleep a wink that night, and yet when he rose early \\n felt fresh enough for any exploit, however difficult or hazardous. He \\n felt as an Egyptian does when the Nile rises after its elevation had \\n been despaired of. At the very lowest ebb of his fortunes, an event \\n had occurred which seemed to restore all. He dared not contemplate the \\n ultimate result of all these wonderful changes. Enough for him, that \\n when all seemed dark, he was about to be returned to Parliament by\",\n \"to hear him, it was long before their enthusiasm could subside into \\n silence. At length that silence was deep and absolute. He spoke; his \\n powerful and rich tones reached every ear. In five minutes' time every \\n one looked at his neighbour, and without speaking they agreed that there \\n never was anything like this heard in Darlford before. \\n \\n He addressed them for a considerable time, for he had a great deal to \\n say; not only to express his gratitude for the unprecedented manner in \\n which he had become their representative, and for the spirit in which\",\n \"well for England until this order of the peasantry was restored to its \\n pristine condition; not merely in physical comfort, for that must vary \\n according to the economical circumstances of the time, like that of \\n every class; but to its condition in all those moral attributes which \\n make a recognised rank in a nation; and which, in a great degree, are \\n independent of economics, manners, customs, ceremonies, rights, and \\n privileges. \\n \\n 'Henry thinks,' said Lord Everingham, 'that the people are to be fed by\",\n \"The president and vice-president of the Conservative Association, the \\n secretary and the four solicitors who were agents, had impressed upon \\n Mr. Rigby that it was of the utmost importance, and must produce a \\n great moral effect, if he obtain the show of hands. With his powers of \\n eloquence and their secret organisation, they flattered themselves it \\n might be done. With this view, Rigby inflicted a speech of more than \\n two hours' duration on the electors, who bore it very kindly, as the mob\",\n \"thus, and realising boyish dreams. Often, years ago, they had talked \\n of these things, and assumed these results; but those were words and \\n dreams, these were positive facts; after some doubts and struggles, in \\n the freshness of their youth, Oswald Millbank and Harry Coningsby \\n were members of the British Parliament; public characters, responsible \\n agents, with a career. \\n \\n This afternoon, at Birmingham, was as happy an afternoon as usually \\n falls to the lot of man. Both of these companions were labouring under\"\n ],\n [\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"father-in-law with the abuses of the old system, and frightened him with \\n visions of rates exceeding rentals. \\n \\n Of late, however, a considerable change had taken place in the Duke's \\n feelings on this great question. His son Henry entertained strong \\n opinions upon it, and had combated his father with all the fervour of a \\n young votary. A victory over his Grace, indeed, was not very difficult. \\n His natural impulse would have enlisted him on the side, if not of\",\n \"opposition to the new system, at least of critical suspicion of its \\n spirit and provisions. It was only the statistics and sharp acuteness \\n of his son-in-law that had, indeed, ever kept him to his colours. Lord \\n Henry would not listen to statistics, dietary tables, Commissioners' \\n rides, Sub-commissioners' reports. He went far higher than his father; \\n far deeper than his brother-in-law. He represented to the Duke that the \\n order of the peasantry was as ancient, legal, and recognised an order as\",\n \"the father of Edith, and his vanquished rival who was to bite the dust \\n before him was the author of all his misfortunes. Love, Vengeance, \\n Justice, the glorious pride of having acted rightly, the triumphant \\n sense of complete and absolute success, here were chaotic materials from \\n which order was at length evolved; and all subsided in an overwhelming \\n feeling of gratitude to that Providence that had so signally protected \\n him. \\n\",\n \"is in vain to speak of the enmities that are fostered between you and \\n my grandfather; the love that exists between your daughter and myself is \\n stronger than all your hatreds.' \\n \\n 'You speak like a young man, and a young man that is in love,' said Mr. \\n Millbank. 'This is mere rhapsody; it will vanish in an instant \\n before the reality of life. And you have arrived at that reality,' he \\n continued, speaking with emphasis, leaning over the back of his chair,\",\n \"caricatures, French novels, and endless miniatures of foreign dancers, \\n princesses, and sovereigns. \\n \\n But Coningsby was so impressed with the impending interview with his \\n grandfather, that he neither sought nor required diversion. Now that the \\n crisis was at hand, he felt agitated and nervous, and wished that he was \\n again at Eton. The suspense was sickening, yet he dreaded still more the \\n summons. He was not long alone; the door opened; he started, grew pale;\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"'My good young friend, you will live, I doubt not, to be a happy one. \\n Happiness is not, as we are apt to fancy, entirely dependent on these \\n contingencies. It is the lot of most men to endure what you are now \\n suffering, and they can look back to such conjunctures through the vista \\n of years with calmness.' \\n \\n 'I may see Edith now?' \\n \\n 'Frankly, I should say, no. My daughter is in her room; I have had some\",\n \"late at Beaumanoir, the seat of the Duke, Lord Henry's father. The \\n Duke sat next to Lord Monmouth during the debate on the enfranchising \\n question, and to while away the time, and from kindness of disposition, \\n spoke, and spoke with warmth and favour, of his grandson. The polished \\n Lord Monmouth bowed as if he were much gratified by this notice of one \\n so dear to him. He had too much tact to admit that he had never yet\",\n \"undisturbed; he pulled up his horse, and summoned all his mind to the \\n contemplation of his prospects. \\n \\n Edith was lost. Now, should he return to his grandfather, accept his \\n mission, and go down to Darlford on Friday? Favour and fortune, power, \\n prosperity, rank, distinction would be the consequence of this step; \\n might not he add even vengeance? Was there to be no term to his \\n endurance? Might not he teach this proud, prejudiced manufacturer, with\",\n \"he answered all your questions before you asked them; contradicted \\n everybody with the intrepidity of a Rigby; annihilated your anecdotes by \\n historiettes infinitely more piquant; and if anybody chanced to make a \\n joke which he could not excel, declared immediately that it was a Joe \\n Miller. He was absurd, extravagant, grotesque, noisy; but he was young, \\n rattling, and interesting, from his health and spirits. Edith was\",\n \"Vanquished or victorious, equally a catastrophe! The fierce passions, \\n the gross insults, the hot blood and the cool lies, the ruffianism and \\n the ribaldry, perhaps the domestic discomfiture and mortification, which \\n he was about to be the means of bringing on the roof he loved best \\n in the world, occurred to him with anguish. The countenance of \\n Edith, haughty and mournful last night, rose to him again. He saw her\",\n \"seraphs. He thought of Edith in her hours of fondness; he thought of \\n the pure and solemn moments when to mingle his name with the heroes of \\n humanity was his aspiration, and to achieve immortal fame the inspiring \\n purpose of his life. What were the tawdry accidents of vulgar ambition \\n to him? No domestic despot could deprive him of his intellect, his \\n knowledge, the sustaining power of an unpolluted conscience. If he \\n possessed the intelligence in which he had confidence, the world\",\n \"'My dear grandfather, you have ever been to me only too kind and \\n generous.' \\n \\n 'To whom should I be kind but to you, my own blood, that has never \\n crossed me, and of whom I have reason to be proud? Yes, Harry, it \\n gratifies me to hear you admired and to learn your success. All I want \\n now is to see you in Parliament. A man should be in Parliament early. \\n There is a sort of stiffness about every man, no matter what may be his\",\n \"Edith. He looked upon them as persons who had deeply injured him; \\n though they really were individuals who had treated him with invariable \\n kindness. But he felt their existence was a source of mortification and \\n misery to him. With these feelings, sauntering away the last hours at \\n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \\n really, positively, undeniably unhappy; unhappy too for the first time \\n in his life; the first unhappiness; what a companion piece for the\",\n \"studies peculiarly to that period if you had not chanced to draw him \\n to the Italian middle ages. And even these startling revelations were \\n almost eclipsed by his anecdotes of the Court of Henry III. of France, \\n with every character of which he was as familiar as with the brilliant \\n groups that at this moment filled the saloons of Madame de R----d. \\n \\n \\n \\n \\n CHAPTER III. \\n \\n The image of Edith Millbank was the last thought of Coningsby, as he\",\n \"'The sacrifices are more apparent to me than the misery,' said \\n Coningsby, 'and even they may be imaginary.' \\n \\n 'The sacrifices and the misery are certain and inseparable,' said Mr. \\n Millbank. 'Come now, see how we stand! I speak without reserve, for this \\n is a subject which cannot permit misconception, but with no feelings \\n towards you, sir, but fair and friendly ones. You are the grandson of \\n my Lord Monmouth; at present enjoying his favour, but dependent on his\",\n \"very loud, knowing that the presence of his father would make Coningsby \\n hesitate about coming. Edith's heart fluttered; but she said nothing. It \\n was with delight she heard her father, after a moment's pause, say, \\n \\n 'Oh! I beg we may have that pleasure.' \\n \\n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \\n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \\n your journey has not fatigued you.'\",\n \"'I will venture to say that there are very few men on our side in the \\n House of Commons,' said Sir Joseph, 'who are aware that they were born \\n under a Venetian Constitution.' \\n \\n 'Let us go to the ladies,' said Millbank, smiling. \\n \\n Edith was reading a letter as they entered. \\n \\n 'A letter from papa,' she exclaimed, looking up at her brother with \\n great animation. 'We may expect him every day; and yet, alas! he cannot \\n fix one.' \\n\",\n \"gentleman as he went by, when, suddenly, Coningsby turned deadly pale. \\n The gentleman could hardly be the cause, for it was the gracious and \\n handsome presence of Lord Beaumanoir: the lady resting on his arm was \\n Edith. They moved on while he was motionless; yet Edith and himself \\n had exchanged glances. His was one of astonishment; but what was the \\n expression of hers? She must have recognised him before he had observed \\n her. She was collected, and she expressed the purpose of her mind in\"\n ],\n [\n \"to the fortunate lot of the manufacturer's daughter. Edith possessed \\n an intelligence equal to those occasions. Without losing the native \\n simplicity of her character, which sprang from the heart, and which \\n the strong and original bent of her father's mind had fostered, she had \\n imbibed all the refinement and facility of the polished circles in which \\n she moved. She had a clear head, a fine taste, and a generous spirit; \\n had received so much admiration, that, though by no means insensible to\",\n \"recognised a more satisfactory reason for the transient liveliness of \\n his daughter which had so greatly gratified him. \\n \\n About a month after Christmas, the meeting of Parliament summoned Mr. \\n Millbank up to London; and he had wished Edith to accompany him. But \\n London in February to Edith, without friends or connections, her father \\n always occupied and absent from her day and night, seemed to them \\n all, on reflection, to be a life not very conducive to health or\",\n \"very loud, knowing that the presence of his father would make Coningsby \\n hesitate about coming. Edith's heart fluttered; but she said nothing. It \\n was with delight she heard her father, after a moment's pause, say, \\n \\n 'Oh! I beg we may have that pleasure.' \\n \\n 'Not quite at so early an hour,' said Coningsby; 'but if you will permit \\n me, I hope to have the pleasure of hearing from you to-morrow, sir, that \\n your journey has not fatigued you.'\",\n \"absolutely acted in an inevitable manner! Edith seemed sad, Oswald \\n sullen; all was changed. All the objects for which this clear-headed, \\n strong-minded, kind-hearted man had been working all his life, seemed \\n to be frustrated. And why? Because a young man had made love to his \\n daughter, who was really in no manner entitled to do so. \\n \\n As the autumn drew on, Mr. Millbank found Hellingsley, under existing \\n circumstances, extremely wearisome; and he proposed to his daughter that\",\n \"and now you are to go to this man, and ask his sanction to marry my \\n daughter!' \\n \\n 'But I would appease these hatreds; I would allay these dark passions, \\n the origin of which I know not, but which never could justify the end, \\n and which lead to so much misery. I would appeal to my grandfather; I \\n would show him Edith.' \\n \\n 'He has looked upon as fair even as Edith,' said Mr. Millbank, rising\",\n \"'I will venture to say that there are very few men on our side in the \\n House of Commons,' said Sir Joseph, 'who are aware that they were born \\n under a Venetian Constitution.' \\n \\n 'Let us go to the ladies,' said Millbank, smiling. \\n \\n Edith was reading a letter as they entered. \\n \\n 'A letter from papa,' she exclaimed, looking up at her brother with \\n great animation. 'We may expect him every day; and yet, alas! he cannot \\n fix one.' \\n\",\n \"Edith with infinite solicitude, and finally had persuaded Mr. Millbank, \\n that it would be well that his daughter should accompany them in their \\n somewhat extensive travels. It was not, therefore, only that nature \\n had developed a beautiful woman out of a bashful girl since Coningsby's \\n visit to Millbank; but really, every means and every opportunity that \\n could contribute to render an individual capable of adorning the most \\n accomplished circles of life, had naturally, and without effort, fallen\",\n \"'My good young friend, you will live, I doubt not, to be a happy one. \\n Happiness is not, as we are apt to fancy, entirely dependent on these \\n contingencies. It is the lot of most men to endure what you are now \\n suffering, and they can look back to such conjunctures through the vista \\n of years with calmness.' \\n \\n 'I may see Edith now?' \\n \\n 'Frankly, I should say, no. My daughter is in her room; I have had some\",\n \"and the clearest voice exclaimed from above, 'Papa! papa!' and instantly \\n a young girl came bounding down the stairs, but suddenly seeing a \\n stranger with her father she stopped upon the landing-place, and was \\n evidently on the point of as rapidly retreating as she had advanced, \\n when Mr. Millbank waved his hand to her and begged her to descend. She \\n came down slowly; as she approached them her father said, 'A friend you \\n have often heard of, Edith: this is Mr. Coningsby.' \\n\",\n \"not inconsiderable position in society. She had a fine house in a \\n fashionable situation, and gave profuse entertainments. The Whigs \\n were under obligations to her husband, and the great Whig ladies were \\n gratified to find in his wife a polished and pleasing person, to whom \\n they could be courteous without any annoyance. So that Edith, under the \\n auspices of her aunt, found herself at once in circles which otherwise \\n she might not easily have entered, but which her beauty, grace, and\",\n \"an embarrassing circumstance, but mitigated by the conviction that they \\n had not to encounter a very critical inspection. What, then, were their \\n feelings when the first servant that they met informed them that Mr. \\n Millbank had arrived! Edith never could have believed that the return of \\n her beloved father to his home could ever have been to her other than \\n a cause of delight. And yet now she trembled when she heard the \\n announcement. The mysteries of love were fast involving her existence.\",\n \"made the acquaintance of the sister of Lady Wallinger, and had been a \\n successful suitor for her hand. This lady was the mother of Edith and of \\n the schoolfellow of Coningsby. It was only within a very few years \\n that she had died; she had scarcely lived long enough to complete the \\n education of her daughter, to whom she was devoted, and on whom she \\n lavished the many accomplishments that she possessed. Lady Wallinger \\n having no children, and being very fond of her niece, had watched over\",\n \"longer to be blind to the great change. That happy and equable gaiety of \\n spirit, which seemed to spring from an innocent enjoyment of existence, \\n and which had ever distinguished Edith, was wanting. Her sunny glance \\n was gone. She was not indeed always moody and dispirited, but she was \\n fitful, unequal in her tone. That temper whose sweetness had been a \\n domestic proverb had become a little uncertain. Not that her affection \\n for her father was diminished, but there were snatches of unusual\",\n \"His father is a Lancashire manufacturer.' \\n \\n 'By no means,' exclaimed Mr. Rigby, quite agitated. 'There is nothing \\n in the world that Lord Monmouth dislikes so much as Manchester \\n manufacturers, and particularly if they bear the name of Millbank. It \\n must not be thought of, my dear Harry. I hope you have not spoken to \\n the young man on the subject. I assure you it is out of the question. \\n It would make Lord Monmouth quite ill. It would spoil everything, quite \\n upset him.'\",\n \"undisturbed; he pulled up his horse, and summoned all his mind to the \\n contemplation of his prospects. \\n \\n Edith was lost. Now, should he return to his grandfather, accept his \\n mission, and go down to Darlford on Friday? Favour and fortune, power, \\n prosperity, rank, distinction would be the consequence of this step; \\n might not he add even vengeance? Was there to be no term to his \\n endurance? Might not he teach this proud, prejudiced manufacturer, with\",\n \"manner in which he had parted from them; but they greeted him with \\n so much cordiality that he instantly recovered himself, and, turning, \\n became their companion. He hardly ventured to ask after Edith: at \\n length, in a depressed tone and a hesitating manner, he inquired whether \\n they had lately seen Miss Millbank. He was himself surprised at the \\n extreme light-heartedness which came over him the moment he heard she \\n was in England, at Millbank, with her family. He always very much liked\",\n \"Edith. He looked upon them as persons who had deeply injured him; \\n though they really were individuals who had treated him with invariable \\n kindness. But he felt their existence was a source of mortification and \\n misery to him. With these feelings, sauntering away the last hours at \\n Paris, disquieted, uneasy; no present, no future; no enjoyment, no hope; \\n really, positively, undeniably unhappy; unhappy too for the first time \\n in his life; the first unhappiness; what a companion piece for the\",\n \"was Edith, radiant with loveliness and beaming with love. Their agitated \\n hearts told at a glance the tumult of their joy. The father joined their \\n hands, and blessed them with words of tenderness. \\n \\n \\n \\n \\n CHAPTER VII. \\n \\n \\n The marriage of Coningsby and Edith took place early in the autumn. \\n It was solemnised at Millbank, and they passed their first moon at \\n Hellingsley, which place was in future to be the residence of the member\",\n \"he answered all your questions before you asked them; contradicted \\n everybody with the intrepidity of a Rigby; annihilated your anecdotes by \\n historiettes infinitely more piquant; and if anybody chanced to make a \\n joke which he could not excel, declared immediately that it was a Joe \\n Miller. He was absurd, extravagant, grotesque, noisy; but he was young, \\n rattling, and interesting, from his health and spirits. Edith was\",\n \"the father of Edith, and his vanquished rival who was to bite the dust \\n before him was the author of all his misfortunes. Love, Vengeance, \\n Justice, the glorious pride of having acted rightly, the triumphant \\n sense of complete and absolute success, here were chaotic materials from \\n which order was at length evolved; and all subsided in an overwhelming \\n feeling of gratitude to that Providence that had so signally protected \\n him. \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What college did Henry Coningsby attend?","What political ideology does Henry eventually identify with?","Who does Henry fall in love with?","Why does Lord Monmouth take away Henry's inheritance?","Following the death of Henry's grandfather, what does Coningsby do for a living?","What changes Edith's fathers' negative opinion about Henry?","What is the relationship between Lord Monmouth and Edith's father?","What is likely the cause of the bitterness between lord Monmouth and Edith's father?","Where does Henry Coningsby attend college?","How does he get sent to the school originally?","Who is Henry's friend at the college?","What is particularly interesting about Oswald's dad and Henry's grandfather?","Who does Henry eventually fall in love with?","What is his grandfather's reaction to who Henry is infatuated with?","What profession does Henry decide to pursue after his grandfather's death?","What does Edith's father think of this career decision?","What role does Henry get elected to in the end?","What real life character is Henry Consingby modeled after?","Where does Henry go to school?","Who does Eton befriend at school?","Who does Henry fall in love with?","What does Henry's grandfather do when he finds out about Henry's love interest?","What does Henry study when his grandfather dies?","Who is Henry based on?","Why does Edith's father finally consent to her marriage to Henry?","What political body is Henry elected to?","What do Henry's Grandfather and Edith's father represent?","What is Edith's father's business?"],"string":"[\n \"What college did Henry Coningsby attend?\",\n \"What political ideology does Henry eventually identify with?\",\n \"Who does Henry fall in love with?\",\n \"Why does Lord Monmouth take away Henry's inheritance?\",\n \"Following the death of Henry's grandfather, what does Coningsby do for a living?\",\n \"What changes Edith's fathers' negative opinion about Henry?\",\n \"What is the relationship between Lord Monmouth and Edith's father?\",\n \"What is likely the cause of the bitterness between lord Monmouth and Edith's father?\",\n \"Where does Henry Coningsby attend college?\",\n \"How does he get sent to the school originally?\",\n \"Who is Henry's friend at the college?\",\n \"What is particularly interesting about Oswald's dad and Henry's grandfather?\",\n \"Who does Henry eventually fall in love with?\",\n \"What is his grandfather's reaction to who Henry is infatuated with?\",\n \"What profession does Henry decide to pursue after his grandfather's death?\",\n \"What does Edith's father think of this career decision?\",\n \"What role does Henry get elected to in the end?\",\n \"What real life character is Henry Consingby modeled after?\",\n \"Where does Henry go to school?\",\n \"Who does Eton befriend at school?\",\n \"Who does Henry fall in love with?\",\n \"What does Henry's grandfather do when he finds out about Henry's love interest?\",\n \"What does Henry study when his grandfather dies?\",\n \"Who is Henry based on?\",\n \"Why does Edith's father finally consent to her marriage to Henry?\",\n \"What political body is Henry elected to?\",\n \"What do Henry's Grandfather and Edith's father represent?\",\n \"What is Edith's father's business?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Eton College","Eton College."],["A very liberal view","Liberal"],["Edith ","Edith"],["Because Henry fell in love with Oswald's sister, Edith","Henry has different political views and a crush on Monmouth's enemy's daughter."],["He is a barrister ","Becomes a barrister."],["He is impressed with Henry's character, studying law and having a work ethic","He works his way up from nothing and proves his character."],["They are enemies.","They are bitter enemies."],["The conflict of old money versus new money. ","They were business rivals."],["Eton College","Eton College"],["His grandfather, Lord Monmouth, sends him there after his parents death.","He is sent by his grandfather"],["Oswald Millbank","Oswald Millbank."],["They are bitter enemies.","They are bitter rivals."],["Edith Millbank, Oswald's sister.","Edith Millbank"],["He is disinherited by his grandfather.","He is furious"],["He studies law and becomes a barrister.","Law."],["He approves, and fives Henry Edith's hand in marriage.","he is impressed"],["Henry gets elected to serve on Parliament in the end and his fortune is restored.","Parliament"],["That of George Smythe.","George Symthe"],["Eton College","Eton College"],["Oswald Millbank","Oswald Millbank"],["Edith Millbank","Edith"],["secretly disinherits him","disinherits him"],["law","Law."],["George Smythe","George Smythe."],["he's impressed by henry's hard work and character. ","Coningsby proves his character by studying law and working as a barrister."],["Parliament","Parliament"],["old and new money in society","Old and new wealth in society"],["cotton manufacturing","Cotton manufacturing."]],"string":"[\n [\n \"Eton College\",\n \"Eton College.\"\n ],\n [\n \"A very liberal view\",\n \"Liberal\"\n ],\n [\n \"Edith \",\n \"Edith\"\n ],\n [\n \"Because Henry fell in love with Oswald's sister, Edith\",\n \"Henry has different political views and a crush on Monmouth's enemy's daughter.\"\n ],\n [\n \"He is a barrister \",\n \"Becomes a barrister.\"\n ],\n [\n \"He is impressed with Henry's character, studying law and having a work ethic\",\n \"He works his way up from nothing and proves his character.\"\n ],\n [\n \"They are enemies.\",\n \"They are bitter enemies.\"\n ],\n [\n \"The conflict of old money versus new money. \",\n \"They were business rivals.\"\n ],\n [\n \"Eton College\",\n \"Eton College\"\n ],\n [\n \"His grandfather, Lord Monmouth, sends him there after his parents death.\",\n \"He is sent by his grandfather\"\n ],\n [\n \"Oswald Millbank\",\n \"Oswald Millbank.\"\n ],\n [\n \"They are bitter enemies.\",\n \"They are bitter rivals.\"\n ],\n [\n \"Edith Millbank, Oswald's sister.\",\n \"Edith Millbank\"\n ],\n [\n \"He is disinherited by his grandfather.\",\n \"He is furious\"\n ],\n [\n \"He studies law and becomes a barrister.\",\n \"Law.\"\n ],\n [\n \"He approves, and fives Henry Edith's hand in marriage.\",\n \"he is impressed\"\n ],\n [\n \"Henry gets elected to serve on Parliament in the end and his fortune is restored.\",\n \"Parliament\"\n ],\n [\n \"That of George Smythe.\",\n \"George Symthe\"\n ],\n [\n \"Eton College\",\n \"Eton College\"\n ],\n [\n \"Oswald Millbank\",\n \"Oswald Millbank\"\n ],\n [\n \"Edith Millbank\",\n \"Edith\"\n ],\n [\n \"secretly disinherits him\",\n \"disinherits him\"\n ],\n [\n \"law\",\n \"Law.\"\n ],\n [\n \"George Smythe\",\n \"George Smythe.\"\n ],\n [\n \"he's impressed by henry's hard work and character. \",\n \"Coningsby proves his character by studying law and working as a barrister.\"\n ],\n [\n \"Parliament\",\n \"Parliament\"\n ],\n [\n \"old and new money in society\",\n \"Old and new wealth in society\"\n ],\n [\n \"cotton manufacturing\",\n \"Cotton manufacturing.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"f05bcd8ebb7a7e3a2457e51e0a9797802ca26ae3"},"split":{"kind":"string","value":"train"}}},{"rowIdx":42,"cells":{"text":{"kind":"list like","value":[[" SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," As we say in my country, _dove_ below. \n \n ROS. \n Well, we must follow him as best we may. \n Poland is no great country, and, as rich \n In men and means, will but few acres spare \n To lie beneath her barrier mountains bare. \n We cannot, I believe, be very far \n From mankind or their dwellings. \n \n FIFE. \n Send it so! \n And well provided for man, woman, and beast."," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," Something of 'following darkness like a dream,' \n For that we're after. \n \n ROS. \n No, after the sun; \n Trying to catch hold of his glittering skirts \n That hang upon the mountain as he goes. \n \n FIFE. \n Ah, he's himself past catching--as you spoke \n He heard what you were saying, and--just so-- \n Like some scared water-bird,","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," No, not for beast. Ah, but my heart begins \n To yearn for her-- \n \n ROS. \n Keep close, and keep your feet \n From serving you as hers did. \n \n FIFE. \n As for beasts, \n If in default of other entertainment, \n We should provide them with ourselves to eat-- \n Bears, lions, wolves-- \n \n ROS. \n Oh, never fear. \n \n FIFE."," Some fairy had exchanged us as we lay \n Two tiny foster-children in one cradle? \n \n ROS. \n Well, be that as it may, Fife, it reminds me \n Of what perhaps I should have thought before, \n But better late than never--You know I love you, \n As you, I know, love me, and loyally \n Have follow'd me thus far in my wild venture. \n Well! now then--having seen me safe thus far"," Or else, \n Default of other beasts, beastlier men, \n Cannibals, Anthropophagi, bare Poles \n Who never knew a tailor but by taste. \n \n ROS. \n Look, look! Unless my fancy misconceive \n With twilight--down among the rocks there, Fife-- \n Some human dwelling, surely-- \n Or think you but a rock torn from the rocks \n In some convulsion like to-day's, and perch'd"," Quaintly among them in mock-masonry? \n \n FIFE. \n Most likely that, I doubt. \n \n ROS. \n No, no--for look! \n A square of darkness opening in it-- \n \n FIFE. \n Oh, I don't half like such openings!-- \n \n ROS. \n Like the loom \n Of night from which she spins her outer gloom-- \n \n FIFE."," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," Or take this foolish fellow for your sport: \n Dressing me up in visionary glories, \n Which the first air of waking consciousness \n Scatters as fast as from the almander-- \n That, waking one fine morning in full flower, \n One rougher insurrection of the breeze \n Of all her sudden honour disadorns \n To the last blossom, and she stands again \n The winter-naked scare-crow that she was! \n \n CAPT."," About that under-sapphire, whereinto \n Yourselves transfusing you yourselves englass! \n \n ROS. \n What mystery is this? \n \n FIFE. \n Why, the man's mad: \n That's all the mystery. That's why he's chain'd-- \n And why-- \n \n SEG. \n Nor Nature's guiltless life alone-- \n But that which lives on blood and rapine; nay,"," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,"," What if the next world which they tell one of \n Be only next across the mountain then, \n Though I must never see it till I die, \n And you one of its angels? \n \n ROS. \n Alas; alas! \n No angel! And the face you think so fair, \n 'Tis but the dismal frame-work of these rocks \n That makes it seem so; and the world I come from-- \n Alas, alas, too many faces there"," Pent in the rock leaps toward her at her touch, \n Mine, before all the cousins in Muscovy! \n You call me Prince of Poland, and yourselves \n My subjects--traitors therefore to this hour, \n Who let me perish all my youth away \n Chain'd there among the mountains; till, forsooth, \n Terrified at your treachery foregone, \n You spirit me up here, I know not how, \n Popinjay-like invest me like yourselves,"],[" That stare on this unnatural sight aghast, \n Listen to one who, Heaven-inspired to do \n What in its secret wisdom Heaven forecast, \n By that same Heaven instructed prophet-wise \n To justify the present in the past. \n What in the sapphire volume of the skies \n Is writ by God's own finger misleads none, \n But him whose vain and misinstructed eyes, \n They mock with misinterpretation,"," Those stars, whose eyes, although we see them not, \n By day as well as night are on us still, \n Hang watching up in the meridian heaven \n Which way the balance turns; and if to you-- \n As by your dealing God decide it may, \n To my confusion!--let me answer it \n Unto yourself alone, who shall at once \n Approve yourself to be your father's judge, \n And sovereign of Poland in his stead,"," But One who writes His order in the sky \n I dared not misinterpret nor neglect, \n Who knows with what reluctance-- \n \n SEG. \n Oh, those stars, \n Those stars, that too far up from human blame \n To clear themselves, or careless of the charge, \n Still bear upon their shining shoulders all \n The guilt men shift upon them! \n \n KING. \n Nay, but think: \n Not only on the common score of kind,"," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," And Poland of her rightful sovereign. \n For, sure and certain prophets as the stars, \n Although they err not, he who reads them may; \n Or rightly reading--seeing there is One \n Who governs them, as, under Him, they us, \n We are not sure if the rough diagram \n They draw in heaven and we interpret here, \n Be sure of operation, if the Will \n Supreme, that sometimes for some special end \n The course of providential nature breaks"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," Are but fair vizors to black hearts below, \n Or only serve to bring the wearer woe! \n But to yourself--If haply the redress \n That I am here upon may help to yours. \n I heard you tax the heavens with ordering, \n And men for executing, what, alas! \n I now behold. But why, and who they are \n Who do, and you who suffer-- \n \n SEG. (pointing upwards). \n Ask of them,"," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Whom Duke Astolfo, Prince of Muscovy, \n With all the solemn vows of wedlock won, \n And would have wedded, as I do believe, \n Had not the cry of Poland for a Prince \n Call'd him from Muscovy to join the prize \n Of Poland with the fair Estrella's eyes. \n I, following him hither, as you saw, \n Was cast upon these rocks; arrested by \n Clotaldo: who, for an old debt of love"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Creatures, but man too prospers with his kind; \n Who leaving all his guilty fellows free, \n Under your fatal auspice and divine \n Compulsion, leagued in some mysterious ban \n Against one innocent and helpless man, \n Abuse their liberty to murder mine: \n And sworn to silence, like their masters mute \n In heaven, and like them twirling through the mask \n Of darkness, answering to all I ask, \n Point up to them whose work they execute! \n"," AST. \n Nay, but indeed, fair cousin-- \n \n EST. \n Ay, let Deed \n Measure your words, indeed your flowers of speech \n Ill with your iron equipage atone; \n Irony indeed, and wordy compliment. \n \n AST. \n Indeed, indeed, you wrong me, royal cousin, \n And fair as royal, misinterpreting \n What, even for the end you think I aim at,"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," (Shouts, etc. God save Estrella, Queen of Poland!) \n \n SEG (to Clotaldo). \n You \n That with unflinching duty to your King, \n Till countermanded by the mightier Power, \n Have held your Prince a captive in the tower, \n Henceforth as strictly guard him on the throne \n No less my people's keeper than my own. \n You stare upon me all, amazed to hear \n The word of civil justice from such lips"," To fathers, kings, and heaven that order'd all. \n But, mad or not, my hour is come, and I \n Will have my reckoning--Either you lie, \n Under the skirt of sinless majesty \n Shrouding your treason; or if _that_ indeed, \n Guilty itself, take refuge in the stars \n That cannot hear the charge, or disavow-- \n You, whether doer or deviser, who \n Come first to hand, shall pay the penalty"," By justice, mercy, self-sobriety, \n And all the reasonable attributes \n Without which, impotent to rule himself, \n Others one cannot, and one must not rule; \n But which if you but show the blossom of-- \n All that is past we shall but look upon \n As the first out-fling of a generous nature \n Rioting in first liberty; and if \n This blossom do but promise such a flower \n As promises in turn its kindly fruit:"],[" SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw.","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," Something of 'following darkness like a dream,' \n For that we're after. \n \n ROS. \n No, after the sun; \n Trying to catch hold of his glittering skirts \n That hang upon the mountain as he goes. \n \n FIFE. \n Ah, he's himself past catching--as you spoke \n He heard what you were saying, and--just so-- \n Like some scared water-bird,"," As we say in my country, _dove_ below. \n \n ROS. \n Well, we must follow him as best we may. \n Poland is no great country, and, as rich \n In men and means, will but few acres spare \n To lie beneath her barrier mountains bare. \n We cannot, I believe, be very far \n From mankind or their dwellings. \n \n FIFE. \n Send it so! \n And well provided for man, woman, and beast.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," Against the scholar by that master turn'd \n Who to himself reserves the master-stroke. \n Witness whereof this venerable Age, \n Thrice crown'd as Sire, and Sovereign, and Sage, \n Down to the very dust dishonour'd by \n The very means he tempted to defy \n The irresistible. And shall not I, \n Till now the mere dumb instrument that wrought \n The battle Fate has with my father fought,"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Out of the ashes of my self-extinction \n A better self revive; if not beneath \n Your feet, beneath your better wisdom bow'd, \n The Sovereignty of Poland I resign, \n With this its golden symbol; which if thus \n Saved with its silver head inviolate, \n Shall nevermore be subject to decline; \n But when the head that it alights on now \n Falls honour'd by the very foe that must,"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," And may it win us some more kindliness \n Than we have met with yet. \n \n CLO (examining the sword). \n More mystery! \n How came you by this weapon? \n \n ROS. \n From my father. \n \n CLO. \n And do you know whence he? \n \n ROS. \n Oh, very well: \n From one of this same Polish realm of yours, \n Who promised a return, should come the chance,"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Some fairy had exchanged us as we lay \n Two tiny foster-children in one cradle? \n \n ROS. \n Well, be that as it may, Fife, it reminds me \n Of what perhaps I should have thought before, \n But better late than never--You know I love you, \n As you, I know, love me, and loyally \n Have follow'd me thus far in my wild venture. \n Well! now then--having seen me safe thus far"],[" Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," --Speak to him, Captain. \n \n CAPTAIN. \n Oh Royal Segismund, our Prince and King, \n Look on us--listen to us--answer us, \n Your faithful soldiery and subjects, now \n About you kneeling, but on fire to rise \n And cleave a passage through your enemies, \n Until we seat you on your lawful throne. \n For though your father, King Basilio, \n Now King of Poland, jealous of the stars"," Yourself, ev'n more than any subject here, \n Are bound by yet another and more strong \n Allegiance--King Basilio--your Father-- \n \n SEG. \n Basilio--King--my father!-- \n \n CLO. \n Oh, my Lord, \n Let me beseech you on my bended knee, \n For your own sake--for Poland's--and for his, \n Who, looking up for counsel to the skies, \n Did what he did under authority"," And, but the martial out-burst that proclaims \n His coming, makes all further parley vain, \n Unless my bosom, by which only wise \n I prophesy, now wrongly prophesies, \n By such a happy compact as I dare \n But glance at till the Royal Sage declare. \n \n (Trumpets, etc. Enter King Basilio with his Council.) \n \n ALL. \n The King! God save the King! \n"," SEG. \n When he?-- \n \n CHAMB. \n Your royal father, King Basilio, Sir. \n \n SEG. \n My royal father--King Basilio. \n You see I answer but as Echo does, \n Not knowing what she listens or repeats. \n This is my throne--this is my palace--Oh, \n But this out of the window?-- \n \n CHAMB. \n Warsaw, Sir, \n Your capital--"," --Our own King Segismund, etc. \n (They all rise.) \n \n SEG. \n Again? So soon?--What, not yet done with me? \n The sun is little higher up, I think, \n Than when I last lay down, \n To bury in the depth of your own sea \n You that infest its shallows. \n \n CAPT. \n Sir! \n \n SEG. \n And now,"," And while with princely raiment we invested \n What nature surely modell'd for a Prince-- \n All but the sword--as you directed-- \n \n KING. \n Ay-- \n \n LORD. \n If not too loudly, yet emphatically \n Still with the title of a Prince address'd him. \n \n KING. \n How bore he that? \n \n LORD. \n With all the rest, my liege,"," Of all my subjects and my vassals here \n Not one to do my bidding? Hark! A trumpet! \n The trumpet-- \n \n (He pauses as the trumpet sounds as in Act I., \n and masked Soldiers gradually fill in behind the Throne.) \n \n KING (rising before his throne). \n Ay, indeed, the trumpet blows \n A memorable note, to summon those \n Who, if forthwith you fall not at the feet"," (Skirmishes, shouts, firing, etc. After some time enter King \n Basilio, \n Astolfo, and Clotaldo) \n \n KING. \n The day is lost! \n \n AST. \n Do not despair--the rebels-- \n \n KING. \n Alas! the vanquish'd only are the rebels. \n \n CLOTALDO. \n Ev'n if this battle lost us, 'tis but one"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Of one--whom I will spare for sparing him: \n But he must come and plead with that same voice \n That pray'd for me--in vain. \n \n CHAMB. \n He is gone for, \n And shall attend your pleasure, sir. Meanwhile, \n Will not your Highness, as in courtesy, \n Return your royal cousin's greeting? \n \n SEG. \n Whose? \n \n CHAMB."," And bristle with the advancing soldiery \n That glitters in your rising glory, sir; \n And, at our signal, echo to our cry, \n 'Segismund, King of Poland!' etc. \n \n (Shouts, trumpets, etc.) \n \n SEG. \n Oh, how cheap \n The muster of a countless host of shadows, \n As impotent to do with as to keep! \n All this they said before--to softer music. \n"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," CHAMB. \n I rejoice \n That unadvised of any but the voice \n Of royal instinct in the blood, your Highness \n Has ta'en the chair that you were born to fill. \n \n SEG. \n The chair? \n \n CHAMB. \n The royal throne of Poland, Sir, \n Which may your Royal Highness keep as long \n As he that now rules from it shall have ruled \n When heaven has call'd him to itself. \n"," He owes my family, with all his might \n Served, and had served me further, till my cause \n Clash'd with his duty to his sovereign, \n Which, as became a loyal subject, sir, \n (And never sovereign had a loyaller,) \n Was still his first. He carried me to Court, \n Where, for the second time, I crossed your path; \n Where, as I watch'd my opportunity, \n Suddenly broke this public passion out;"," Whether for you, the elder sister's child; \n Or me, born of the younger, but, they say, \n My natural prerogative of man \n Outweighing your priority of birth. \n Which discord growing loud and dangerous, \n Our uncle, King Basilio, doubly sage \n In prophesying and providing for \n The future, as to deal with it when come, \n Bids us here meet to-day in solemn council \n Our several pretensions to compose."," Astolfo, Duke of Muscovy, my Lord, \n Saluted, and with gallant compliment \n Welcomed you to your royal title. \n \n SEG. (to Astolfo). \n Oh-- \n You knew of this then? \n \n AST. \n Knew of what, my Lord? \n \n SEG. \n That I was Prince of Poland all the while, \n And you my subject? \n \n AST."," From which no royal wrong shall drive him more. \n \n (They all kneel round his bed: trumpets, drums, etc.) \n \n SOLDIERS. \n --Segismund! Segismund! Prince Segismund! \n --King Segismund! Down with Basilio! \n --Down with Astolfo! Segismund our King! etc. \n --He stares upon us wildly. He cannot speak. \n --I said so--driv'n him mad."," Where are my soldiers? Blow the trumpet, and \n With one sharp blast scatter these butterflies \n And bring the men of iron to my side, \n With whom a king feels like a king indeed! \n \n (Voices within. Within there! room for the Princess Estrella!) \n \n (Enter Estrella with Ladies.) \n \n ESTRELLA. \n Welcome, my Lord, right welcome to the throne \n That much too long has waited for your coming:"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," Methinks I'd venture something of a life \n I care so little for-- \n \n SEG. \n Who's that? Clotaldo? Who are you, I say, \n That, venturing in these forbidden rocks, \n Have lighted on my miserable life, \n And your own death? \n \n ROS. \n You would not hurt me, surely? \n \n SEG. \n Not I; but those that, iron as the chain"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Some fairy had exchanged us as we lay \n Two tiny foster-children in one cradle? \n \n ROS. \n Well, be that as it may, Fife, it reminds me \n Of what perhaps I should have thought before, \n But better late than never--You know I love you, \n As you, I know, love me, and loyally \n Have follow'd me thus far in my wild venture. \n Well! now then--having seen me safe thus far"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"],[" As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Be cancell'd in the burning heavens, He leaves \n His earthly delegates to execute, \n Of retribution in reward to them \n And woe to those who wrong'd them--Not as you, \n Not you, Clotaldo, knowing not--And yet \n Ev'n to the guiltiest wretch in all the realm, \n Of any treason guilty short of that, \n Stern usage--but assuredly not knowing, \n Not knowing 'twas your sovereign lord, Clotaldo,"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Walking as one who knows he soon may wake, \n So fairly carry the full cup, so well \n Disorder'd insolence and passion quell, \n That there be nothing after to upbraid \n Dreamer or doer in the part he play'd, \n Whether To-morrow's dawn shall break the spell, \n Or the Last Trumpet of the eternal Day, \n When Dreaming with the Night shall pass away. \n (Exeunt.) \n \n \n \n \n"," Earth and her cities totter'd, and the world \n Seem'd shaken to its last paralysis. \n In such a paroxysm of dissolution \n That son of mine was born; by that first act \n Heading the monstrous catalogue of crime, \n I found fore-written in his horoscope; \n As great a monster in man's history \n As was in nature his nativity; \n So savage, bloody, terrible, and impious,"," Which, by the way, now that I think of it, \n May furnish us the key to this high flight \n That royal Eagle we were watching, and \n Talking of as you went to sleep last night. \n \n SEG. \n Last night? Last night? \n \n CLO. \n Ay, do you not remember \n Envying his immunity of flight, \n As, rising from his throne of rock, he sail'd \n Above the mountains far into the West,"," There, thou mis-begotten thing, \n Long-ear'd lightning, tail'd tornado, \n Griffin-hoof-in hurricano, \n (I might swear till I were almost \n Hoarse with roaring Asonante) \n Who forsooth because our betters \n Would begin to kick and fling \n You forthwith your noble mind \n Must prove, and kick me off behind, \n Tow'rd the very centre whither \n Gravity was most inclined."," Among the tempest-shatter'd crags \n Shattering your luckless rider \n Back into the tempest pass'd? \n There then lie to starve and die, \n Or find another Phaeton \n Mad-mettled as yourself; for I, \n Wearied, worried, and for-done, \n Alone will down the mountain try, \n That knits his brows against the sun. \n \n FIFE (as to his mule)."," And play'd at hazard with his fellows' lives, \n Who cheaply dream'd away their lives to him. \n The sailor dream'd of tossing on the flood: \n The soldier of his laurels grown in blood: \n The lover of the beauty that he knew \n Must yet dissolve to dusty residue: \n The merchant and the miser of his bags \n Of finger'd gold; the beggar of his rags: \n And all this stage of earth on which we seem"," And slips the sceptre from your palsied hand, \n And Poland for her rightful heir cries out; \n When not only your stol'n monopoly \n Fails you of earthly power, but 'cross the grave \n The judgment-trumpet of another world \n Calls you to count for your abuse of this; \n Then, oh then, terrified by the double danger, \n You drag me from my den-- \n Boast not of giving up at last the power"," Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," And each must play his part out manfully, \n Leaving the rest to heaven. \n \n KING. \n Whose written words \n If I should misinterpret or transgress! \n But as you say-- \n (To the Lord, who exit.) \n You, back to him at once; \n Clotaldo, you, when he is somewhat used \n To the new world of which they call him Prince, \n Where place and face, and all, is strange to him,"," Begone, or let me go, ere I go mad \n With all this babble, mummery, and glare, \n For I am growing dangerous--Air! room! air!-- \n (He rushes in. Music ceases.) \n Oh but to save the reeling brain from wreck \n With its bewilder'd senses! \n (He covers his eyes for a while.) \n What! E'en now \n That Babel left behind me, but my eyes"," His being slew; with midnight secrecy \n I had him carried to a lonely tower \n Hewn from the mountain-barriers of the realm, \n And under strict anathema of death \n Guarded from men's inquisitive approach, \n Save from the trusty few one needs must trust; \n Who while his fasten'd body they provide \n With salutary garb and nourishment, \n Instruct his soul in what no soul may miss"," Ay, ev'n the Reason's self that dates with them, \n Should be in essence or intensity \n Hereafter so transcended, and awake \n To a perceptive subtlety so keen \n As to confess themselves befool'd before, \n In all that now they will avouch for most? \n One man--like this--but only so much longer \n As life is longer than a summer's day, \n Believed himself a king upon his throne,"," --Our own King Segismund, etc. \n (They all rise.) \n \n SEG. \n Again? So soon?--What, not yet done with me? \n The sun is little higher up, I think, \n Than when I last lay down, \n To bury in the depth of your own sea \n You that infest its shallows. \n \n CAPT. \n Sir! \n \n SEG. \n And now,"," Oh, had the self-same heaven upon his page \n Inscribed my death ere I should read my life \n And, by fore-casting of my own mischance, \n Play not the victim but the suicide \n In my own tragedy!--But you shall hear. \n You know how once, as kings must for their people, \n And only once, as wise men for themselves, \n I woo'd and wedded: know too that my Queen \n In childing died; but not, as you believe,"],[" (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," SEG. \n When he?-- \n \n CHAMB. \n Your royal father, King Basilio, Sir. \n \n SEG. \n My royal father--King Basilio. \n You see I answer but as Echo does, \n Not knowing what she listens or repeats. \n This is my throne--this is my palace--Oh, \n But this out of the window?-- \n \n CHAMB. \n Warsaw, Sir, \n Your capital--"," From which no royal wrong shall drive him more. \n \n (They all kneel round his bed: trumpets, drums, etc.) \n \n SOLDIERS. \n --Segismund! Segismund! Prince Segismund! \n --King Segismund! Down with Basilio! \n --Down with Astolfo! Segismund our King! etc. \n --He stares upon us wildly. He cannot speak. \n --I said so--driv'n him mad."," --Our own King Segismund, etc. \n (They all rise.) \n \n SEG. \n Again? So soon?--What, not yet done with me? \n The sun is little higher up, I think, \n Than when I last lay down, \n To bury in the depth of your own sea \n You that infest its shallows. \n \n CAPT. \n Sir! \n \n SEG. \n And now,"," --Speak to him, Captain. \n \n CAPTAIN. \n Oh Royal Segismund, our Prince and King, \n Look on us--listen to us--answer us, \n Your faithful soldiery and subjects, now \n About you kneeling, but on fire to rise \n And cleave a passage through your enemies, \n Until we seat you on your lawful throne. \n For though your father, King Basilio, \n Now King of Poland, jealous of the stars"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Of sovereignty, but even that prime \n Inheritance that all men share alike, \n And chain'd him--chain'd him!--like a wild beast's whelp. \n Among as savage mountains, to this hour? \n Answer if this be thus. \n \n KING. \n Oh, Segismund, \n In all that I have done that seems to you, \n And, without further hearing, fairly seems, \n Unnatural and cruel--'twas not I,"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," KING. \n That, living, you might learn to live, and rule \n Yourself and Poland. \n \n SEG. \n By the means you took \n To spoil for either? \n \n KING. \n Nay, but, Segismund! \n You know not--cannot know--happily wanting \n The sad experience on which knowledge grows, \n How the too early consciousness of power \n Spoils the best blood; nor whether for your long"," Yourself, ev'n more than any subject here, \n Are bound by yet another and more strong \n Allegiance--King Basilio--your Father-- \n \n SEG. \n Basilio--King--my father!-- \n \n CLO. \n Oh, my Lord, \n Let me beseech you on my bended knee, \n For your own sake--for Poland's--and for his, \n Who, looking up for counsel to the skies, \n Did what he did under authority"," Ay, but what some precocious warmth may spill, \n May not an early frost as surely kill? \n \n KING. \n But, Segismund, my son, whose quick discourse \n Proves I have not extinguish'd and destroy'd \n The Man you charge me with extinguishing, \n However it condemn me for the fault \n Of keeping a good light so long eclipsed, \n Reflect! This is the moment upon which"," That I--the Segismund you know so long \n No longer than the sun that rose to-day \n Rose--and from what you know-- \n Rose to be Prince of Poland? \n \n CLO. \n So to be \n Acknowledged and entreated, Sir. \n \n SEG. \n So be \n Acknowledged and entreated-- \n Well--But if now by all, by some at least \n So known--if not entreated--heretofore--"," Yet not so glorious, Segismund, if you \n Your visionary honour wore so ill \n As to work murder and revenge on those \n Who meant you well. \n \n SEG. \n Who meant me!--me! their Prince \n Chain'd like a felon-- \n \n CLO. \n Stay, stay--Not so fast, \n You dream'd the Prince, remember. \n \n SEG. \n Then in dream \n Revenged it only. \n","purposes in the Induction to the Shakespearean \"Taming of the Shrew.\" \n But with Calderon the theme is lifted altogether out of the atmosphere \n of comedy, and is worked up with poetic sentiment and a touch of \n mysticism into a symbolic drama of profound and universal philosophical \n significance. \n \n \n \n \n \n LIFE IS A DREAM \n \n \n \n DRAMATIS PERSONAE \n \n Basilio King of Poland. \n Segismund his Son."," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," To which the kings of earth themselves are subject, \n And whose behest not only he that suffers, \n But he that executes, not comprehends, \n But only He that orders it-- \n \n SEG. \n The King-- \n My father!--Either I am mad already, \n Or that way driving fast--or I should know \n That fathers do not use their children so, \n Or men were loosed from all allegiance"," And bristle with the advancing soldiery \n That glitters in your rising glory, sir; \n And, at our signal, echo to our cry, \n 'Segismund, King of Poland!' etc. \n \n (Shouts, trumpets, etc.) \n \n SEG. \n Oh, how cheap \n The muster of a countless host of shadows, \n As impotent to do with as to keep! \n All this they said before--to softer music. \n"," Now the mere mouth-piece of its victory \n Oh, shall not I, the champions' sword laid down, \n Be yet more shamed to wear the teacher's gown, \n And, blushing at the part I had to play, \n Down where that honour'd head I was to lay \n By this more just submission of my own, \n The treason Fate has forced on me atone? \n \n KING. \n Oh, Segismund, in whom I see indeed,"," Into some happier constellation roll'd, \n And brought my better fortune out on earth \n Clear as themselves in heaven!--Prince Segismund \n They call'd me--and at will I shook them off-- \n Will they return again at my command \n Again to call me so?--Within there! You! \n Segismund calls--Prince Segismund-- \n \n (He has seated himself on the throne. \n Enter Chamberlain, with lords in waiting.) \n"," Glaring at a suddenly encounter'd lion. \n \n KING. \n And I that hither flew with open arms \n To fold them round my son, must now return \n To press them to an empty heart again! \n (He sits on the throne.) \n \n SEG. \n That is the King?--My father? \n (After a long pause.) \n I have heard \n That sometimes some blind instinct has been known \n To draw to mutual recognition those"],[" Among the tempest-shatter'd crags \n Shattering your luckless rider \n Back into the tempest pass'd? \n There then lie to starve and die, \n Or find another Phaeton \n Mad-mettled as yourself; for I, \n Wearied, worried, and for-done, \n Alone will down the mountain try, \n That knits his brows against the sun. \n \n FIFE (as to his mule).","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," There, thou mis-begotten thing, \n Long-ear'd lightning, tail'd tornado, \n Griffin-hoof-in hurricano, \n (I might swear till I were almost \n Hoarse with roaring Asonante) \n Who forsooth because our betters \n Would begin to kick and fling \n You forthwith your noble mind \n Must prove, and kick me off behind, \n Tow'rd the very centre whither \n Gravity was most inclined."," In the place of her that kick'd me off to ride, \n I'd test his theory upon his hide. \n But no bones broken, madam--sir, I mean?-- \n \n ROS. \n A scratch here that a handkerchief will heal-- \n And you?-- \n \n FIFE. \n A scratch in _quiddity_, or kind: \n But not in '_quo_'--my wounds are all behind."," Which, by the way, now that I think of it, \n May furnish us the key to this high flight \n That royal Eagle we were watching, and \n Talking of as you went to sleep last night. \n \n SEG. \n Last night? Last night? \n \n CLO. \n Ay, do you not remember \n Envying his immunity of flight, \n As, rising from his throne of rock, he sail'd \n Above the mountains far into the West,"," Pent in the rock leaps toward her at her touch, \n Mine, before all the cousins in Muscovy! \n You call me Prince of Poland, and yourselves \n My subjects--traitors therefore to this hour, \n Who let me perish all my youth away \n Chain'd there among the mountains; till, forsooth, \n Terrified at your treachery foregone, \n You spirit me up here, I know not how, \n Popinjay-like invest me like yourselves,"," To doubt if I be dreaming I am Fife, \n Who with a lad who call'd herself a boy \n Because--I doubt there's some confusion here-- \n He wore no petticoat, came on a time \n Riding from Muscovy on half a horse, \n Who must have dreamt she was a horse entire, \n To cant me off upon my hinder face \n Under this tower, wall-eyed and musket-tongued,"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," We must be close upon the tower, I know, \n That half way up the mountain lies ensconced. \n \n CAPT. \n How know you that? \n \n SOL. \n He told me so--the Page \n Who put us on the scent. \n \n SOL. 2. \n And, as I think, \n Will soon be here to run it down with us. \n \n CAPT. \n Meantime, our horses on these ugly rocks"," Glaring at a suddenly encounter'd lion. \n \n KING. \n And I that hither flew with open arms \n To fold them round my son, must now return \n To press them to an empty heart again! \n (He sits on the throne.) \n \n SEG. \n That is the King?--My father? \n (After a long pause.) \n I have heard \n That sometimes some blind instinct has been known \n To draw to mutual recognition those"," Who scarce can serve us than our horses worse-- \n They say no one should rob another of \n The single satisfaction he has left \n Of singing his own sorrows; one so great, \n So says some great philosopher, that trouble \n Were worth encount'ring only for the sake \n Of weeping over--what perhaps you know \n Some poet calls the 'luxury of woe.' \n \n FIFE. \n Had I the poet or philosopher"," Something of 'following darkness like a dream,' \n For that we're after. \n \n ROS. \n No, after the sun; \n Trying to catch hold of his glittering skirts \n That hang upon the mountain as he goes. \n \n FIFE. \n Ah, he's himself past catching--as you spoke \n He heard what you were saying, and--just so-- \n Like some scared water-bird,"," From all their woes; in some enchanted sleep \n Carried them off on cloud or dragon-back \n Over the mountains, over the wide Deep, \n And set them down to wake in Fairyland. \n \n CHAMB. \n Oh, my good Lord, you laugh at me--and I \n Right glad to make you laugh at such a price: \n You know me no enchanter: if I were, \n I and my wand as much as your Highness',"," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," No, not for beast. Ah, but my heart begins \n To yearn for her-- \n \n ROS. \n Keep close, and keep your feet \n From serving you as hers did. \n \n FIFE. \n As for beasts, \n If in default of other entertainment, \n We should provide them with ourselves to eat-- \n Bears, lions, wolves-- \n \n ROS. \n Oh, never fear. \n \n FIFE."," Well, a strange turn of fortune has arrested \n The sharp and sudden penalty that else \n Had visited your rashness or mischance: \n In part, your tender youth too--pardon me, \n And touch not where your sword is not to answer-- \n Commends you to my care; not your life only, \n Else by this misadventure forfeited; \n But ev'n your errand, which, by happy chance, \n Chimes with the very business I am on,"," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," Give him his sword; set him on a fresh horse; \n Conduct him safely through my rebel force; \n And so God speed him to his sovereign's side! \n Give me your hand; and whether all awake \n Or all a-dreaming, ride, Clotaldo, ride-- \n Dream-swift--for fear we dreams should overtake. \n \n (A Battle may be supposed to take place; after which) \n \n \n \n \n ACT IV. \n \n \n \n"," Well then--If no magician, as you say, \n Yet setting me a riddle, that my brain, \n With all its senses whirling, cannot solve, \n Yourself or one of these with you must answer-- \n How I--that only last night fell asleep \n Not knowing that the very soil of earth \n I lay down--chain'd--to sleep upon was Poland-- \n Awake to find myself the Lord of it, \n With Lords, and Generals, and Chamberlains,"," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame."],[" That stare on this unnatural sight aghast, \n Listen to one who, Heaven-inspired to do \n What in its secret wisdom Heaven forecast, \n By that same Heaven instructed prophet-wise \n To justify the present in the past. \n What in the sapphire volume of the skies \n Is writ by God's own finger misleads none, \n But him whose vain and misinstructed eyes, \n They mock with misinterpretation,"," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," And Poland of her rightful sovereign. \n For, sure and certain prophets as the stars, \n Although they err not, he who reads them may; \n Or rightly reading--seeing there is One \n Who governs them, as, under Him, they us, \n We are not sure if the rough diagram \n They draw in heaven and we interpret here, \n Be sure of operation, if the Will \n Supreme, that sometimes for some special end \n The course of providential nature breaks"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Those stars, whose eyes, although we see them not, \n By day as well as night are on us still, \n Hang watching up in the meridian heaven \n Which way the balance turns; and if to you-- \n As by your dealing God decide it may, \n To my confusion!--let me answer it \n Unto yourself alone, who shall at once \n Approve yourself to be your father's judge, \n And sovereign of Poland in his stead,"," As suited such unnatural tragedy; \n He coming into light, if light it were \n That darken'd at his very horoscope, \n When heaven's two champions--sun and moon I mean-- \n Suffused in blood upon each other fell \n In such a raging duel of eclipse \n As hath not terrified the universe \n Since that which wept in blood the death of Christ: \n When the dead walk'd, the waters turn'd to blood,"," Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," Into some happier constellation roll'd, \n And brought my better fortune out on earth \n Clear as themselves in heaven!--Prince Segismund \n They call'd me--and at will I shook them off-- \n Will they return again at my command \n Again to call me so?--Within there! You! \n Segismund calls--Prince Segismund-- \n \n (He has seated himself on the throne. \n Enter Chamberlain, with lords in waiting.) \n"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," But One who writes His order in the sky \n I dared not misinterpret nor neglect, \n Who knows with what reluctance-- \n \n SEG. \n Oh, those stars, \n Those stars, that too far up from human blame \n To clear themselves, or careless of the charge, \n Still bear upon their shining shoulders all \n The guilt men shift upon them! \n \n KING. \n Nay, but think: \n Not only on the common score of kind,"," That prophesy his setting with your rise, \n Here holds you ignominiously eclipsed, \n And would Astolfo, Duke of Muscovy, \n Mount to the throne of Poland after him; \n So will not we, your loyal soldiery \n And subjects; neither those of us now first \n Apprised of your existence and your right: \n Nor those that hitherto deluded by \n Allegiance false, their vizors now fling down,","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," By justice, mercy, self-sobriety, \n And all the reasonable attributes \n Without which, impotent to rule himself, \n Others one cannot, and one must not rule; \n But which if you but show the blossom of-- \n All that is past we shall but look upon \n As the first out-fling of a generous nature \n Rioting in first liberty; and if \n This blossom do but promise such a flower \n As promises in turn its kindly fruit:"," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," Out of the ashes of my self-extinction \n A better self revive; if not beneath \n Your feet, beneath your better wisdom bow'd, \n The Sovereignty of Poland I resign, \n With this its golden symbol; which if thus \n Saved with its silver head inviolate, \n Shall nevermore be subject to decline; \n But when the head that it alights on now \n Falls honour'd by the very foe that must,"," Earth and her cities totter'd, and the world \n Seem'd shaken to its last paralysis. \n In such a paroxysm of dissolution \n That son of mine was born; by that first act \n Heading the monstrous catalogue of crime, \n I found fore-written in his horoscope; \n As great a monster in man's history \n As was in nature his nativity; \n So savage, bloody, terrible, and impious,"," To count your cousin for your subject, sir, \n You shall not find her a disloyal. \n \n SEG. \n Oh, \n But there are twin stars in that heavenly face, \n That now I know for having over-ruled \n Those evil ones that darken'd all my past \n And brought me forth from that captivity \n To be the slave of her who set me free. \n \n EST. \n Indeed, my Lord, these eyes have no such power"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below.","drama was at its height. Lope de Vega, the most prolific and, with \n Calderon, the greatest, of Spanish dramatists, was still alive; and by \n his applause gave encouragement to the beginner whose fame was to rival \n his own. The national type of drama which Lope had established was \n maintained in its essential characteristics by Calderon, and he produced \n abundant specimens of all its varieties. Of regular plays he has left \n a hundred and twenty; of \"Autos Sacramentales,\" the peculiar Spanish"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Methinks I'd venture something of a life \n I care so little for-- \n \n SEG. \n Who's that? Clotaldo? Who are you, I say, \n That, venturing in these forbidden rocks, \n Have lighted on my miserable life, \n And your own death? \n \n ROS. \n You would not hurt me, surely? \n \n SEG. \n Not I; but those that, iron as the chain"," Some fairy had exchanged us as we lay \n Two tiny foster-children in one cradle? \n \n ROS. \n Well, be that as it may, Fife, it reminds me \n Of what perhaps I should have thought before, \n But better late than never--You know I love you, \n As you, I know, love me, and loyally \n Have follow'd me thus far in my wild venture. \n Well! now then--having seen me safe thus far"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,","world of our senses is a mere shadow, and that the only reality is to be \n found in the invisible and eternal. The story which forms its basis \n is Oriental in origin, and in the form of the legend of \"Barlaam and \n Josaphat\" was familiar in all the literatures of the Middle Ages. \n Combined with this in the plot is the tale of Abou Hassan from the \n \"Arabian Nights,\" the main situations in which are turned to farcical","allegorical development of the medieval mystery, we have seventy-three; \n besides a considerable number of farces. \n \n The dominant motives in Calderon's dramas are characteristically \n national: fervid loyalty to Church and King, and a sense of honor \n heightened almost to the point of the fantastic. Though his plays \n are laid in a great variety of scenes and ages, the sentiment and the \n characters remain essentially Spanish; and this intensely local quality \n has probably lessened the vogue of Calderon in other countries. In the"," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,","construction and conduct of his plots he showed great skill, yet the \n ingenuity expended in the management of the story did not restrain the \n fiery emotion and opulent imagination which mark his finest speeches \n and give them a lyric quality which some critics regard as his greatest \n distinction. \n \n Of all Calderon's works, \"Life is a Dream\" may be regarded as the most \n universal in its theme. It seeks to teach a lesson that may be learned \n from the philosophers and religious thinkers of many ages--that the"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," No, not for beast. Ah, but my heart begins \n To yearn for her-- \n \n ROS. \n Keep close, and keep your feet \n From serving you as hers did. \n \n FIFE. \n As for beasts, \n If in default of other entertainment, \n We should provide them with ourselves to eat-- \n Bears, lions, wolves-- \n \n ROS. \n Oh, never fear. \n \n FIFE."," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," In the place of her that kick'd me off to ride, \n I'd test his theory upon his hide. \n But no bones broken, madam--sir, I mean?-- \n \n ROS. \n A scratch here that a handkerchief will heal-- \n And you?-- \n \n FIFE. \n A scratch in _quiddity_, or kind: \n But not in '_quo_'--my wounds are all behind.","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Something of 'following darkness like a dream,' \n For that we're after. \n \n ROS. \n No, after the sun; \n Trying to catch hold of his glittering skirts \n That hang upon the mountain as he goes. \n \n FIFE. \n Ah, he's himself past catching--as you spoke \n He heard what you were saying, and--just so-- \n Like some scared water-bird,"," To doubt if I be dreaming I am Fife, \n Who with a lad who call'd herself a boy \n Because--I doubt there's some confusion here-- \n He wore no petticoat, came on a time \n Riding from Muscovy on half a horse, \n Who must have dreamt she was a horse entire, \n To cant me off upon my hinder face \n Under this tower, wall-eyed and musket-tongued,"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," As we say in my country, _dove_ below. \n \n ROS. \n Well, we must follow him as best we may. \n Poland is no great country, and, as rich \n In men and means, will but few acres spare \n To lie beneath her barrier mountains bare. \n We cannot, I believe, be very far \n From mankind or their dwellings. \n \n FIFE. \n Send it so! \n And well provided for man, woman, and beast."," FIFE. \n Ay, that brute \n Has carried all we had away with her, \n Clothing, and cate, and all. \n \n ROS. \n And now the sun, \n Our only friend and guide, about to sink \n Under the stage of earth. \n \n FIFE. \n And enter Night, \n With Capa y Espada--and--pray heaven! \n With but her lanthorn also. \n \n ROS."," Or take this foolish fellow for your sport: \n Dressing me up in visionary glories, \n Which the first air of waking consciousness \n Scatters as fast as from the almander-- \n That, waking one fine morning in full flower, \n One rougher insurrection of the breeze \n Of all her sudden honour disadorns \n To the last blossom, and she stands again \n The winter-naked scare-crow that she was! \n \n CAPT."],[" SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame."," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," And while with princely raiment we invested \n What nature surely modell'd for a Prince-- \n All but the sword--as you directed-- \n \n KING. \n Ay-- \n \n LORD. \n If not too loudly, yet emphatically \n Still with the title of a Prince address'd him. \n \n KING. \n How bore he that? \n \n LORD. \n With all the rest, my liege,"," No, not for beast. Ah, but my heart begins \n To yearn for her-- \n \n ROS. \n Keep close, and keep your feet \n From serving you as hers did. \n \n FIFE. \n As for beasts, \n If in default of other entertainment, \n We should provide them with ourselves to eat-- \n Bears, lions, wolves-- \n \n ROS. \n Oh, never fear. \n \n FIFE."," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," Astolfo his Nephew. \n Estrella his Niece. \n Clotaldo a General in Basilio's Service. \n Rosaura a Muscovite Lady. \n Fife her Attendant. \n \n Chamberlain, Lords in Waiting, Officers, \n Soldiers, etc., in Basilio's Service. \n \n \n The Scene of the first and third Acts lies on the Polish frontier: of \n the second Act, in Warsaw. \n"," Astolfo, Duke of Muscovy, my Lord, \n Saluted, and with gallant compliment \n Welcomed you to your royal title. \n \n SEG. (to Astolfo). \n Oh-- \n You knew of this then? \n \n AST. \n Knew of what, my Lord? \n \n SEG. \n That I was Prince of Poland all the while, \n And you my subject? \n \n AST."," SEG. \n When he?-- \n \n CHAMB. \n Your royal father, King Basilio, Sir. \n \n SEG. \n My royal father--King Basilio. \n You see I answer but as Echo does, \n Not knowing what she listens or repeats. \n This is my throne--this is my palace--Oh, \n But this out of the window?-- \n \n CHAMB. \n Warsaw, Sir, \n Your capital--"],[" Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Earth and her cities totter'd, and the world \n Seem'd shaken to its last paralysis. \n In such a paroxysm of dissolution \n That son of mine was born; by that first act \n Heading the monstrous catalogue of crime, \n I found fore-written in his horoscope; \n As great a monster in man's history \n As was in nature his nativity; \n So savage, bloody, terrible, and impious,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Among the tempest-shatter'd crags \n Shattering your luckless rider \n Back into the tempest pass'd? \n There then lie to starve and die, \n Or find another Phaeton \n Mad-mettled as yourself; for I, \n Wearied, worried, and for-done, \n Alone will down the mountain try, \n That knits his brows against the sun. \n \n FIFE (as to his mule)."," Ay, ev'n the Reason's self that dates with them, \n Should be in essence or intensity \n Hereafter so transcended, and awake \n To a perceptive subtlety so keen \n As to confess themselves befool'd before, \n In all that now they will avouch for most? \n One man--like this--but only so much longer \n As life is longer than a summer's day, \n Believed himself a king upon his throne,"," And slips the sceptre from your palsied hand, \n And Poland for her rightful heir cries out; \n When not only your stol'n monopoly \n Fails you of earthly power, but 'cross the grave \n The judgment-trumpet of another world \n Calls you to count for your abuse of this; \n Then, oh then, terrified by the double danger, \n You drag me from my den-- \n Boast not of giving up at last the power"," There, thou mis-begotten thing, \n Long-ear'd lightning, tail'd tornado, \n Griffin-hoof-in hurricano, \n (I might swear till I were almost \n Hoarse with roaring Asonante) \n Who forsooth because our betters \n Would begin to kick and fling \n You forthwith your noble mind \n Must prove, and kick me off behind, \n Tow'rd the very centre whither \n Gravity was most inclined."," And play'd at hazard with his fellows' lives, \n Who cheaply dream'd away their lives to him. \n The sailor dream'd of tossing on the flood: \n The soldier of his laurels grown in blood: \n The lover of the beauty that he knew \n Must yet dissolve to dusty residue: \n The merchant and the miser of his bags \n Of finger'd gold; the beggar of his rags: \n And all this stage of earth on which we seem"," Which, by the way, now that I think of it, \n May furnish us the key to this high flight \n That royal Eagle we were watching, and \n Talking of as you went to sleep last night. \n \n SEG. \n Last night? Last night? \n \n CLO. \n Ay, do you not remember \n Envying his immunity of flight, \n As, rising from his throne of rock, he sail'd \n Above the mountains far into the West,"," Be cancell'd in the burning heavens, He leaves \n His earthly delegates to execute, \n Of retribution in reward to them \n And woe to those who wrong'd them--Not as you, \n Not you, Clotaldo, knowing not--And yet \n Ev'n to the guiltiest wretch in all the realm, \n Of any treason guilty short of that, \n Stern usage--but assuredly not knowing, \n Not knowing 'twas your sovereign lord, Clotaldo,"," Oh, had the self-same heaven upon his page \n Inscribed my death ere I should read my life \n And, by fore-casting of my own mischance, \n Play not the victim but the suicide \n In my own tragedy!--But you shall hear. \n You know how once, as kings must for their people, \n And only once, as wise men for themselves, \n I woo'd and wedded: know too that my Queen \n In childing died; but not, as you believe,"," Forthwith upon your brows the royal crown, \n That now weighs heavy on my aged brows, \n I will devolve; and while I pass away \n Into some cloister, with my Maker there \n To make my peace in penitence and prayer, \n Happily settle the disorder'd realm \n That now cries loudly for a lineal heir. \n \n SEG. \n And so-- \n When the crown falters on your shaking head,"," Walking as one who knows he soon may wake, \n So fairly carry the full cup, so well \n Disorder'd insolence and passion quell, \n That there be nothing after to upbraid \n Dreamer or doer in the part he play'd, \n Whether To-morrow's dawn shall break the spell, \n Or the Last Trumpet of the eternal Day, \n When Dreaming with the Night shall pass away. \n (Exeunt.) \n \n \n \n \n"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," Then if with any show of human kindness \n He fling discredit, not upon the stars, \n But upon me, their misinterpreter, \n With all apology mistaken age \n Can make to youth it never meant to harm, \n To my son's forehead will I shift the crown \n I long have wish'd upon a younger brow; \n And in religious humiliation, \n For what of worn-out age remains to me, \n Entreat my pardon both of Heaven and him"," My son withholding from his right thus long, \n Shame and remorse to judge and father both: \n Unless remorse and shame together drown'd \n In having what I flung for worthless found. \n But come--already weary with your travel, \n And ill refresh'd by this strange history, \n Until the hours that draw the sun from heaven \n Unite us at the customary board, \n Each to his several chamber: you to rest;"," With all its temples, marts, and arsenals; \n This realm of which this city is the head, \n With all its cities, villages, and tilth, \n Its armies, fleets, and commerce; all your own; \n And all the living souls that make them up, \n From those who now, and those who shall, salute you, \n Down to the poorest peasant of the realm, \n Your subjects--Who, though now their mighty voice"],[" Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Glaring at a suddenly encounter'd lion. \n \n KING. \n And I that hither flew with open arms \n To fold them round my son, must now return \n To press them to an empty heart again! \n (He sits on the throne.) \n \n SEG. \n That is the King?--My father? \n (After a long pause.) \n I have heard \n That sometimes some blind instinct has been known \n To draw to mutual recognition those"," Against the scholar by that master turn'd \n Who to himself reserves the master-stroke. \n Witness whereof this venerable Age, \n Thrice crown'd as Sire, and Sovereign, and Sage, \n Down to the very dust dishonour'd by \n The very means he tempted to defy \n The irresistible. And shall not I, \n Till now the mere dumb instrument that wrought \n The battle Fate has with my father fought,"," Ay, but what some precocious warmth may spill, \n May not an early frost as surely kill? \n \n KING. \n But, Segismund, my son, whose quick discourse \n Proves I have not extinguish'd and destroy'd \n The Man you charge me with extinguishing, \n However it condemn me for the fault \n Of keeping a good light so long eclipsed, \n Reflect! This is the moment upon which"," Into some happier constellation roll'd, \n And brought my better fortune out on earth \n Clear as themselves in heaven!--Prince Segismund \n They call'd me--and at will I shook them off-- \n Will they return again at my command \n Again to call me so?--Within there! You! \n Segismund calls--Prince Segismund-- \n \n (He has seated himself on the throne. \n Enter Chamberlain, with lords in waiting.) \n"," Out of the ashes of my self-extinction \n A better self revive; if not beneath \n Your feet, beneath your better wisdom bow'd, \n The Sovereignty of Poland I resign, \n With this its golden symbol; which if thus \n Saved with its silver head inviolate, \n Shall nevermore be subject to decline; \n But when the head that it alights on now \n Falls honour'd by the very foe that must,"," Where are my soldiers? Blow the trumpet, and \n With one sharp blast scatter these butterflies \n And bring the men of iron to my side, \n With whom a king feels like a king indeed! \n \n (Voices within. Within there! room for the Princess Estrella!) \n \n (Enter Estrella with Ladies.) \n \n ESTRELLA. \n Welcome, my Lord, right welcome to the throne \n That much too long has waited for your coming:"," Fringes with such a gold; or over-laid \n With sanguine-glowing semblances of men, \n Each in his all but living action busied, \n Or from the wall they look from, with fix'd eyes \n Pursuing me; and one most strange of all \n That, as I pass'd the crystal on the wall, \n Look'd from it--left it--and as I return, \n Returns, and looks me face to face again--"," And, but the martial out-burst that proclaims \n His coming, makes all further parley vain, \n Unless my bosom, by which only wise \n I prophesy, now wrongly prophesies, \n By such a happy compact as I dare \n But glance at till the Royal Sage declare. \n \n (Trumpets, etc. Enter King Basilio with his Council.) \n \n ALL. \n The King! God save the King! \n"," --He's dead! He's dead! They've kill'd him-- \n --No--he breathes-- \n And the heart beats--and now he breathes again \n Deeply, as one about to shake away \n The load of sleep. \n \n CAPT. \n Come, let us all kneel round, \n And with a blast of warlike instruments, \n And acclamation of all loyal hearts, \n Rouse and restore him to his royal right,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," And bristle with the advancing soldiery \n That glitters in your rising glory, sir; \n And, at our signal, echo to our cry, \n 'Segismund, King of Poland!' etc. \n \n (Shouts, trumpets, etc.) \n \n SEG. \n Oh, how cheap \n The muster of a countless host of shadows, \n As impotent to do with as to keep! \n All this they said before--to softer music. \n"," My rising glory reach and over-lour-- \n But, reach not I my height, he shall not hold, \n But with me back to his own darkness! \n \n (He dashes toward the throne and is enclosed by the soldiers.) \n \n Traitors! \n Hold off! Unhand me!--Am not I your king? \n And you would strangle him!-- \n But I am breaking with an inward Fire \n Shall scorch you off, and wrap me on the wings"," Of him whose head you threaten with the dust, \n Forthwith shall draw the curtain of the Past \n About you; and this momentary gleam \n Of glory that you think to hold life-fast, \n So coming, so shall vanish, as a dream. \n \n SEG. \n He prophesies; the old man prophesies; \n And, at his trumpet's summons, from the tower \n The leash-bound shadows loosen'd after me"," Sane waking senses, by these witnesses \n Attested, till the story of it all, \n Of which I bring a chapter, be reveal'd, \n Assured of all you see and hear as neither \n Madness nor mockery-- \n \n SEG. \n What then? \n \n CLO. \n All it seems: \n This palace with its royal garniture; \n This capital of which it is the eye,"],[" SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Or take this foolish fellow for your sport: \n Dressing me up in visionary glories, \n Which the first air of waking consciousness \n Scatters as fast as from the almander-- \n That, waking one fine morning in full flower, \n One rougher insurrection of the breeze \n Of all her sudden honour disadorns \n To the last blossom, and she stands again \n The winter-naked scare-crow that she was! \n \n CAPT."," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," Whom Duke Astolfo, Prince of Muscovy, \n With all the solemn vows of wedlock won, \n And would have wedded, as I do believe, \n Had not the cry of Poland for a Prince \n Call'd him from Muscovy to join the prize \n Of Poland with the fair Estrella's eyes. \n I, following him hither, as you saw, \n Was cast upon these rocks; arrested by \n Clotaldo: who, for an old debt of love"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame."," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,"," Some fairy had exchanged us as we lay \n Two tiny foster-children in one cradle? \n \n ROS. \n Well, be that as it may, Fife, it reminds me \n Of what perhaps I should have thought before, \n But better late than never--You know I love you, \n As you, I know, love me, and loyally \n Have follow'd me thus far in my wild venture. \n Well! now then--having seen me safe thus far"," Methinks I'd venture something of a life \n I care so little for-- \n \n SEG. \n Who's that? Clotaldo? Who are you, I say, \n That, venturing in these forbidden rocks, \n Have lighted on my miserable life, \n And your own death? \n \n ROS. \n You would not hurt me, surely? \n \n SEG. \n Not I; but those that, iron as the chain"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," And ev'n my very Gaoler, for my vassals! \n \n Enter suddenly Clotaldo \n \n CLOTALDO. \n Stand all aside \n That I may put into his hand the clue \n To lead him out of this amazement. Sir, \n Vouchsafe your Highness from my bended knee \n Receive my homage first. \n \n SEG. \n Clotaldo! What, \n At last--his old self--undisguised where all","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," Was that his voice within!--Now louder--Oh, \n Clotaldo, what! so soon begun to roar!-- \n Again! above the music--But betide \n What may, until the moment, we must hide. \n \n (Exeunt King and Clotaldo.) \n \n SEGISMUND (within). \n Forbear! I stifle with your perfume! Cease \n Your crazy salutations! peace, I say"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," And, as I trust, with both of us a few \n White hairs to fall in yours. \n \n SEG. \n Well said, well said! \n Basilio, my father--well--Clotaldo \n Is he my kinsman too? \n \n CHAMB. \n Oh, my good Lord, \n A General simply in your Highness' service, \n Than whom your Highness has no trustier. \n \n SEG."," I to contrive with old Clotaldo best \n The method of a stranger thing than old \n Time has a yet among his records told. \n \n Exeunt. \n \n \n \n \n ACT II \n \n \n \n \n SCENE I--A Throne-room in the Palace. Music within. \n \n \n (Enter King and Clotaldo, meeting a Lord in waiting) \n \n KING."],[" That stare on this unnatural sight aghast, \n Listen to one who, Heaven-inspired to do \n What in its secret wisdom Heaven forecast, \n By that same Heaven instructed prophet-wise \n To justify the present in the past. \n What in the sapphire volume of the skies \n Is writ by God's own finger misleads none, \n But him whose vain and misinstructed eyes, \n They mock with misinterpretation,"," Those stars, whose eyes, although we see them not, \n By day as well as night are on us still, \n Hang watching up in the meridian heaven \n Which way the balance turns; and if to you-- \n As by your dealing God decide it may, \n To my confusion!--let me answer it \n Unto yourself alone, who shall at once \n Approve yourself to be your father's judge, \n And sovereign of Poland in his stead,"," But One who writes His order in the sky \n I dared not misinterpret nor neglect, \n Who knows with what reluctance-- \n \n SEG. \n Oh, those stars, \n Those stars, that too far up from human blame \n To clear themselves, or careless of the charge, \n Still bear upon their shining shoulders all \n The guilt men shift upon them! \n \n KING. \n Nay, but think: \n Not only on the common score of kind,"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," And Poland of her rightful sovereign. \n For, sure and certain prophets as the stars, \n Although they err not, he who reads them may; \n Or rightly reading--seeing there is One \n Who governs them, as, under Him, they us, \n We are not sure if the rough diagram \n They draw in heaven and we interpret here, \n Be sure of operation, if the Will \n Supreme, that sometimes for some special end \n The course of providential nature breaks"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," Whom Duke Astolfo, Prince of Muscovy, \n With all the solemn vows of wedlock won, \n And would have wedded, as I do believe, \n Had not the cry of Poland for a Prince \n Call'd him from Muscovy to join the prize \n Of Poland with the fair Estrella's eyes. \n I, following him hither, as you saw, \n Was cast upon these rocks; arrested by \n Clotaldo: who, for an old debt of love"," Are but fair vizors to black hearts below, \n Or only serve to bring the wearer woe! \n But to yourself--If haply the redress \n That I am here upon may help to yours. \n I heard you tax the heavens with ordering, \n And men for executing, what, alas! \n I now behold. But why, and who they are \n Who do, and you who suffer-- \n \n SEG. (pointing upwards). \n Ask of them,"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," (Shouts, etc. God save Estrella, Queen of Poland!) \n \n SEG (to Clotaldo). \n You \n That with unflinching duty to your King, \n Till countermanded by the mightier Power, \n Have held your Prince a captive in the tower, \n Henceforth as strictly guard him on the throne \n No less my people's keeper than my own. \n You stare upon me all, amazed to hear \n The word of civil justice from such lips"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," AST. \n Nay, but indeed, fair cousin-- \n \n EST. \n Ay, let Deed \n Measure your words, indeed your flowers of speech \n Ill with your iron equipage atone; \n Irony indeed, and wordy compliment. \n \n AST. \n Indeed, indeed, you wrong me, royal cousin, \n And fair as royal, misinterpreting \n What, even for the end you think I aim at,"," Creatures, but man too prospers with his kind; \n Who leaving all his guilty fellows free, \n Under your fatal auspice and divine \n Compulsion, leagued in some mysterious ban \n Against one innocent and helpless man, \n Abuse their liberty to murder mine: \n And sworn to silence, like their masters mute \n In heaven, and like them twirling through the mask \n Of darkness, answering to all I ask, \n Point up to them whose work they execute! \n"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," To fathers, kings, and heaven that order'd all. \n But, mad or not, my hour is come, and I \n Will have my reckoning--Either you lie, \n Under the skirt of sinless majesty \n Shrouding your treason; or if _that_ indeed, \n Guilty itself, take refuge in the stars \n That cannot hear the charge, or disavow-- \n You, whether doer or deviser, who \n Come first to hand, shall pay the penalty"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Methinks I'd venture something of a life \n I care so little for-- \n \n SEG. \n Who's that? Clotaldo? Who are you, I say, \n That, venturing in these forbidden rocks, \n Have lighted on my miserable life, \n And your own death? \n \n ROS. \n You would not hurt me, surely? \n \n SEG. \n Not I; but those that, iron as the chain"," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,"," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame."],[" SEG. \n When he?-- \n \n CHAMB. \n Your royal father, King Basilio, Sir. \n \n SEG. \n My royal father--King Basilio. \n You see I answer but as Echo does, \n Not knowing what she listens or repeats. \n This is my throne--this is my palace--Oh, \n But this out of the window?-- \n \n CHAMB. \n Warsaw, Sir, \n Your capital--"," From which no royal wrong shall drive him more. \n \n (They all kneel round his bed: trumpets, drums, etc.) \n \n SOLDIERS. \n --Segismund! Segismund! Prince Segismund! \n --King Segismund! Down with Basilio! \n --Down with Astolfo! Segismund our King! etc. \n --He stares upon us wildly. He cannot speak. \n --I said so--driv'n him mad."," Of sovereignty, but even that prime \n Inheritance that all men share alike, \n And chain'd him--chain'd him!--like a wild beast's whelp. \n Among as savage mountains, to this hour? \n Answer if this be thus. \n \n KING. \n Oh, Segismund, \n In all that I have done that seems to you, \n And, without further hearing, fairly seems, \n Unnatural and cruel--'twas not I,"," --Speak to him, Captain. \n \n CAPTAIN. \n Oh Royal Segismund, our Prince and King, \n Look on us--listen to us--answer us, \n Your faithful soldiery and subjects, now \n About you kneeling, but on fire to rise \n And cleave a passage through your enemies, \n Until we seat you on your lawful throne. \n For though your father, King Basilio, \n Now King of Poland, jealous of the stars","purposes in the Induction to the Shakespearean \"Taming of the Shrew.\" \n But with Calderon the theme is lifted altogether out of the atmosphere \n of comedy, and is worked up with poetic sentiment and a touch of \n mysticism into a symbolic drama of profound and universal philosophical \n significance. \n \n \n \n \n \n LIFE IS A DREAM \n \n \n \n DRAMATIS PERSONAE \n \n Basilio King of Poland. \n Segismund his Son."," Yet not so glorious, Segismund, if you \n Your visionary honour wore so ill \n As to work murder and revenge on those \n Who meant you well. \n \n SEG. \n Who meant me!--me! their Prince \n Chain'd like a felon-- \n \n CLO. \n Stay, stay--Not so fast, \n You dream'd the Prince, remember. \n \n SEG. \n Then in dream \n Revenged it only. \n"," That I--the Segismund you know so long \n No longer than the sun that rose to-day \n Rose--and from what you know-- \n Rose to be Prince of Poland? \n \n CLO. \n So to be \n Acknowledged and entreated, Sir. \n \n SEG. \n So be \n Acknowledged and entreated-- \n Well--But if now by all, by some at least \n So known--if not entreated--heretofore--"," Astolfo, Duke of Muscovy, my Lord, \n Saluted, and with gallant compliment \n Welcomed you to your royal title. \n \n SEG. (to Astolfo). \n Oh-- \n You knew of this then? \n \n AST. \n Knew of what, my Lord? \n \n SEG. \n That I was Prince of Poland all the while, \n And you my subject? \n \n AST."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Yet one whom these white locks, if nothing else, \n to patient acquiescence consecrate, \n I now demand and even supplicate. \n \n AST. \n Such news, and from such lips, may well suspend \n The tongue to loyal answer most attuned; \n But if to me as spokesman of my faction \n Your Highness looks for answer; I reply \n For one and all--Let Segismund, whom now \n We first hear tell of as your living heir,"," --Our own King Segismund, etc. \n (They all rise.) \n \n SEG. \n Again? So soon?--What, not yet done with me? \n The sun is little higher up, I think, \n Than when I last lay down, \n To bury in the depth of your own sea \n You that infest its shallows. \n \n CAPT. \n Sir! \n \n SEG. \n And now,"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign.","SCENE I.--The Tower, etc., as in Act I. Scene I. \n \n Segismund, as at first, and Clotaldo. \n \n CLOTALDO. \n Princes and princesses, and counsellors \n Fluster'd to right and left--my life made at-- \n But that was nothing \n Even the white-hair'd, venerable King \n Seized on--Indeed, you made wild work of it;"," KING. \n That, living, you might learn to live, and rule \n Yourself and Poland. \n \n SEG. \n By the means you took \n To spoil for either? \n \n KING. \n Nay, but, Segismund! \n You know not--cannot know--happily wanting \n The sad experience on which knowledge grows, \n How the too early consciousness of power \n Spoils the best blood; nor whether for your long"," Now the mere mouth-piece of its victory \n Oh, shall not I, the champions' sword laid down, \n Be yet more shamed to wear the teacher's gown, \n And, blushing at the part I had to play, \n Down where that honour'd head I was to lay \n By this more just submission of my own, \n The treason Fate has forced on me atone? \n \n KING. \n Oh, Segismund, in whom I see indeed,"," Ay, but what some precocious warmth may spill, \n May not an early frost as surely kill? \n \n KING. \n But, Segismund, my son, whose quick discourse \n Proves I have not extinguish'd and destroy'd \n The Man you charge me with extinguishing, \n However it condemn me for the fault \n Of keeping a good light so long eclipsed, \n Reflect! This is the moment upon which"," And with one hand clench'd in his tangled hair \n And with a sigh as if his heart would break-- \n \n (During this Segismund has entered from the fortress, with a \n torch.) \n \n SEGISMUND. \n Once more the storm has roar'd itself away, \n Splitting the crags of God as it retires; \n But sparing still what it should only blast, \n This guilty piece of human handiwork,"," Yourself, ev'n more than any subject here, \n Are bound by yet another and more strong \n Allegiance--King Basilio--your Father-- \n \n SEG. \n Basilio--King--my father!-- \n \n CLO. \n Oh, my Lord, \n Let me beseech you on my bended knee, \n For your own sake--for Poland's--and for his, \n Who, looking up for counsel to the skies, \n Did what he did under authority"," (Shouts, etc. God save Estrella, Queen of Poland!) \n \n SEG (to Clotaldo). \n You \n That with unflinching duty to your King, \n Till countermanded by the mightier Power, \n Have held your Prince a captive in the tower, \n Henceforth as strictly guard him on the throne \n No less my people's keeper than my own. \n You stare upon me all, amazed to hear \n The word of civil justice from such lips"," To which the kings of earth themselves are subject, \n And whose behest not only he that suffers, \n But he that executes, not comprehends, \n But only He that orders it-- \n \n SEG. \n The King-- \n My father!--Either I am mad already, \n Or that way driving fast--or I should know \n That fathers do not use their children so, \n Or men were loosed from all allegiance"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," No, not for beast. Ah, but my heart begins \n To yearn for her-- \n \n ROS. \n Keep close, and keep your feet \n From serving you as hers did. \n \n FIFE. \n As for beasts, \n If in default of other entertainment, \n We should provide them with ourselves to eat-- \n Bears, lions, wolves-- \n \n ROS. \n Oh, never fear. \n \n FIFE."," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," As we say in my country, _dove_ below. \n \n ROS. \n Well, we must follow him as best we may. \n Poland is no great country, and, as rich \n In men and means, will but few acres spare \n To lie beneath her barrier mountains bare. \n We cannot, I believe, be very far \n From mankind or their dwellings. \n \n FIFE. \n Send it so! \n And well provided for man, woman, and beast."," Pent in the rock leaps toward her at her touch, \n Mine, before all the cousins in Muscovy! \n You call me Prince of Poland, and yourselves \n My subjects--traitors therefore to this hour, \n Who let me perish all my youth away \n Chain'd there among the mountains; till, forsooth, \n Terrified at your treachery foregone, \n You spirit me up here, I know not how, \n Popinjay-like invest me like yourselves,"," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," Something of 'following darkness like a dream,' \n For that we're after. \n \n ROS. \n No, after the sun; \n Trying to catch hold of his glittering skirts \n That hang upon the mountain as he goes. \n \n FIFE. \n Ah, he's himself past catching--as you spoke \n He heard what you were saying, and--just so-- \n Like some scared water-bird,"," FIFE. \n Why, 'tis his own: \n Oh, 'tis some wild man of the woods; I've heard \n They build and carry torches-- \n \n ROS. \n Never Ape \n Bore such a brow before the heavens as that-- \n Chain'd as you say too!-- \n \n FIFE. \n Oh, that dreadful chain! \n \n ROS. \n And now he sets the lamp down by his side,"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"],[" That prophesy his setting with your rise, \n Here holds you ignominiously eclipsed, \n And would Astolfo, Duke of Muscovy, \n Mount to the throne of Poland after him; \n So will not we, your loyal soldiery \n And subjects; neither those of us now first \n Apprised of your existence and your right: \n Nor those that hitherto deluded by \n Allegiance false, their vizors now fling down,"," That stare on this unnatural sight aghast, \n Listen to one who, Heaven-inspired to do \n What in its secret wisdom Heaven forecast, \n By that same Heaven instructed prophet-wise \n To justify the present in the past. \n What in the sapphire volume of the skies \n Is writ by God's own finger misleads none, \n But him whose vain and misinstructed eyes, \n They mock with misinterpretation,"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Whom Duke Astolfo, Prince of Muscovy, \n With all the solemn vows of wedlock won, \n And would have wedded, as I do believe, \n Had not the cry of Poland for a Prince \n Call'd him from Muscovy to join the prize \n Of Poland with the fair Estrella's eyes. \n I, following him hither, as you saw, \n Was cast upon these rocks; arrested by \n Clotaldo: who, for an old debt of love"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," (Voices within. Room for Astolfo, Duke of Muscovy!) \n \n (Enter Astolfo) \n \n ASTOLFO. \n Welcome, thrice welcome, the auspicious day, \n When from the mountain where he darkling lay, \n The Polish sun into the firmament \n Sprung all the brighter for his late ascent, \n And in meridian glory-- \n \n SEG. \n Where is he? \n Why must I ask this twice?--"," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," How whetted now with such a taste of blood, \n And thus far conquest! \n \n KING. \n Ay, and how he fought! \n Oh how he fought, Astolfo; ranks of men \n Falling as swathes of grass before the mower; \n I could but pause to gaze at him, although, \n Like the pale horseman of the Apocalypse, \n Each moment brought him nearer--Yet I say,"," And Poland of her rightful sovereign. \n For, sure and certain prophets as the stars, \n Although they err not, he who reads them may; \n Or rightly reading--seeing there is One \n Who governs them, as, under Him, they us, \n We are not sure if the rough diagram \n They draw in heaven and we interpret here, \n Be sure of operation, if the Will \n Supreme, that sometimes for some special end \n The course of providential nature breaks"," Of holy faith, and in such other lore \n As may solace his life-imprisonment, \n And tame perhaps the Savage prophesied \n Toward such a trial as I aim at now, \n And now demand your special hearing to. \n What in this fearful business I have done, \n Judge whether lightly or maliciously,-- \n I, with my own and only flesh and blood, \n And proper lineal inheritor! \n I swear, had his foretold atrocities"," Astolfo, Duke of Muscovy, my Lord, \n Saluted, and with gallant compliment \n Welcomed you to your royal title. \n \n SEG. (to Astolfo). \n Oh-- \n You knew of this then? \n \n AST. \n Knew of what, my Lord? \n \n SEG. \n That I was Prince of Poland all the while, \n And you my subject? \n \n AST."," Of conflagration from a kindled pyre \n Of lying prophecies and prophet-kings \n Above the extinguish'd stars--Reach me the sword \n He flung me--Fill me such a bowl of wine \n As that you woke the day with-- \n \n KING. \n And shall close,-- \n But of the vintage that Clotaldo knows. \n \n (Exeunt.) \n \n \n \n \n ACT III. \n \n \n"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," Who, should he live, would tear his country's entrails, \n As by his birth his mother's; with which crime \n Beginning, he should clench the dreadful tale \n By trampling on his father's silver head. \n All which fore-reading, and his act of birth \n Fate's warrant that I read his life aright; \n To save his country from his mother's fate, \n I gave abroad that he had died with her"," And, but the martial out-burst that proclaims \n His coming, makes all further parley vain, \n Unless my bosom, by which only wise \n I prophesy, now wrongly prophesies, \n By such a happy compact as I dare \n But glance at till the Royal Sage declare. \n \n (Trumpets, etc. Enter King Basilio with his Council.) \n \n ALL. \n The King! God save the King! \n"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Of him whose head you threaten with the dust, \n Forthwith shall draw the curtain of the Past \n About you; and this momentary gleam \n Of glory that you think to hold life-fast, \n So coming, so shall vanish, as a dream. \n \n SEG. \n He prophesies; the old man prophesies; \n And, at his trumpet's summons, from the tower \n The leash-bound shadows loosen'd after me"," As never yet seem'd tuned to such discourse. \n But listen--In that same enchanted tower, \n Not long ago I learn'd it from a dream \n Expounded by this ancient prophet here; \n And which he told me, should it come again, \n How I should bear myself beneath it; not \n As then with angry passion all on fire, \n Arguing and making a distemper'd soul; \n But ev'n with justice, mercy, self-control,"," Pardon me, my Lord, \n But some few hours ago myself I learn'd \n Your dignity; but, knowing it, no more \n Than when I knew it not, your subject. \n \n SEG. \n What then? \n \n AST. \n Your Highness' chamberlain ev'n now has told you; \n Astolfo, Duke of Muscovy, \n Your father's sister's son; your cousin, sir:"],[" SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," The self-same foe who now pretends your right, \n Withholding mine--that, of itself alone, \n I know the royal blood that runs in you \n Would vindicate, regardless of your own: \n The right of injured innocence; and, more, \n Spite of this epicene attire, a woman's; \n And of a noble stock I will not name \n Till I, who brought it, have retrieved the shame."," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," Out-crest the plumage of your lady court? \n \n EST. \n But to defend what yours would force from me. \n \n AST. \n Might not I, lady, say the same of mine? \n But not to come to battle, ev'n of words, \n With a fair lady, and my kinswoman; \n And as averse to stand before your face, \n Defenceless, and condemn'd in your disgrace,","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," CLO. \n And whither bound? \n \n ROS. \n Hither--if this be Poland; \n But with no ill design on her, and therefore \n Taking it ill that we should thus be stopt \n Upon her threshold so uncivilly. \n \n CLO. \n Whither in Poland? \n \n ROS. \n To the capital. \n \n CLO. \n And on what errand? \n \n ROS."],[" That stare on this unnatural sight aghast, \n Listen to one who, Heaven-inspired to do \n What in its secret wisdom Heaven forecast, \n By that same Heaven instructed prophet-wise \n To justify the present in the past. \n What in the sapphire volume of the skies \n Is writ by God's own finger misleads none, \n But him whose vain and misinstructed eyes, \n They mock with misinterpretation,"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," But One who writes His order in the sky \n I dared not misinterpret nor neglect, \n Who knows with what reluctance-- \n \n SEG. \n Oh, those stars, \n Those stars, that too far up from human blame \n To clear themselves, or careless of the charge, \n Still bear upon their shining shoulders all \n The guilt men shift upon them! \n \n KING. \n Nay, but think: \n Not only on the common score of kind,"," Those stars, whose eyes, although we see them not, \n By day as well as night are on us still, \n Hang watching up in the meridian heaven \n Which way the balance turns; and if to you-- \n As by your dealing God decide it may, \n To my confusion!--let me answer it \n Unto yourself alone, who shall at once \n Approve yourself to be your father's judge, \n And sovereign of Poland in his stead,"," And Poland of her rightful sovereign. \n For, sure and certain prophets as the stars, \n Although they err not, he who reads them may; \n Or rightly reading--seeing there is One \n Who governs them, as, under Him, they us, \n We are not sure if the rough diagram \n They draw in heaven and we interpret here, \n Be sure of operation, if the Will \n Supreme, that sometimes for some special end \n The course of providential nature breaks"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," (Shouts, etc. God save Estrella, Queen of Poland!) \n \n SEG (to Clotaldo). \n You \n That with unflinching duty to your King, \n Till countermanded by the mightier Power, \n Have held your Prince a captive in the tower, \n Henceforth as strictly guard him on the throne \n No less my people's keeper than my own. \n You stare upon me all, amazed to hear \n The word of civil justice from such lips"," ESTRELLA (Kneeling.) \n Oh, Royal Sir!-- \n \n ASTOLFO (Kneeling.) \n God save your Majesty-- \n \n KING. \n Rise both of you, \n Rise to my arms, Astolfo and Estrella; \n As my two sisters' children always mine, \n Now more than ever, since myself and Poland \n Solely to you for our succession look'd."," AST. \n Nay, but indeed, fair cousin-- \n \n EST. \n Ay, let Deed \n Measure your words, indeed your flowers of speech \n Ill with your iron equipage atone; \n Irony indeed, and wordy compliment. \n \n AST. \n Indeed, indeed, you wrong me, royal cousin, \n And fair as royal, misinterpreting \n What, even for the end you think I aim at,"," Whom Duke Astolfo, Prince of Muscovy, \n With all the solemn vows of wedlock won, \n And would have wedded, as I do believe, \n Had not the cry of Poland for a Prince \n Call'd him from Muscovy to join the prize \n Of Poland with the fair Estrella's eyes. \n I, following him hither, as you saw, \n Was cast upon these rocks; arrested by \n Clotaldo: who, for an old debt of love"," Are but fair vizors to black hearts below, \n Or only serve to bring the wearer woe! \n But to yourself--If haply the redress \n That I am here upon may help to yours. \n I heard you tax the heavens with ordering, \n And men for executing, what, alas! \n I now behold. But why, and who they are \n Who do, and you who suffer-- \n \n SEG. (pointing upwards). \n Ask of them,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," Creatures, but man too prospers with his kind; \n Who leaving all his guilty fellows free, \n Under your fatal auspice and divine \n Compulsion, leagued in some mysterious ban \n Against one innocent and helpless man, \n Abuse their liberty to murder mine: \n And sworn to silence, like their masters mute \n In heaven, and like them twirling through the mask \n Of darkness, answering to all I ask, \n Point up to them whose work they execute! \n"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," By justice, mercy, self-sobriety, \n And all the reasonable attributes \n Without which, impotent to rule himself, \n Others one cannot, and one must not rule; \n But which if you but show the blossom of-- \n All that is past we shall but look upon \n As the first out-fling of a generous nature \n Rioting in first liberty; and if \n This blossom do but promise such a flower \n As promises in turn its kindly fruit:"],[" As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Walking as one who knows he soon may wake, \n So fairly carry the full cup, so well \n Disorder'd insolence and passion quell, \n That there be nothing after to upbraid \n Dreamer or doer in the part he play'd, \n Whether To-morrow's dawn shall break the spell, \n Or the Last Trumpet of the eternal Day, \n When Dreaming with the Night shall pass away. \n (Exeunt.) \n \n \n \n \n"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," Be cancell'd in the burning heavens, He leaves \n His earthly delegates to execute, \n Of retribution in reward to them \n And woe to those who wrong'd them--Not as you, \n Not you, Clotaldo, knowing not--And yet \n Ev'n to the guiltiest wretch in all the realm, \n Of any treason guilty short of that, \n Stern usage--but assuredly not knowing, \n Not knowing 'twas your sovereign lord, Clotaldo,"," And play'd at hazard with his fellows' lives, \n Who cheaply dream'd away their lives to him. \n The sailor dream'd of tossing on the flood: \n The soldier of his laurels grown in blood: \n The lover of the beauty that he knew \n Must yet dissolve to dusty residue: \n The merchant and the miser of his bags \n Of finger'd gold; the beggar of his rags: \n And all this stage of earth on which we seem"," Earth and her cities totter'd, and the world \n Seem'd shaken to its last paralysis. \n In such a paroxysm of dissolution \n That son of mine was born; by that first act \n Heading the monstrous catalogue of crime, \n I found fore-written in his horoscope; \n As great a monster in man's history \n As was in nature his nativity; \n So savage, bloody, terrible, and impious,"," Once more, you savage heavens, I ask of you-- \n I, looking up to those relentless eyes \n That, now the greater lamp is gone below, \n Begin to muster in the listening skies; \n In all the shining circuits you have gone \n About this theatre of human woe, \n What greater sorrow have you gazed upon \n Than down this narrow chink you witness still; \n And which, did you yourselves not fore-devise,"," Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," Among the tempest-shatter'd crags \n Shattering your luckless rider \n Back into the tempest pass'd? \n There then lie to starve and die, \n Or find another Phaeton \n Mad-mettled as yourself; for I, \n Wearied, worried, and for-done, \n Alone will down the mountain try, \n That knits his brows against the sun. \n \n FIFE (as to his mule)."," Ay, ev'n the Reason's self that dates with them, \n Should be in essence or intensity \n Hereafter so transcended, and awake \n To a perceptive subtlety so keen \n As to confess themselves befool'd before, \n In all that now they will avouch for most? \n One man--like this--but only so much longer \n As life is longer than a summer's day, \n Believed himself a king upon his throne,"," There, thou mis-begotten thing, \n Long-ear'd lightning, tail'd tornado, \n Griffin-hoof-in hurricano, \n (I might swear till I were almost \n Hoarse with roaring Asonante) \n Who forsooth because our betters \n Would begin to kick and fling \n You forthwith your noble mind \n Must prove, and kick me off behind, \n Tow'rd the very centre whither \n Gravity was most inclined."," And slips the sceptre from your palsied hand, \n And Poland for her rightful heir cries out; \n When not only your stol'n monopoly \n Fails you of earthly power, but 'cross the grave \n The judgment-trumpet of another world \n Calls you to count for your abuse of this; \n Then, oh then, terrified by the double danger, \n You drag me from my den-- \n Boast not of giving up at last the power"," Which, by the way, now that I think of it, \n May furnish us the key to this high flight \n That royal Eagle we were watching, and \n Talking of as you went to sleep last night. \n \n SEG. \n Last night? Last night? \n \n CLO. \n Ay, do you not remember \n Envying his immunity of flight, \n As, rising from his throne of rock, he sail'd \n Above the mountains far into the West,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," Oh, had the self-same heaven upon his page \n Inscribed my death ere I should read my life \n And, by fore-casting of my own mischance, \n Play not the victim but the suicide \n In my own tragedy!--But you shall hear. \n You know how once, as kings must for their people, \n And only once, as wise men for themselves, \n I woo'd and wedded: know too that my Queen \n In childing died; but not, as you believe,"," His being slew; with midnight secrecy \n I had him carried to a lonely tower \n Hewn from the mountain-barriers of the realm, \n And under strict anathema of death \n Guarded from men's inquisitive approach, \n Save from the trusty few one needs must trust; \n Who while his fasten'd body they provide \n With salutary garb and nourishment, \n Instruct his soul in what no soul may miss"," And each must play his part out manfully, \n Leaving the rest to heaven. \n \n KING. \n Whose written words \n If I should misinterpret or transgress! \n But as you say-- \n (To the Lord, who exit.) \n You, back to him at once; \n Clotaldo, you, when he is somewhat used \n To the new world of which they call him Prince, \n Where place and face, and all, is strange to him,"," My son withholding from his right thus long, \n Shame and remorse to judge and father both: \n Unless remorse and shame together drown'd \n In having what I flung for worthless found. \n But come--already weary with your travel, \n And ill refresh'd by this strange history, \n Until the hours that draw the sun from heaven \n Unite us at the customary board, \n Each to his several chamber: you to rest;"," SEG. \n Not ev'n the Dead, \n Call'd to the resurrection of the blest, \n Shall so directly drop all memory \n Of woes and wrongs foregone! \n \n CLO. \n But not resent-- \n Purged by the trial of that sorrow past \n For full fruition of their present bliss. \n \n SEG. \n But leaving with the Judge what, till this earth"],[" SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS.","detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n","attire; and, after her, Fife.) \n \n ROSAURA. \n There, four-footed Fury, blast \n Engender'd brute, without the wit \n Of brute, or mouth to match the bit \n Of man--art satisfied at last? \n Who, when thunder roll'd aloof, \n Tow'rd the spheres of fire your ears \n Pricking, and the granite kicking \n Into lightning with your hoof,"," With your known features and familiar garb \n Shall then, as chorus to the scene, accost him, \n And by such earnest of that old and too \n Familiar world, assure him of the new. \n Last in the strange procession, I myself \n Will by one full and last development \n Complete the plot for that catastrophe \n That he must put to all; God grant it be \n The crown of Poland on his brows!--Hark! hark!--","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," And ev'n my very Gaoler, for my vassals! \n \n Enter suddenly Clotaldo \n \n CLOTALDO. \n Stand all aside \n That I may put into his hand the clue \n To lead him out of this amazement. Sir, \n Vouchsafe your Highness from my bended knee \n Receive my homage first. \n \n SEG. \n Clotaldo! What, \n At last--his old self--undisguised where all"," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Set me on the road, \n And you shall be the nearer to my answer. \n \n CLO. (aside). \n So resolute and ready to reply, \n And yet so young--and-- \n (Aloud.) \n Well,-- \n Your business was not surely with the man \n We found you with? \n \n ROS. \n He was the first we saw,-- \n And strangers and benighted, as we were,"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"],["detail and probability, so long as a good story, with strong, rapid, and \n picturesque action and situation, was set before them. \n \n \n \n \n ACT I \n \n \n \n \n SCENE I--A pass of rocks, over which a storm is rolling away, \n \n and the sun setting: in the foreground, half-way down, a fortress. \n \n \n (Enter first from the topmost rock Rosaura, as from horseback, in man's"," By the same hand you owe it to-- \n (Seizing Clotaldo's sword and about to strike him.) \n \n (Enter Rosaura suddenly.) \n \n ROSAURA. \n Fie, my Lord--forbear, \n What! a young hand raised against silver hair!-- \n \n (She retreats through the crowd.) \n \n SEG. \n Stay! stay! What come and vanish'd as before-- \n I scarce remember how--but-- \n"," SOL. \n The Page who spurr'd us hither, \n And now, dismounted from a foaming horse-- \n \n (Enter Rosaura) \n \n ROSAURA. \n Where is--but where I need no further ask \n Where the majestic presence, all in arms, \n Mutely proclaims and vindicates himself. \n \n FIFE. \n My darling Lady-lord-- \n \n ROS."," SOLDIERS (bringing in Rosaura and Fife). \n Here are two of them, \n Whoever more to follow-- \n \n CLO. \n Who are you, \n That in defiance of known proclamation \n Are found, at night-fall too, about this place? \n \n FIFE. \n Oh, my Lord, she--I mean he-- \n \n ROS. \n Silence, Fife,"," (Rosaura and Fife hide in the rocks; Enter Clotaldo) \n \n CLOTALDO. \n These stormy days you like to see the last of \n Are but ill opiates, Segismund, I think, \n For night to follow: and to-night you seem \n More than your wont disorder'd. What! A sword? \n Within there! \n \n (Enter Soldiers with black vizors and torches) \n \n FIFE."," ASTOLFO. \n My royal cousin, if so near in blood, \n Till this auspicious meeting scarcely known, \n Till all that beauty promised in the bud \n Is now to its consummate blossom blown, \n Well met at last; and may-- \n \n ESTRELLA. \n Enough, my Lord, \n Of compliment devised for you by some \n Court tailor, and, believe me, still too short \n To cover the designful heart below."," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," Is not so clear about it--but I know \n One test you gave me to discern between, \n Which mad and dreaming people cannot master; \n Or if the dreamer could, so best secure \n A comfortable waking--Was't not so? \n (To Rosaura). \n Needs not your intercession now, you see, \n As in the dream before-- \n Clotaldo, rough old nurse and tutor too \n That only traitor wert, to me if true--"," Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Alas! like him who caught the cast-off husk \n Of what another bragg'd of feeding on, \n Here's one that from the refuse of my sorrows \n Could gather all the banquet he desires! \n Poor soul, poor soul! \n \n FIFE. \n Speak lower--he will hear you. \n \n ROS. \n And if he should, what then? Why, if he would, \n He could not harm me--Nay, and if he could,","As this version of Calderon's drama is not for acting, a higher and \n wider mountain-scene than practicable may be imagined for Rosaura's \n descent in the first Act and the soldiers' ascent in the last. The bad \n watch kept by the sentinels who guarded their state-prisoner, together \n with much else (not all!) that defies sober sense in this wild drama, I \n must leave Calderon to answer for; whose audience were not critical of"," There where you have made your bed \n In it lie; for, wet or dry, \n Let what will for me betide you, \n Burning, blowing, freezing, hailing; \n Famine waste you: devil ride you: \n Tempest baste you black and blue: \n (To Rosaura.) \n There! I think in downright railing \n I can hold my own with you. \n \n ROS. \n Ah, my good Fife, whose merry loyal pipe,"," Shall see us both together on the way. \n \n ROS. \n Thus then what I for misadventure blamed, \n Directly draws me where my wishes aim'd. \n \n (Exeunt.) \n \n \n \n \n SCENE II.--The Palace at Warsaw \n \n \n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \n other, the Princess Estrella, with hers. \n"," And calls me to the very point you aim at. \n \n ROS. \n The capital? \n \n CLO. \n Ay, the capital; and ev'n \n That capital of capitals, the Court: \n Where you may plead, and, I may promise, win \n Pardon for this, you say unwilling, trespass, \n And prosecute what else you have at heart, \n With me to help you forward all I can; \n Provided all in loyalty to those"," And ev'n my very Gaoler, for my vassals! \n \n Enter suddenly Clotaldo \n \n CLOTALDO. \n Stand all aside \n That I may put into his hand the clue \n To lead him out of this amazement. Sir, \n Vouchsafe your Highness from my bended knee \n Receive my homage first. \n \n SEG. \n Clotaldo! What, \n At last--his old self--undisguised where all"," Was that his voice within!--Now louder--Oh, \n Clotaldo, what! so soon begun to roar!-- \n Again! above the music--But betide \n What may, until the moment, we must hide. \n \n (Exeunt King and Clotaldo.) \n \n SEGISMUND (within). \n Forbear! I stifle with your perfume! Cease \n Your crazy salutations! peace, I say"," And, as I trust, with both of us a few \n White hairs to fall in yours. \n \n SEG. \n Well said, well said! \n Basilio, my father--well--Clotaldo \n Is he my kinsman too? \n \n CHAMB. \n Oh, my good Lord, \n A General simply in your Highness' service, \n Than whom your Highness has no trustier. \n \n SEG."," Quicker and thicker than you can escape, \n Adopt your visionary soldiery, \n Who, having struck a solid chain away, \n Now put an airy sword into your hand, \n And harnessing you piece-meal till you stand \n Amidst us all complete in glittering, \n If unsubstantial, steel-- \n \n ROSAURA (without). \n The Prince! The Prince! \n \n CAPT. \n Who calls for him? \n"," Whom, as to-night, I have so often ask'd, \n And ask'd in vain. \n \n ROS. \n But surely, surely-- \n \n SEG. \n Hark! \n The trumpet of the watch to shut us in. \n Oh, should they find you!--Quick! Behind the rocks! \n To-morrow--if to-morrow-- \n \n ROS. (flinging her sword toward him). \n Take my sword! \n"," I to contrive with old Clotaldo best \n The method of a stranger thing than old \n Time has a yet among his records told. \n \n Exeunt. \n \n \n \n \n ACT II \n \n \n \n \n SCENE I--A Throne-room in the Palace. Music within. \n \n \n (Enter King and Clotaldo, meeting a Lord in waiting) \n \n KING."],[" Whose golden letters on whose sapphire leaf, \n Distinguishing the page of day and night, \n And all the revolution of the year; \n So with the turning volume where they lie \n Still changing their prophetic syllables, \n They register the destinies of men: \n Until with eyes that, dim with years indeed, \n Are quicker to pursue the stars than rule them, \n I get the start of Time, and from his hand \n The wand of tardy revelation draw."," Swear it upon this Symbol, \n and champion of the holy faith \n I wear it to defend. \n \n SEG (to himself). \n My eyes have not deceived me, nor my ears, \n With this transfiguration, nor the strain \n Of royal welcome that arose and blew, \n Breathed from no lying lips, along with it. \n For here Clotaldo comes, his own old self, \n Who, if not Lie and phantom with the rest--"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," And unconditional of time and space, \n Can pour infinities. \n \n SEG. \n And I remember \n How the old man they call'd the King, who wore \n The crown of gold about his silver hair, \n And a mysterious girdle round his waist, \n Just when my rage was roaring at its height, \n And after which it all was dark again, \n Bid me beware lest all should be a dream. \n \n CLO."," Against the scholar by that master turn'd \n Who to himself reserves the master-stroke. \n Witness whereof this venerable Age, \n Thrice crown'd as Sire, and Sovereign, and Sage, \n Down to the very dust dishonour'd by \n The very means he tempted to defy \n The irresistible. And shall not I, \n Till now the mere dumb instrument that wrought \n The battle Fate has with my father fought,"," With your known features and familiar garb \n Shall then, as chorus to the scene, accost him, \n And by such earnest of that old and too \n Familiar world, assure him of the new. \n Last in the strange procession, I myself \n Will by one full and last development \n Complete the plot for that catastrophe \n That he must put to all; God grant it be \n The crown of Poland on his brows!--Hark! hark!--"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," Glaring at a suddenly encounter'd lion. \n \n KING. \n And I that hither flew with open arms \n To fold them round my son, must now return \n To press them to an empty heart again! \n (He sits on the throne.) \n \n SEG. \n That is the King?--My father? \n (After a long pause.) \n I have heard \n That sometimes some blind instinct has been known \n To draw to mutual recognition those"," As all things mortal, lay it in the dust, \n Shall star-like shift to his successor's brow. \n \n (Shouts, trumpets, etc. God save King Segismund!) \n \n SEG. \n For what remains-- \n As for my own, so for my people's peace, \n Astolfo's and Estrella's plighted hands \n I disunite, and taking hers to mine, \n His to one yet more dearly his resign."," Into some happier constellation roll'd, \n And brought my better fortune out on earth \n Clear as themselves in heaven!--Prince Segismund \n They call'd me--and at will I shook them off-- \n Will they return again at my command \n Again to call me so?--Within there! You! \n Segismund calls--Prince Segismund-- \n \n (He has seated himself on the throne. \n Enter Chamberlain, with lords in waiting.) \n"," Of him whose head you threaten with the dust, \n Forthwith shall draw the curtain of the Past \n About you; and this momentary gleam \n Of glory that you think to hold life-fast, \n So coming, so shall vanish, as a dream. \n \n SEG. \n He prophesies; the old man prophesies; \n And, at his trumpet's summons, from the tower \n The leash-bound shadows loosen'd after me"," Fringes with such a gold; or over-laid \n With sanguine-glowing semblances of men, \n Each in his all but living action busied, \n Or from the wall they look from, with fix'd eyes \n Pursuing me; and one most strange of all \n That, as I pass'd the crystal on the wall, \n Look'd from it--left it--and as I return, \n Returns, and looks me face to face again--"," And, but the martial out-burst that proclaims \n His coming, makes all further parley vain, \n Unless my bosom, by which only wise \n I prophesy, now wrongly prophesies, \n By such a happy compact as I dare \n But glance at till the Royal Sage declare. \n \n (Trumpets, etc. Enter King Basilio with his Council.) \n \n ALL. \n The King! God save the King! \n"," --He's dead! He's dead! They've kill'd him-- \n --No--he breathes-- \n And the heart beats--and now he breathes again \n Deeply, as one about to shake away \n The load of sleep. \n \n CAPT. \n Come, let us all kneel round, \n And with a blast of warlike instruments, \n And acclamation of all loyal hearts, \n Rouse and restore him to his royal right,"," Out of the ashes of my self-extinction \n A better self revive; if not beneath \n Your feet, beneath your better wisdom bow'd, \n The Sovereignty of Poland I resign, \n With this its golden symbol; which if thus \n Saved with its silver head inviolate, \n Shall nevermore be subject to decline; \n But when the head that it alights on now \n Falls honour'd by the very foe that must,"," And with one hand clench'd in his tangled hair \n And with a sigh as if his heart would break-- \n \n (During this Segismund has entered from the fortress, with a \n torch.) \n \n SEGISMUND. \n Once more the storm has roar'd itself away, \n Splitting the crags of God as it retires; \n But sparing still what it should only blast, \n This guilty piece of human handiwork,"," Charter'd with larger liberty to slay \n Their guiltless kind, the tyrants of the air \n Soar zenith-upward with their screaming prey, \n Making pure heaven drop blood upon the stage \n Of under earth, where lion, wolf, and bear, \n And they that on their treacherous velvet wear \n Figure and constellation like your own, \n With their still living slaughter bound away \n Over the barriers of the mountain cage,"," My rising glory reach and over-lour-- \n But, reach not I my height, he shall not hold, \n But with me back to his own darkness! \n \n (He dashes toward the throne and is enclosed by the soldiers.) \n \n Traitors! \n Hold off! Unhand me!--Am not I your king? \n And you would strangle him!-- \n But I am breaking with an inward Fire \n Shall scorch you off, and wrap me on the wings"," Then if with any show of human kindness \n He fling discredit, not upon the stars, \n But upon me, their misinterpreter, \n With all apology mistaken age \n Can make to youth it never meant to harm, \n To my son's forehead will I shift the crown \n I long have wish'd upon a younger brow; \n And in religious humiliation, \n For what of worn-out age remains to me, \n Entreat my pardon both of Heaven and him"," Those stars, whose eyes, although we see them not, \n By day as well as night are on us still, \n Hang watching up in the meridian heaven \n Which way the balance turns; and if to you-- \n As by your dealing God decide it may, \n To my confusion!--let me answer it \n Unto yourself alone, who shall at once \n Approve yourself to be your father's judge, \n And sovereign of Poland in his stead,"],[" Till the good king be here to clear it all-- \n Will you vouchsafe to hear me? \n \n EST. \n As you will. \n \n AST. \n You know that, when about to leave this world, \n Our royal grandsire, King Alfonso, left \n Three children; one a son, Basilio, \n Who wears--long may he wear! the crown of Poland; \n And daughters twain: of whom the elder was"," Sane waking senses, by these witnesses \n Attested, till the story of it all, \n Of which I bring a chapter, be reveal'd, \n Assured of all you see and hear as neither \n Madness nor mockery-- \n \n SEG. \n What then? \n \n CLO. \n All it seems: \n This palace with its royal garniture; \n This capital of which it is the eye,"," He owes my family, with all his might \n Served, and had served me further, till my cause \n Clash'd with his duty to his sovereign, \n Which, as became a loyal subject, sir, \n (And never sovereign had a loyaller,) \n Was still his first. He carried me to Court, \n Where, for the second time, I crossed your path; \n Where, as I watch'd my opportunity, \n Suddenly broke this public passion out;"," Ay, ev'n the Reason's self that dates with them, \n Should be in essence or intensity \n Hereafter so transcended, and awake \n To a perceptive subtlety so keen \n As to confess themselves befool'd before, \n In all that now they will avouch for most? \n One man--like this--but only so much longer \n As life is longer than a summer's day, \n Believed himself a king upon his throne,"," With all its temples, marts, and arsenals; \n This realm of which this city is the head, \n With all its cities, villages, and tilth, \n Its armies, fleets, and commerce; all your own; \n And all the living souls that make them up, \n From those who now, and those who shall, salute you, \n Down to the poorest peasant of the realm, \n Your subjects--Who, though now their mighty voice"," Has never by a second marriage yet \n Replaced, as Poland ask'd of him, the heir \n An early marriage brought and took away; \n His young queen dying with the son she bore him; \n And in such alienation grown so old \n As leaves no other hope of heir to Poland \n Than his two sisters' children; you, fair cousin, \n And me; for whom the Commons of the realm \n Divide themselves into two several factions;"," Forthwith upon your brows the royal crown, \n That now weighs heavy on my aged brows, \n I will devolve; and while I pass away \n Into some cloister, with my Maker there \n To make my peace in penitence and prayer, \n Happily settle the disorder'd realm \n That now cries loudly for a lineal heir. \n \n SEG. \n And so-- \n When the crown falters on your shaking head,"," CHAMB. \n I rejoice \n That unadvised of any but the voice \n Of royal instinct in the blood, your Highness \n Has ta'en the chair that you were born to fill. \n \n SEG. \n The chair? \n \n CHAMB. \n The royal throne of Poland, Sir, \n Which may your Royal Highness keep as long \n As he that now rules from it shall have ruled \n When heaven has call'd him to itself. \n"," Pent in the rock leaps toward her at her touch, \n Mine, before all the cousins in Muscovy! \n You call me Prince of Poland, and yourselves \n My subjects--traitors therefore to this hour, \n Who let me perish all my youth away \n Chain'd there among the mountains; till, forsooth, \n Terrified at your treachery foregone, \n You spirit me up here, I know not how, \n Popinjay-like invest me like yourselves,"," Your mother, Clorilena, now some while \n Exalted to a more than mortal throne; \n And Recisunda, mine, the younger sister, \n Who, married to the Prince of Muscovy, \n Gave me the light which may she live to see \n Herself for many, many years to come. \n Meanwhile, good King Basilio, as you know, \n Deep in abstruser studies than this world, \n And busier with the stars than lady's eyes,"," And while with princely raiment we invested \n What nature surely modell'd for a Prince-- \n All but the sword--as you directed-- \n \n KING. \n Ay-- \n \n LORD. \n If not too loudly, yet emphatically \n Still with the title of a Prince address'd him. \n \n KING. \n How bore he that? \n \n LORD. \n With all the rest, my liege,"," To which the kings of earth themselves are subject, \n And whose behest not only he that suffers, \n But he that executes, not comprehends, \n But only He that orders it-- \n \n SEG. \n The King-- \n My father!--Either I am mad already, \n Or that way driving fast--or I should know \n That fathers do not use their children so, \n Or men were loosed from all allegiance"," And now give ear, you and your several factions, \n And you, the Peers and Princes of this realm, \n While I reveal the purport of this meeting \n In words whose necessary length I trust \n No unsuccessful issue shall excuse. \n You and the world who have surnamed me \"Sage\" \n Know that I owe that title, if my due, \n To my long meditation on the book \n Which ever lying open overhead-- \n The book of heaven, I mean--so few have read;"," In a black turret which the wolf howl'd round, \n And woke again upon a golden bed, \n Round which as clouds about a rising sun, \n In scarce less glittering caparison, \n Gather'd gay shapes that, underneath a breeze \n Of music, handed him upon their knees \n The wine of heaven in a cup of gold, \n And still in soft melodious under-song \n Hailing me Prince of Poland!--'Segismund,'"," And slips the sceptre from your palsied hand, \n And Poland for her rightful heir cries out; \n When not only your stol'n monopoly \n Fails you of earthly power, but 'cross the grave \n The judgment-trumpet of another world \n Calls you to count for your abuse of this; \n Then, oh then, terrified by the double danger, \n You drag me from my den-- \n Boast not of giving up at last the power"," His being slew; with midnight secrecy \n I had him carried to a lonely tower \n Hewn from the mountain-barriers of the realm, \n And under strict anathema of death \n Guarded from men's inquisitive approach, \n Save from the trusty few one needs must trust; \n Who while his fasten'd body they provide \n With salutary garb and nourishment, \n Instruct his soul in what no soul may miss"," --He's dead! He's dead! They've kill'd him-- \n --No--he breathes-- \n And the heart beats--and now he breathes again \n Deeply, as one about to shake away \n The load of sleep. \n \n CAPT. \n Come, let us all kneel round, \n And with a blast of warlike instruments, \n And acclamation of all loyal hearts, \n Rouse and restore him to his royal right,"," Once he's his eye upon you. All grows dark-- \n You glitter finely too--Well--we are dreaming \n But when the bullet's off--Heaven save the mark! \n So tell my mister--mastress-- \n (Dies.) \n \n KING. \n Oh God! How this poor creature's ignorance \n Confounds our so-call'd wisdom! Even now \n When death has stopt his lips, the wound through which"," My son withholding from his right thus long, \n Shame and remorse to judge and father both: \n Unless remorse and shame together drown'd \n In having what I flung for worthless found. \n But come--already weary with your travel, \n And ill refresh'd by this strange history, \n Until the hours that draw the sun from heaven \n Unite us at the customary board, \n Each to his several chamber: you to rest;"," Where scarce a ray of sunshine found him out, \n In which the poorest beggar of my realm \n At least to human-full proportion grows-- \n Me! Me--whose station was the kingdom's top \n To flourish in, reaching my head to heaven, \n And with my branches overshadowing \n The meaner growth below! \n \n CLO. \n Still with the same \n Fidelity-- \n \n SEG. \n To me!-- \n"],[" Of sovereignty, but even that prime \n Inheritance that all men share alike, \n And chain'd him--chain'd him!--like a wild beast's whelp. \n Among as savage mountains, to this hour? \n Answer if this be thus. \n \n KING. \n Oh, Segismund, \n In all that I have done that seems to you, \n And, without further hearing, fairly seems, \n Unnatural and cruel--'twas not I,"," SEG. \n When he?-- \n \n CHAMB. \n Your royal father, King Basilio, Sir. \n \n SEG. \n My royal father--King Basilio. \n You see I answer but as Echo does, \n Not knowing what she listens or repeats. \n This is my throne--this is my palace--Oh, \n But this out of the window?-- \n \n CHAMB. \n Warsaw, Sir, \n Your capital--"," From which no royal wrong shall drive him more. \n \n (They all kneel round his bed: trumpets, drums, etc.) \n \n SOLDIERS. \n --Segismund! Segismund! Prince Segismund! \n --King Segismund! Down with Basilio! \n --Down with Astolfo! Segismund our King! etc. \n --He stares upon us wildly. He cannot speak. \n --I said so--driv'n him mad."," Yet not so glorious, Segismund, if you \n Your visionary honour wore so ill \n As to work murder and revenge on those \n Who meant you well. \n \n SEG. \n Who meant me!--me! their Prince \n Chain'd like a felon-- \n \n CLO. \n Stay, stay--Not so fast, \n You dream'd the Prince, remember. \n \n SEG. \n Then in dream \n Revenged it only. \n"," --Speak to him, Captain. \n \n CAPTAIN. \n Oh Royal Segismund, our Prince and King, \n Look on us--listen to us--answer us, \n Your faithful soldiery and subjects, now \n About you kneeling, but on fire to rise \n And cleave a passage through your enemies, \n Until we seat you on your lawful throne. \n For though your father, King Basilio, \n Now King of Poland, jealous of the stars"," (Enter Segismund, Rosaura, Soldiers, etc.) \n \n SEG. \n Where is the King? \n \n KING (prostrating himself). \n Behold him,--by this late \n Anticipation of resistless fate, \n Thus underneath your feet his golden crown, \n And the white head that wears it, laying down, \n His fond resistance hope to expiate. \n \n SEG. \n Princes and warriors of Poland--you"," KING. \n That, living, you might learn to live, and rule \n Yourself and Poland. \n \n SEG. \n By the means you took \n To spoil for either? \n \n KING. \n Nay, but, Segismund! \n You know not--cannot know--happily wanting \n The sad experience on which knowledge grows, \n How the too early consciousness of power \n Spoils the best blood; nor whether for your long"," To which the kings of earth themselves are subject, \n And whose behest not only he that suffers, \n But he that executes, not comprehends, \n But only He that orders it-- \n \n SEG. \n The King-- \n My father!--Either I am mad already, \n Or that way driving fast--or I should know \n That fathers do not use their children so, \n Or men were loosed from all allegiance"," Not knowing what we did; but too ashamed \n Not to undo ourselves what we had done. \n \n CAPT. \n No matter, nor by whosesoever hands, \n Provided done. Come; we will bring him forth \n Out of that stony darkness here abroad, \n Where air and sunshine sooner shall disperse \n The sleepy fume which they have drugg'd him with. \n \n (They enter the tower, and thence bring out Segismund asleep on a"," Ay, but what some precocious warmth may spill, \n May not an early frost as surely kill? \n \n KING. \n But, Segismund, my son, whose quick discourse \n Proves I have not extinguish'd and destroy'd \n The Man you charge me with extinguishing, \n However it condemn me for the fault \n Of keeping a good light so long eclipsed, \n Reflect! This is the moment upon which","purposes in the Induction to the Shakespearean \"Taming of the Shrew.\" \n But with Calderon the theme is lifted altogether out of the atmosphere \n of comedy, and is worked up with poetic sentiment and a touch of \n mysticism into a symbolic drama of profound and universal philosophical \n significance. \n \n \n \n \n \n LIFE IS A DREAM \n \n \n \n DRAMATIS PERSONAE \n \n Basilio King of Poland. \n Segismund his Son."," That I--the Segismund you know so long \n No longer than the sun that rose to-day \n Rose--and from what you know-- \n Rose to be Prince of Poland? \n \n CLO. \n So to be \n Acknowledged and entreated, Sir. \n \n SEG. \n So be \n Acknowledged and entreated-- \n Well--But if now by all, by some at least \n So known--if not entreated--heretofore--"," You used so sternly. \n \n CLO. \n Ay, sir; with the same \n Devotion and fidelity that now \n Does homage to him for my sovereign. \n \n SEG. \n Fidelity that held his Prince in chains! \n \n CLO. \n Fidelity more fast than had it loosed him-- \n \n SEG. \n Ev'n from the very dawn of consciousness \n Down at the bottom of the barren rocks,"," And with one hand clench'd in his tangled hair \n And with a sigh as if his heart would break-- \n \n (During this Segismund has entered from the fortress, with a \n torch.) \n \n SEGISMUND. \n Once more the storm has roar'd itself away, \n Splitting the crags of God as it retires; \n But sparing still what it should only blast, \n This guilty piece of human handiwork,"," --Our own King Segismund, etc. \n (They all rise.) \n \n SEG. \n Again? So soon?--What, not yet done with me? \n The sun is little higher up, I think, \n Than when I last lay down, \n To bury in the depth of your own sea \n You that infest its shallows. \n \n CAPT. \n Sir! \n \n SEG. \n And now,","SCENE I.--The Tower, etc., as in Act I. Scene I. \n \n Segismund, as at first, and Clotaldo. \n \n CLOTALDO. \n Princes and princesses, and counsellors \n Fluster'd to right and left--my life made at-- \n But that was nothing \n Even the white-hair'd, venerable King \n Seized on--Indeed, you made wild work of it;"," Was that his voice within!--Now louder--Oh, \n Clotaldo, what! so soon begun to roar!-- \n Again! above the music--But betide \n What may, until the moment, we must hide. \n \n (Exeunt King and Clotaldo.) \n \n SEGISMUND (within). \n Forbear! I stifle with your perfume! Cease \n Your crazy salutations! peace, I say"," Yourself, ev'n more than any subject here, \n Are bound by yet another and more strong \n Allegiance--King Basilio--your Father-- \n \n SEG. \n Basilio--King--my father!-- \n \n CLO. \n Oh, my Lord, \n Let me beseech you on my bended knee, \n For your own sake--for Poland's--and for his, \n Who, looking up for counsel to the skies, \n Did what he did under authority"," SEG. \n And all the moving people? \n \n CHAMB. \n Your subjects and your vassals like ourselves. \n \n SEG. \n Ay, ay--my subjects--in my capital-- \n Warsaw--and I am Prince of it--You see \n It needs much iteration to strike sense \n Into the human echo. \n \n CHAMB. \n Left awhile \n In the quick brain, the word will quickly to \n Full meaning blow. \n"," And what had those same stars to tell of me \n That should compel a father and a king \n So much against that double instinct? \n \n KING. \n That, \n Which I have brought you hither, at my peril, \n Against their written warning, to disprove, \n By justice, mercy, human kindliness. \n \n SEG. \n And therefore made yourself their instrument \n To make your son the savage and the brute"]],"string":"[\n [\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" As we say in my country, _dove_ below. \\n \\n ROS. \\n Well, we must follow him as best we may. \\n Poland is no great country, and, as rich \\n In men and means, will but few acres spare \\n To lie beneath her barrier mountains bare. \\n We cannot, I believe, be very far \\n From mankind or their dwellings. \\n \\n FIFE. \\n Send it so! \\n And well provided for man, woman, and beast.\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" Something of 'following darkness like a dream,' \\n For that we're after. \\n \\n ROS. \\n No, after the sun; \\n Trying to catch hold of his glittering skirts \\n That hang upon the mountain as he goes. \\n \\n FIFE. \\n Ah, he's himself past catching--as you spoke \\n He heard what you were saying, and--just so-- \\n Like some scared water-bird,\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" No, not for beast. Ah, but my heart begins \\n To yearn for her-- \\n \\n ROS. \\n Keep close, and keep your feet \\n From serving you as hers did. \\n \\n FIFE. \\n As for beasts, \\n If in default of other entertainment, \\n We should provide them with ourselves to eat-- \\n Bears, lions, wolves-- \\n \\n ROS. \\n Oh, never fear. \\n \\n FIFE.\",\n \" Some fairy had exchanged us as we lay \\n Two tiny foster-children in one cradle? \\n \\n ROS. \\n Well, be that as it may, Fife, it reminds me \\n Of what perhaps I should have thought before, \\n But better late than never--You know I love you, \\n As you, I know, love me, and loyally \\n Have follow'd me thus far in my wild venture. \\n Well! now then--having seen me safe thus far\",\n \" Or else, \\n Default of other beasts, beastlier men, \\n Cannibals, Anthropophagi, bare Poles \\n Who never knew a tailor but by taste. \\n \\n ROS. \\n Look, look! Unless my fancy misconceive \\n With twilight--down among the rocks there, Fife-- \\n Some human dwelling, surely-- \\n Or think you but a rock torn from the rocks \\n In some convulsion like to-day's, and perch'd\",\n \" Quaintly among them in mock-masonry? \\n \\n FIFE. \\n Most likely that, I doubt. \\n \\n ROS. \\n No, no--for look! \\n A square of darkness opening in it-- \\n \\n FIFE. \\n Oh, I don't half like such openings!-- \\n \\n ROS. \\n Like the loom \\n Of night from which she spins her outer gloom-- \\n \\n FIFE.\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" Or take this foolish fellow for your sport: \\n Dressing me up in visionary glories, \\n Which the first air of waking consciousness \\n Scatters as fast as from the almander-- \\n That, waking one fine morning in full flower, \\n One rougher insurrection of the breeze \\n Of all her sudden honour disadorns \\n To the last blossom, and she stands again \\n The winter-naked scare-crow that she was! \\n \\n CAPT.\",\n \" About that under-sapphire, whereinto \\n Yourselves transfusing you yourselves englass! \\n \\n ROS. \\n What mystery is this? \\n \\n FIFE. \\n Why, the man's mad: \\n That's all the mystery. That's why he's chain'd-- \\n And why-- \\n \\n SEG. \\n Nor Nature's guiltless life alone-- \\n But that which lives on blood and rapine; nay,\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \" What if the next world which they tell one of \\n Be only next across the mountain then, \\n Though I must never see it till I die, \\n And you one of its angels? \\n \\n ROS. \\n Alas; alas! \\n No angel! And the face you think so fair, \\n 'Tis but the dismal frame-work of these rocks \\n That makes it seem so; and the world I come from-- \\n Alas, alas, too many faces there\",\n \" Pent in the rock leaps toward her at her touch, \\n Mine, before all the cousins in Muscovy! \\n You call me Prince of Poland, and yourselves \\n My subjects--traitors therefore to this hour, \\n Who let me perish all my youth away \\n Chain'd there among the mountains; till, forsooth, \\n Terrified at your treachery foregone, \\n You spirit me up here, I know not how, \\n Popinjay-like invest me like yourselves,\"\n ],\n [\n \" That stare on this unnatural sight aghast, \\n Listen to one who, Heaven-inspired to do \\n What in its secret wisdom Heaven forecast, \\n By that same Heaven instructed prophet-wise \\n To justify the present in the past. \\n What in the sapphire volume of the skies \\n Is writ by God's own finger misleads none, \\n But him whose vain and misinstructed eyes, \\n They mock with misinterpretation,\",\n \" Those stars, whose eyes, although we see them not, \\n By day as well as night are on us still, \\n Hang watching up in the meridian heaven \\n Which way the balance turns; and if to you-- \\n As by your dealing God decide it may, \\n To my confusion!--let me answer it \\n Unto yourself alone, who shall at once \\n Approve yourself to be your father's judge, \\n And sovereign of Poland in his stead,\",\n \" But One who writes His order in the sky \\n I dared not misinterpret nor neglect, \\n Who knows with what reluctance-- \\n \\n SEG. \\n Oh, those stars, \\n Those stars, that too far up from human blame \\n To clear themselves, or careless of the charge, \\n Still bear upon their shining shoulders all \\n The guilt men shift upon them! \\n \\n KING. \\n Nay, but think: \\n Not only on the common score of kind,\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" And Poland of her rightful sovereign. \\n For, sure and certain prophets as the stars, \\n Although they err not, he who reads them may; \\n Or rightly reading--seeing there is One \\n Who governs them, as, under Him, they us, \\n We are not sure if the rough diagram \\n They draw in heaven and we interpret here, \\n Be sure of operation, if the Will \\n Supreme, that sometimes for some special end \\n The course of providential nature breaks\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" Are but fair vizors to black hearts below, \\n Or only serve to bring the wearer woe! \\n But to yourself--If haply the redress \\n That I am here upon may help to yours. \\n I heard you tax the heavens with ordering, \\n And men for executing, what, alas! \\n I now behold. But why, and who they are \\n Who do, and you who suffer-- \\n \\n SEG. (pointing upwards). \\n Ask of them,\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Whom Duke Astolfo, Prince of Muscovy, \\n With all the solemn vows of wedlock won, \\n And would have wedded, as I do believe, \\n Had not the cry of Poland for a Prince \\n Call'd him from Muscovy to join the prize \\n Of Poland with the fair Estrella's eyes. \\n I, following him hither, as you saw, \\n Was cast upon these rocks; arrested by \\n Clotaldo: who, for an old debt of love\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Creatures, but man too prospers with his kind; \\n Who leaving all his guilty fellows free, \\n Under your fatal auspice and divine \\n Compulsion, leagued in some mysterious ban \\n Against one innocent and helpless man, \\n Abuse their liberty to murder mine: \\n And sworn to silence, like their masters mute \\n In heaven, and like them twirling through the mask \\n Of darkness, answering to all I ask, \\n Point up to them whose work they execute! \\n\",\n \" AST. \\n Nay, but indeed, fair cousin-- \\n \\n EST. \\n Ay, let Deed \\n Measure your words, indeed your flowers of speech \\n Ill with your iron equipage atone; \\n Irony indeed, and wordy compliment. \\n \\n AST. \\n Indeed, indeed, you wrong me, royal cousin, \\n And fair as royal, misinterpreting \\n What, even for the end you think I aim at,\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" (Shouts, etc. God save Estrella, Queen of Poland!) \\n \\n SEG (to Clotaldo). \\n You \\n That with unflinching duty to your King, \\n Till countermanded by the mightier Power, \\n Have held your Prince a captive in the tower, \\n Henceforth as strictly guard him on the throne \\n No less my people's keeper than my own. \\n You stare upon me all, amazed to hear \\n The word of civil justice from such lips\",\n \" To fathers, kings, and heaven that order'd all. \\n But, mad or not, my hour is come, and I \\n Will have my reckoning--Either you lie, \\n Under the skirt of sinless majesty \\n Shrouding your treason; or if _that_ indeed, \\n Guilty itself, take refuge in the stars \\n That cannot hear the charge, or disavow-- \\n You, whether doer or deviser, who \\n Come first to hand, shall pay the penalty\",\n \" By justice, mercy, self-sobriety, \\n And all the reasonable attributes \\n Without which, impotent to rule himself, \\n Others one cannot, and one must not rule; \\n But which if you but show the blossom of-- \\n All that is past we shall but look upon \\n As the first out-fling of a generous nature \\n Rioting in first liberty; and if \\n This blossom do but promise such a flower \\n As promises in turn its kindly fruit:\"\n ],\n [\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" Something of 'following darkness like a dream,' \\n For that we're after. \\n \\n ROS. \\n No, after the sun; \\n Trying to catch hold of his glittering skirts \\n That hang upon the mountain as he goes. \\n \\n FIFE. \\n Ah, he's himself past catching--as you spoke \\n He heard what you were saying, and--just so-- \\n Like some scared water-bird,\",\n \" As we say in my country, _dove_ below. \\n \\n ROS. \\n Well, we must follow him as best we may. \\n Poland is no great country, and, as rich \\n In men and means, will but few acres spare \\n To lie beneath her barrier mountains bare. \\n We cannot, I believe, be very far \\n From mankind or their dwellings. \\n \\n FIFE. \\n Send it so! \\n And well provided for man, woman, and beast.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" Against the scholar by that master turn'd \\n Who to himself reserves the master-stroke. \\n Witness whereof this venerable Age, \\n Thrice crown'd as Sire, and Sovereign, and Sage, \\n Down to the very dust dishonour'd by \\n The very means he tempted to defy \\n The irresistible. And shall not I, \\n Till now the mere dumb instrument that wrought \\n The battle Fate has with my father fought,\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Out of the ashes of my self-extinction \\n A better self revive; if not beneath \\n Your feet, beneath your better wisdom bow'd, \\n The Sovereignty of Poland I resign, \\n With this its golden symbol; which if thus \\n Saved with its silver head inviolate, \\n Shall nevermore be subject to decline; \\n But when the head that it alights on now \\n Falls honour'd by the very foe that must,\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" And may it win us some more kindliness \\n Than we have met with yet. \\n \\n CLO (examining the sword). \\n More mystery! \\n How came you by this weapon? \\n \\n ROS. \\n From my father. \\n \\n CLO. \\n And do you know whence he? \\n \\n ROS. \\n Oh, very well: \\n From one of this same Polish realm of yours, \\n Who promised a return, should come the chance,\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Some fairy had exchanged us as we lay \\n Two tiny foster-children in one cradle? \\n \\n ROS. \\n Well, be that as it may, Fife, it reminds me \\n Of what perhaps I should have thought before, \\n But better late than never--You know I love you, \\n As you, I know, love me, and loyally \\n Have follow'd me thus far in my wild venture. \\n Well! now then--having seen me safe thus far\"\n ],\n [\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" --Speak to him, Captain. \\n \\n CAPTAIN. \\n Oh Royal Segismund, our Prince and King, \\n Look on us--listen to us--answer us, \\n Your faithful soldiery and subjects, now \\n About you kneeling, but on fire to rise \\n And cleave a passage through your enemies, \\n Until we seat you on your lawful throne. \\n For though your father, King Basilio, \\n Now King of Poland, jealous of the stars\",\n \" Yourself, ev'n more than any subject here, \\n Are bound by yet another and more strong \\n Allegiance--King Basilio--your Father-- \\n \\n SEG. \\n Basilio--King--my father!-- \\n \\n CLO. \\n Oh, my Lord, \\n Let me beseech you on my bended knee, \\n For your own sake--for Poland's--and for his, \\n Who, looking up for counsel to the skies, \\n Did what he did under authority\",\n \" And, but the martial out-burst that proclaims \\n His coming, makes all further parley vain, \\n Unless my bosom, by which only wise \\n I prophesy, now wrongly prophesies, \\n By such a happy compact as I dare \\n But glance at till the Royal Sage declare. \\n \\n (Trumpets, etc. Enter King Basilio with his Council.) \\n \\n ALL. \\n The King! God save the King! \\n\",\n \" SEG. \\n When he?-- \\n \\n CHAMB. \\n Your royal father, King Basilio, Sir. \\n \\n SEG. \\n My royal father--King Basilio. \\n You see I answer but as Echo does, \\n Not knowing what she listens or repeats. \\n This is my throne--this is my palace--Oh, \\n But this out of the window?-- \\n \\n CHAMB. \\n Warsaw, Sir, \\n Your capital--\",\n \" --Our own King Segismund, etc. \\n (They all rise.) \\n \\n SEG. \\n Again? So soon?--What, not yet done with me? \\n The sun is little higher up, I think, \\n Than when I last lay down, \\n To bury in the depth of your own sea \\n You that infest its shallows. \\n \\n CAPT. \\n Sir! \\n \\n SEG. \\n And now,\",\n \" And while with princely raiment we invested \\n What nature surely modell'd for a Prince-- \\n All but the sword--as you directed-- \\n \\n KING. \\n Ay-- \\n \\n LORD. \\n If not too loudly, yet emphatically \\n Still with the title of a Prince address'd him. \\n \\n KING. \\n How bore he that? \\n \\n LORD. \\n With all the rest, my liege,\",\n \" Of all my subjects and my vassals here \\n Not one to do my bidding? Hark! A trumpet! \\n The trumpet-- \\n \\n (He pauses as the trumpet sounds as in Act I., \\n and masked Soldiers gradually fill in behind the Throne.) \\n \\n KING (rising before his throne). \\n Ay, indeed, the trumpet blows \\n A memorable note, to summon those \\n Who, if forthwith you fall not at the feet\",\n \" (Skirmishes, shouts, firing, etc. After some time enter King \\n Basilio, \\n Astolfo, and Clotaldo) \\n \\n KING. \\n The day is lost! \\n \\n AST. \\n Do not despair--the rebels-- \\n \\n KING. \\n Alas! the vanquish'd only are the rebels. \\n \\n CLOTALDO. \\n Ev'n if this battle lost us, 'tis but one\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Of one--whom I will spare for sparing him: \\n But he must come and plead with that same voice \\n That pray'd for me--in vain. \\n \\n CHAMB. \\n He is gone for, \\n And shall attend your pleasure, sir. Meanwhile, \\n Will not your Highness, as in courtesy, \\n Return your royal cousin's greeting? \\n \\n SEG. \\n Whose? \\n \\n CHAMB.\",\n \" And bristle with the advancing soldiery \\n That glitters in your rising glory, sir; \\n And, at our signal, echo to our cry, \\n 'Segismund, King of Poland!' etc. \\n \\n (Shouts, trumpets, etc.) \\n \\n SEG. \\n Oh, how cheap \\n The muster of a countless host of shadows, \\n As impotent to do with as to keep! \\n All this they said before--to softer music. \\n\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" CHAMB. \\n I rejoice \\n That unadvised of any but the voice \\n Of royal instinct in the blood, your Highness \\n Has ta'en the chair that you were born to fill. \\n \\n SEG. \\n The chair? \\n \\n CHAMB. \\n The royal throne of Poland, Sir, \\n Which may your Royal Highness keep as long \\n As he that now rules from it shall have ruled \\n When heaven has call'd him to itself. \\n\",\n \" He owes my family, with all his might \\n Served, and had served me further, till my cause \\n Clash'd with his duty to his sovereign, \\n Which, as became a loyal subject, sir, \\n (And never sovereign had a loyaller,) \\n Was still his first. He carried me to Court, \\n Where, for the second time, I crossed your path; \\n Where, as I watch'd my opportunity, \\n Suddenly broke this public passion out;\",\n \" Whether for you, the elder sister's child; \\n Or me, born of the younger, but, they say, \\n My natural prerogative of man \\n Outweighing your priority of birth. \\n Which discord growing loud and dangerous, \\n Our uncle, King Basilio, doubly sage \\n In prophesying and providing for \\n The future, as to deal with it when come, \\n Bids us here meet to-day in solemn council \\n Our several pretensions to compose.\",\n \" Astolfo, Duke of Muscovy, my Lord, \\n Saluted, and with gallant compliment \\n Welcomed you to your royal title. \\n \\n SEG. (to Astolfo). \\n Oh-- \\n You knew of this then? \\n \\n AST. \\n Knew of what, my Lord? \\n \\n SEG. \\n That I was Prince of Poland all the while, \\n And you my subject? \\n \\n AST.\",\n \" From which no royal wrong shall drive him more. \\n \\n (They all kneel round his bed: trumpets, drums, etc.) \\n \\n SOLDIERS. \\n --Segismund! Segismund! Prince Segismund! \\n --King Segismund! Down with Basilio! \\n --Down with Astolfo! Segismund our King! etc. \\n --He stares upon us wildly. He cannot speak. \\n --I said so--driv'n him mad.\",\n \" Where are my soldiers? Blow the trumpet, and \\n With one sharp blast scatter these butterflies \\n And bring the men of iron to my side, \\n With whom a king feels like a king indeed! \\n \\n (Voices within. Within there! room for the Princess Estrella!) \\n \\n (Enter Estrella with Ladies.) \\n \\n ESTRELLA. \\n Welcome, my Lord, right welcome to the throne \\n That much too long has waited for your coming:\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" Methinks I'd venture something of a life \\n I care so little for-- \\n \\n SEG. \\n Who's that? Clotaldo? Who are you, I say, \\n That, venturing in these forbidden rocks, \\n Have lighted on my miserable life, \\n And your own death? \\n \\n ROS. \\n You would not hurt me, surely? \\n \\n SEG. \\n Not I; but those that, iron as the chain\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Some fairy had exchanged us as we lay \\n Two tiny foster-children in one cradle? \\n \\n ROS. \\n Well, be that as it may, Fife, it reminds me \\n Of what perhaps I should have thought before, \\n But better late than never--You know I love you, \\n As you, I know, love me, and loyally \\n Have follow'd me thus far in my wild venture. \\n Well! now then--having seen me safe thus far\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\"\n ],\n [\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Be cancell'd in the burning heavens, He leaves \\n His earthly delegates to execute, \\n Of retribution in reward to them \\n And woe to those who wrong'd them--Not as you, \\n Not you, Clotaldo, knowing not--And yet \\n Ev'n to the guiltiest wretch in all the realm, \\n Of any treason guilty short of that, \\n Stern usage--but assuredly not knowing, \\n Not knowing 'twas your sovereign lord, Clotaldo,\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Walking as one who knows he soon may wake, \\n So fairly carry the full cup, so well \\n Disorder'd insolence and passion quell, \\n That there be nothing after to upbraid \\n Dreamer or doer in the part he play'd, \\n Whether To-morrow's dawn shall break the spell, \\n Or the Last Trumpet of the eternal Day, \\n When Dreaming with the Night shall pass away. \\n (Exeunt.) \\n \\n \\n \\n \\n\",\n \" Earth and her cities totter'd, and the world \\n Seem'd shaken to its last paralysis. \\n In such a paroxysm of dissolution \\n That son of mine was born; by that first act \\n Heading the monstrous catalogue of crime, \\n I found fore-written in his horoscope; \\n As great a monster in man's history \\n As was in nature his nativity; \\n So savage, bloody, terrible, and impious,\",\n \" Which, by the way, now that I think of it, \\n May furnish us the key to this high flight \\n That royal Eagle we were watching, and \\n Talking of as you went to sleep last night. \\n \\n SEG. \\n Last night? Last night? \\n \\n CLO. \\n Ay, do you not remember \\n Envying his immunity of flight, \\n As, rising from his throne of rock, he sail'd \\n Above the mountains far into the West,\",\n \" There, thou mis-begotten thing, \\n Long-ear'd lightning, tail'd tornado, \\n Griffin-hoof-in hurricano, \\n (I might swear till I were almost \\n Hoarse with roaring Asonante) \\n Who forsooth because our betters \\n Would begin to kick and fling \\n You forthwith your noble mind \\n Must prove, and kick me off behind, \\n Tow'rd the very centre whither \\n Gravity was most inclined.\",\n \" Among the tempest-shatter'd crags \\n Shattering your luckless rider \\n Back into the tempest pass'd? \\n There then lie to starve and die, \\n Or find another Phaeton \\n Mad-mettled as yourself; for I, \\n Wearied, worried, and for-done, \\n Alone will down the mountain try, \\n That knits his brows against the sun. \\n \\n FIFE (as to his mule).\",\n \" And play'd at hazard with his fellows' lives, \\n Who cheaply dream'd away their lives to him. \\n The sailor dream'd of tossing on the flood: \\n The soldier of his laurels grown in blood: \\n The lover of the beauty that he knew \\n Must yet dissolve to dusty residue: \\n The merchant and the miser of his bags \\n Of finger'd gold; the beggar of his rags: \\n And all this stage of earth on which we seem\",\n \" And slips the sceptre from your palsied hand, \\n And Poland for her rightful heir cries out; \\n When not only your stol'n monopoly \\n Fails you of earthly power, but 'cross the grave \\n The judgment-trumpet of another world \\n Calls you to count for your abuse of this; \\n Then, oh then, terrified by the double danger, \\n You drag me from my den-- \\n Boast not of giving up at last the power\",\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" And each must play his part out manfully, \\n Leaving the rest to heaven. \\n \\n KING. \\n Whose written words \\n If I should misinterpret or transgress! \\n But as you say-- \\n (To the Lord, who exit.) \\n You, back to him at once; \\n Clotaldo, you, when he is somewhat used \\n To the new world of which they call him Prince, \\n Where place and face, and all, is strange to him,\",\n \" Begone, or let me go, ere I go mad \\n With all this babble, mummery, and glare, \\n For I am growing dangerous--Air! room! air!-- \\n (He rushes in. Music ceases.) \\n Oh but to save the reeling brain from wreck \\n With its bewilder'd senses! \\n (He covers his eyes for a while.) \\n What! E'en now \\n That Babel left behind me, but my eyes\",\n \" His being slew; with midnight secrecy \\n I had him carried to a lonely tower \\n Hewn from the mountain-barriers of the realm, \\n And under strict anathema of death \\n Guarded from men's inquisitive approach, \\n Save from the trusty few one needs must trust; \\n Who while his fasten'd body they provide \\n With salutary garb and nourishment, \\n Instruct his soul in what no soul may miss\",\n \" Ay, ev'n the Reason's self that dates with them, \\n Should be in essence or intensity \\n Hereafter so transcended, and awake \\n To a perceptive subtlety so keen \\n As to confess themselves befool'd before, \\n In all that now they will avouch for most? \\n One man--like this--but only so much longer \\n As life is longer than a summer's day, \\n Believed himself a king upon his throne,\",\n \" --Our own King Segismund, etc. \\n (They all rise.) \\n \\n SEG. \\n Again? So soon?--What, not yet done with me? \\n The sun is little higher up, I think, \\n Than when I last lay down, \\n To bury in the depth of your own sea \\n You that infest its shallows. \\n \\n CAPT. \\n Sir! \\n \\n SEG. \\n And now,\",\n \" Oh, had the self-same heaven upon his page \\n Inscribed my death ere I should read my life \\n And, by fore-casting of my own mischance, \\n Play not the victim but the suicide \\n In my own tragedy!--But you shall hear. \\n You know how once, as kings must for their people, \\n And only once, as wise men for themselves, \\n I woo'd and wedded: know too that my Queen \\n In childing died; but not, as you believe,\"\n ],\n [\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" SEG. \\n When he?-- \\n \\n CHAMB. \\n Your royal father, King Basilio, Sir. \\n \\n SEG. \\n My royal father--King Basilio. \\n You see I answer but as Echo does, \\n Not knowing what she listens or repeats. \\n This is my throne--this is my palace--Oh, \\n But this out of the window?-- \\n \\n CHAMB. \\n Warsaw, Sir, \\n Your capital--\",\n \" From which no royal wrong shall drive him more. \\n \\n (They all kneel round his bed: trumpets, drums, etc.) \\n \\n SOLDIERS. \\n --Segismund! Segismund! Prince Segismund! \\n --King Segismund! Down with Basilio! \\n --Down with Astolfo! Segismund our King! etc. \\n --He stares upon us wildly. He cannot speak. \\n --I said so--driv'n him mad.\",\n \" --Our own King Segismund, etc. \\n (They all rise.) \\n \\n SEG. \\n Again? So soon?--What, not yet done with me? \\n The sun is little higher up, I think, \\n Than when I last lay down, \\n To bury in the depth of your own sea \\n You that infest its shallows. \\n \\n CAPT. \\n Sir! \\n \\n SEG. \\n And now,\",\n \" --Speak to him, Captain. \\n \\n CAPTAIN. \\n Oh Royal Segismund, our Prince and King, \\n Look on us--listen to us--answer us, \\n Your faithful soldiery and subjects, now \\n About you kneeling, but on fire to rise \\n And cleave a passage through your enemies, \\n Until we seat you on your lawful throne. \\n For though your father, King Basilio, \\n Now King of Poland, jealous of the stars\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Of sovereignty, but even that prime \\n Inheritance that all men share alike, \\n And chain'd him--chain'd him!--like a wild beast's whelp. \\n Among as savage mountains, to this hour? \\n Answer if this be thus. \\n \\n KING. \\n Oh, Segismund, \\n In all that I have done that seems to you, \\n And, without further hearing, fairly seems, \\n Unnatural and cruel--'twas not I,\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" KING. \\n That, living, you might learn to live, and rule \\n Yourself and Poland. \\n \\n SEG. \\n By the means you took \\n To spoil for either? \\n \\n KING. \\n Nay, but, Segismund! \\n You know not--cannot know--happily wanting \\n The sad experience on which knowledge grows, \\n How the too early consciousness of power \\n Spoils the best blood; nor whether for your long\",\n \" Yourself, ev'n more than any subject here, \\n Are bound by yet another and more strong \\n Allegiance--King Basilio--your Father-- \\n \\n SEG. \\n Basilio--King--my father!-- \\n \\n CLO. \\n Oh, my Lord, \\n Let me beseech you on my bended knee, \\n For your own sake--for Poland's--and for his, \\n Who, looking up for counsel to the skies, \\n Did what he did under authority\",\n \" Ay, but what some precocious warmth may spill, \\n May not an early frost as surely kill? \\n \\n KING. \\n But, Segismund, my son, whose quick discourse \\n Proves I have not extinguish'd and destroy'd \\n The Man you charge me with extinguishing, \\n However it condemn me for the fault \\n Of keeping a good light so long eclipsed, \\n Reflect! This is the moment upon which\",\n \" That I--the Segismund you know so long \\n No longer than the sun that rose to-day \\n Rose--and from what you know-- \\n Rose to be Prince of Poland? \\n \\n CLO. \\n So to be \\n Acknowledged and entreated, Sir. \\n \\n SEG. \\n So be \\n Acknowledged and entreated-- \\n Well--But if now by all, by some at least \\n So known--if not entreated--heretofore--\",\n \" Yet not so glorious, Segismund, if you \\n Your visionary honour wore so ill \\n As to work murder and revenge on those \\n Who meant you well. \\n \\n SEG. \\n Who meant me!--me! their Prince \\n Chain'd like a felon-- \\n \\n CLO. \\n Stay, stay--Not so fast, \\n You dream'd the Prince, remember. \\n \\n SEG. \\n Then in dream \\n Revenged it only. \\n\",\n \"purposes in the Induction to the Shakespearean \\\"Taming of the Shrew.\\\" \\n But with Calderon the theme is lifted altogether out of the atmosphere \\n of comedy, and is worked up with poetic sentiment and a touch of \\n mysticism into a symbolic drama of profound and universal philosophical \\n significance. \\n \\n \\n \\n \\n \\n LIFE IS A DREAM \\n \\n \\n \\n DRAMATIS PERSONAE \\n \\n Basilio King of Poland. \\n Segismund his Son.\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" To which the kings of earth themselves are subject, \\n And whose behest not only he that suffers, \\n But he that executes, not comprehends, \\n But only He that orders it-- \\n \\n SEG. \\n The King-- \\n My father!--Either I am mad already, \\n Or that way driving fast--or I should know \\n That fathers do not use their children so, \\n Or men were loosed from all allegiance\",\n \" And bristle with the advancing soldiery \\n That glitters in your rising glory, sir; \\n And, at our signal, echo to our cry, \\n 'Segismund, King of Poland!' etc. \\n \\n (Shouts, trumpets, etc.) \\n \\n SEG. \\n Oh, how cheap \\n The muster of a countless host of shadows, \\n As impotent to do with as to keep! \\n All this they said before--to softer music. \\n\",\n \" Now the mere mouth-piece of its victory \\n Oh, shall not I, the champions' sword laid down, \\n Be yet more shamed to wear the teacher's gown, \\n And, blushing at the part I had to play, \\n Down where that honour'd head I was to lay \\n By this more just submission of my own, \\n The treason Fate has forced on me atone? \\n \\n KING. \\n Oh, Segismund, in whom I see indeed,\",\n \" Into some happier constellation roll'd, \\n And brought my better fortune out on earth \\n Clear as themselves in heaven!--Prince Segismund \\n They call'd me--and at will I shook them off-- \\n Will they return again at my command \\n Again to call me so?--Within there! You! \\n Segismund calls--Prince Segismund-- \\n \\n (He has seated himself on the throne. \\n Enter Chamberlain, with lords in waiting.) \\n\",\n \" Glaring at a suddenly encounter'd lion. \\n \\n KING. \\n And I that hither flew with open arms \\n To fold them round my son, must now return \\n To press them to an empty heart again! \\n (He sits on the throne.) \\n \\n SEG. \\n That is the King?--My father? \\n (After a long pause.) \\n I have heard \\n That sometimes some blind instinct has been known \\n To draw to mutual recognition those\"\n ],\n [\n \" Among the tempest-shatter'd crags \\n Shattering your luckless rider \\n Back into the tempest pass'd? \\n There then lie to starve and die, \\n Or find another Phaeton \\n Mad-mettled as yourself; for I, \\n Wearied, worried, and for-done, \\n Alone will down the mountain try, \\n That knits his brows against the sun. \\n \\n FIFE (as to his mule).\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" There, thou mis-begotten thing, \\n Long-ear'd lightning, tail'd tornado, \\n Griffin-hoof-in hurricano, \\n (I might swear till I were almost \\n Hoarse with roaring Asonante) \\n Who forsooth because our betters \\n Would begin to kick and fling \\n You forthwith your noble mind \\n Must prove, and kick me off behind, \\n Tow'rd the very centre whither \\n Gravity was most inclined.\",\n \" In the place of her that kick'd me off to ride, \\n I'd test his theory upon his hide. \\n But no bones broken, madam--sir, I mean?-- \\n \\n ROS. \\n A scratch here that a handkerchief will heal-- \\n And you?-- \\n \\n FIFE. \\n A scratch in _quiddity_, or kind: \\n But not in '_quo_'--my wounds are all behind.\",\n \" Which, by the way, now that I think of it, \\n May furnish us the key to this high flight \\n That royal Eagle we were watching, and \\n Talking of as you went to sleep last night. \\n \\n SEG. \\n Last night? Last night? \\n \\n CLO. \\n Ay, do you not remember \\n Envying his immunity of flight, \\n As, rising from his throne of rock, he sail'd \\n Above the mountains far into the West,\",\n \" Pent in the rock leaps toward her at her touch, \\n Mine, before all the cousins in Muscovy! \\n You call me Prince of Poland, and yourselves \\n My subjects--traitors therefore to this hour, \\n Who let me perish all my youth away \\n Chain'd there among the mountains; till, forsooth, \\n Terrified at your treachery foregone, \\n You spirit me up here, I know not how, \\n Popinjay-like invest me like yourselves,\",\n \" To doubt if I be dreaming I am Fife, \\n Who with a lad who call'd herself a boy \\n Because--I doubt there's some confusion here-- \\n He wore no petticoat, came on a time \\n Riding from Muscovy on half a horse, \\n Who must have dreamt she was a horse entire, \\n To cant me off upon my hinder face \\n Under this tower, wall-eyed and musket-tongued,\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" We must be close upon the tower, I know, \\n That half way up the mountain lies ensconced. \\n \\n CAPT. \\n How know you that? \\n \\n SOL. \\n He told me so--the Page \\n Who put us on the scent. \\n \\n SOL. 2. \\n And, as I think, \\n Will soon be here to run it down with us. \\n \\n CAPT. \\n Meantime, our horses on these ugly rocks\",\n \" Glaring at a suddenly encounter'd lion. \\n \\n KING. \\n And I that hither flew with open arms \\n To fold them round my son, must now return \\n To press them to an empty heart again! \\n (He sits on the throne.) \\n \\n SEG. \\n That is the King?--My father? \\n (After a long pause.) \\n I have heard \\n That sometimes some blind instinct has been known \\n To draw to mutual recognition those\",\n \" Who scarce can serve us than our horses worse-- \\n They say no one should rob another of \\n The single satisfaction he has left \\n Of singing his own sorrows; one so great, \\n So says some great philosopher, that trouble \\n Were worth encount'ring only for the sake \\n Of weeping over--what perhaps you know \\n Some poet calls the 'luxury of woe.' \\n \\n FIFE. \\n Had I the poet or philosopher\",\n \" Something of 'following darkness like a dream,' \\n For that we're after. \\n \\n ROS. \\n No, after the sun; \\n Trying to catch hold of his glittering skirts \\n That hang upon the mountain as he goes. \\n \\n FIFE. \\n Ah, he's himself past catching--as you spoke \\n He heard what you were saying, and--just so-- \\n Like some scared water-bird,\",\n \" From all their woes; in some enchanted sleep \\n Carried them off on cloud or dragon-back \\n Over the mountains, over the wide Deep, \\n And set them down to wake in Fairyland. \\n \\n CHAMB. \\n Oh, my good Lord, you laugh at me--and I \\n Right glad to make you laugh at such a price: \\n You know me no enchanter: if I were, \\n I and my wand as much as your Highness',\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" No, not for beast. Ah, but my heart begins \\n To yearn for her-- \\n \\n ROS. \\n Keep close, and keep your feet \\n From serving you as hers did. \\n \\n FIFE. \\n As for beasts, \\n If in default of other entertainment, \\n We should provide them with ourselves to eat-- \\n Bears, lions, wolves-- \\n \\n ROS. \\n Oh, never fear. \\n \\n FIFE.\",\n \" Well, a strange turn of fortune has arrested \\n The sharp and sudden penalty that else \\n Had visited your rashness or mischance: \\n In part, your tender youth too--pardon me, \\n And touch not where your sword is not to answer-- \\n Commends you to my care; not your life only, \\n Else by this misadventure forfeited; \\n But ev'n your errand, which, by happy chance, \\n Chimes with the very business I am on,\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" Give him his sword; set him on a fresh horse; \\n Conduct him safely through my rebel force; \\n And so God speed him to his sovereign's side! \\n Give me your hand; and whether all awake \\n Or all a-dreaming, ride, Clotaldo, ride-- \\n Dream-swift--for fear we dreams should overtake. \\n \\n (A Battle may be supposed to take place; after which) \\n \\n \\n \\n \\n ACT IV. \\n \\n \\n \\n\",\n \" Well then--If no magician, as you say, \\n Yet setting me a riddle, that my brain, \\n With all its senses whirling, cannot solve, \\n Yourself or one of these with you must answer-- \\n How I--that only last night fell asleep \\n Not knowing that the very soil of earth \\n I lay down--chain'd--to sleep upon was Poland-- \\n Awake to find myself the Lord of it, \\n With Lords, and Generals, and Chamberlains,\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\"\n ],\n [\n \" That stare on this unnatural sight aghast, \\n Listen to one who, Heaven-inspired to do \\n What in its secret wisdom Heaven forecast, \\n By that same Heaven instructed prophet-wise \\n To justify the present in the past. \\n What in the sapphire volume of the skies \\n Is writ by God's own finger misleads none, \\n But him whose vain and misinstructed eyes, \\n They mock with misinterpretation,\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" And Poland of her rightful sovereign. \\n For, sure and certain prophets as the stars, \\n Although they err not, he who reads them may; \\n Or rightly reading--seeing there is One \\n Who governs them, as, under Him, they us, \\n We are not sure if the rough diagram \\n They draw in heaven and we interpret here, \\n Be sure of operation, if the Will \\n Supreme, that sometimes for some special end \\n The course of providential nature breaks\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Those stars, whose eyes, although we see them not, \\n By day as well as night are on us still, \\n Hang watching up in the meridian heaven \\n Which way the balance turns; and if to you-- \\n As by your dealing God decide it may, \\n To my confusion!--let me answer it \\n Unto yourself alone, who shall at once \\n Approve yourself to be your father's judge, \\n And sovereign of Poland in his stead,\",\n \" As suited such unnatural tragedy; \\n He coming into light, if light it were \\n That darken'd at his very horoscope, \\n When heaven's two champions--sun and moon I mean-- \\n Suffused in blood upon each other fell \\n In such a raging duel of eclipse \\n As hath not terrified the universe \\n Since that which wept in blood the death of Christ: \\n When the dead walk'd, the waters turn'd to blood,\",\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" Into some happier constellation roll'd, \\n And brought my better fortune out on earth \\n Clear as themselves in heaven!--Prince Segismund \\n They call'd me--and at will I shook them off-- \\n Will they return again at my command \\n Again to call me so?--Within there! You! \\n Segismund calls--Prince Segismund-- \\n \\n (He has seated himself on the throne. \\n Enter Chamberlain, with lords in waiting.) \\n\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" But One who writes His order in the sky \\n I dared not misinterpret nor neglect, \\n Who knows with what reluctance-- \\n \\n SEG. \\n Oh, those stars, \\n Those stars, that too far up from human blame \\n To clear themselves, or careless of the charge, \\n Still bear upon their shining shoulders all \\n The guilt men shift upon them! \\n \\n KING. \\n Nay, but think: \\n Not only on the common score of kind,\",\n \" That prophesy his setting with your rise, \\n Here holds you ignominiously eclipsed, \\n And would Astolfo, Duke of Muscovy, \\n Mount to the throne of Poland after him; \\n So will not we, your loyal soldiery \\n And subjects; neither those of us now first \\n Apprised of your existence and your right: \\n Nor those that hitherto deluded by \\n Allegiance false, their vizors now fling down,\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" By justice, mercy, self-sobriety, \\n And all the reasonable attributes \\n Without which, impotent to rule himself, \\n Others one cannot, and one must not rule; \\n But which if you but show the blossom of-- \\n All that is past we shall but look upon \\n As the first out-fling of a generous nature \\n Rioting in first liberty; and if \\n This blossom do but promise such a flower \\n As promises in turn its kindly fruit:\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" Out of the ashes of my self-extinction \\n A better self revive; if not beneath \\n Your feet, beneath your better wisdom bow'd, \\n The Sovereignty of Poland I resign, \\n With this its golden symbol; which if thus \\n Saved with its silver head inviolate, \\n Shall nevermore be subject to decline; \\n But when the head that it alights on now \\n Falls honour'd by the very foe that must,\",\n \" Earth and her cities totter'd, and the world \\n Seem'd shaken to its last paralysis. \\n In such a paroxysm of dissolution \\n That son of mine was born; by that first act \\n Heading the monstrous catalogue of crime, \\n I found fore-written in his horoscope; \\n As great a monster in man's history \\n As was in nature his nativity; \\n So savage, bloody, terrible, and impious,\",\n \" To count your cousin for your subject, sir, \\n You shall not find her a disloyal. \\n \\n SEG. \\n Oh, \\n But there are twin stars in that heavenly face, \\n That now I know for having over-ruled \\n Those evil ones that darken'd all my past \\n And brought me forth from that captivity \\n To be the slave of her who set me free. \\n \\n EST. \\n Indeed, my Lord, these eyes have no such power\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \"drama was at its height. Lope de Vega, the most prolific and, with \\n Calderon, the greatest, of Spanish dramatists, was still alive; and by \\n his applause gave encouragement to the beginner whose fame was to rival \\n his own. The national type of drama which Lope had established was \\n maintained in its essential characteristics by Calderon, and he produced \\n abundant specimens of all its varieties. Of regular plays he has left \\n a hundred and twenty; of \\\"Autos Sacramentales,\\\" the peculiar Spanish\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Methinks I'd venture something of a life \\n I care so little for-- \\n \\n SEG. \\n Who's that? Clotaldo? Who are you, I say, \\n That, venturing in these forbidden rocks, \\n Have lighted on my miserable life, \\n And your own death? \\n \\n ROS. \\n You would not hurt me, surely? \\n \\n SEG. \\n Not I; but those that, iron as the chain\",\n \" Some fairy had exchanged us as we lay \\n Two tiny foster-children in one cradle? \\n \\n ROS. \\n Well, be that as it may, Fife, it reminds me \\n Of what perhaps I should have thought before, \\n But better late than never--You know I love you, \\n As you, I know, love me, and loyally \\n Have follow'd me thus far in my wild venture. \\n Well! now then--having seen me safe thus far\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \"world of our senses is a mere shadow, and that the only reality is to be \\n found in the invisible and eternal. The story which forms its basis \\n is Oriental in origin, and in the form of the legend of \\\"Barlaam and \\n Josaphat\\\" was familiar in all the literatures of the Middle Ages. \\n Combined with this in the plot is the tale of Abou Hassan from the \\n \\\"Arabian Nights,\\\" the main situations in which are turned to farcical\",\n \"allegorical development of the medieval mystery, we have seventy-three; \\n besides a considerable number of farces. \\n \\n The dominant motives in Calderon's dramas are characteristically \\n national: fervid loyalty to Church and King, and a sense of honor \\n heightened almost to the point of the fantastic. Though his plays \\n are laid in a great variety of scenes and ages, the sentiment and the \\n characters remain essentially Spanish; and this intensely local quality \\n has probably lessened the vogue of Calderon in other countries. In the\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \"construction and conduct of his plots he showed great skill, yet the \\n ingenuity expended in the management of the story did not restrain the \\n fiery emotion and opulent imagination which mark his finest speeches \\n and give them a lyric quality which some critics regard as his greatest \\n distinction. \\n \\n Of all Calderon's works, \\\"Life is a Dream\\\" may be regarded as the most \\n universal in its theme. It seeks to teach a lesson that may be learned \\n from the philosophers and religious thinkers of many ages--that the\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" No, not for beast. Ah, but my heart begins \\n To yearn for her-- \\n \\n ROS. \\n Keep close, and keep your feet \\n From serving you as hers did. \\n \\n FIFE. \\n As for beasts, \\n If in default of other entertainment, \\n We should provide them with ourselves to eat-- \\n Bears, lions, wolves-- \\n \\n ROS. \\n Oh, never fear. \\n \\n FIFE.\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" In the place of her that kick'd me off to ride, \\n I'd test his theory upon his hide. \\n But no bones broken, madam--sir, I mean?-- \\n \\n ROS. \\n A scratch here that a handkerchief will heal-- \\n And you?-- \\n \\n FIFE. \\n A scratch in _quiddity_, or kind: \\n But not in '_quo_'--my wounds are all behind.\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Something of 'following darkness like a dream,' \\n For that we're after. \\n \\n ROS. \\n No, after the sun; \\n Trying to catch hold of his glittering skirts \\n That hang upon the mountain as he goes. \\n \\n FIFE. \\n Ah, he's himself past catching--as you spoke \\n He heard what you were saying, and--just so-- \\n Like some scared water-bird,\",\n \" To doubt if I be dreaming I am Fife, \\n Who with a lad who call'd herself a boy \\n Because--I doubt there's some confusion here-- \\n He wore no petticoat, came on a time \\n Riding from Muscovy on half a horse, \\n Who must have dreamt she was a horse entire, \\n To cant me off upon my hinder face \\n Under this tower, wall-eyed and musket-tongued,\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" As we say in my country, _dove_ below. \\n \\n ROS. \\n Well, we must follow him as best we may. \\n Poland is no great country, and, as rich \\n In men and means, will but few acres spare \\n To lie beneath her barrier mountains bare. \\n We cannot, I believe, be very far \\n From mankind or their dwellings. \\n \\n FIFE. \\n Send it so! \\n And well provided for man, woman, and beast.\",\n \" FIFE. \\n Ay, that brute \\n Has carried all we had away with her, \\n Clothing, and cate, and all. \\n \\n ROS. \\n And now the sun, \\n Our only friend and guide, about to sink \\n Under the stage of earth. \\n \\n FIFE. \\n And enter Night, \\n With Capa y Espada--and--pray heaven! \\n With but her lanthorn also. \\n \\n ROS.\",\n \" Or take this foolish fellow for your sport: \\n Dressing me up in visionary glories, \\n Which the first air of waking consciousness \\n Scatters as fast as from the almander-- \\n That, waking one fine morning in full flower, \\n One rougher insurrection of the breeze \\n Of all her sudden honour disadorns \\n To the last blossom, and she stands again \\n The winter-naked scare-crow that she was! \\n \\n CAPT.\"\n ],\n [\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" And while with princely raiment we invested \\n What nature surely modell'd for a Prince-- \\n All but the sword--as you directed-- \\n \\n KING. \\n Ay-- \\n \\n LORD. \\n If not too loudly, yet emphatically \\n Still with the title of a Prince address'd him. \\n \\n KING. \\n How bore he that? \\n \\n LORD. \\n With all the rest, my liege,\",\n \" No, not for beast. Ah, but my heart begins \\n To yearn for her-- \\n \\n ROS. \\n Keep close, and keep your feet \\n From serving you as hers did. \\n \\n FIFE. \\n As for beasts, \\n If in default of other entertainment, \\n We should provide them with ourselves to eat-- \\n Bears, lions, wolves-- \\n \\n ROS. \\n Oh, never fear. \\n \\n FIFE.\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" Astolfo his Nephew. \\n Estrella his Niece. \\n Clotaldo a General in Basilio's Service. \\n Rosaura a Muscovite Lady. \\n Fife her Attendant. \\n \\n Chamberlain, Lords in Waiting, Officers, \\n Soldiers, etc., in Basilio's Service. \\n \\n \\n The Scene of the first and third Acts lies on the Polish frontier: of \\n the second Act, in Warsaw. \\n\",\n \" Astolfo, Duke of Muscovy, my Lord, \\n Saluted, and with gallant compliment \\n Welcomed you to your royal title. \\n \\n SEG. (to Astolfo). \\n Oh-- \\n You knew of this then? \\n \\n AST. \\n Knew of what, my Lord? \\n \\n SEG. \\n That I was Prince of Poland all the while, \\n And you my subject? \\n \\n AST.\",\n \" SEG. \\n When he?-- \\n \\n CHAMB. \\n Your royal father, King Basilio, Sir. \\n \\n SEG. \\n My royal father--King Basilio. \\n You see I answer but as Echo does, \\n Not knowing what she listens or repeats. \\n This is my throne--this is my palace--Oh, \\n But this out of the window?-- \\n \\n CHAMB. \\n Warsaw, Sir, \\n Your capital--\"\n ],\n [\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Earth and her cities totter'd, and the world \\n Seem'd shaken to its last paralysis. \\n In such a paroxysm of dissolution \\n That son of mine was born; by that first act \\n Heading the monstrous catalogue of crime, \\n I found fore-written in his horoscope; \\n As great a monster in man's history \\n As was in nature his nativity; \\n So savage, bloody, terrible, and impious,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Among the tempest-shatter'd crags \\n Shattering your luckless rider \\n Back into the tempest pass'd? \\n There then lie to starve and die, \\n Or find another Phaeton \\n Mad-mettled as yourself; for I, \\n Wearied, worried, and for-done, \\n Alone will down the mountain try, \\n That knits his brows against the sun. \\n \\n FIFE (as to his mule).\",\n \" Ay, ev'n the Reason's self that dates with them, \\n Should be in essence or intensity \\n Hereafter so transcended, and awake \\n To a perceptive subtlety so keen \\n As to confess themselves befool'd before, \\n In all that now they will avouch for most? \\n One man--like this--but only so much longer \\n As life is longer than a summer's day, \\n Believed himself a king upon his throne,\",\n \" And slips the sceptre from your palsied hand, \\n And Poland for her rightful heir cries out; \\n When not only your stol'n monopoly \\n Fails you of earthly power, but 'cross the grave \\n The judgment-trumpet of another world \\n Calls you to count for your abuse of this; \\n Then, oh then, terrified by the double danger, \\n You drag me from my den-- \\n Boast not of giving up at last the power\",\n \" There, thou mis-begotten thing, \\n Long-ear'd lightning, tail'd tornado, \\n Griffin-hoof-in hurricano, \\n (I might swear till I were almost \\n Hoarse with roaring Asonante) \\n Who forsooth because our betters \\n Would begin to kick and fling \\n You forthwith your noble mind \\n Must prove, and kick me off behind, \\n Tow'rd the very centre whither \\n Gravity was most inclined.\",\n \" And play'd at hazard with his fellows' lives, \\n Who cheaply dream'd away their lives to him. \\n The sailor dream'd of tossing on the flood: \\n The soldier of his laurels grown in blood: \\n The lover of the beauty that he knew \\n Must yet dissolve to dusty residue: \\n The merchant and the miser of his bags \\n Of finger'd gold; the beggar of his rags: \\n And all this stage of earth on which we seem\",\n \" Which, by the way, now that I think of it, \\n May furnish us the key to this high flight \\n That royal Eagle we were watching, and \\n Talking of as you went to sleep last night. \\n \\n SEG. \\n Last night? Last night? \\n \\n CLO. \\n Ay, do you not remember \\n Envying his immunity of flight, \\n As, rising from his throne of rock, he sail'd \\n Above the mountains far into the West,\",\n \" Be cancell'd in the burning heavens, He leaves \\n His earthly delegates to execute, \\n Of retribution in reward to them \\n And woe to those who wrong'd them--Not as you, \\n Not you, Clotaldo, knowing not--And yet \\n Ev'n to the guiltiest wretch in all the realm, \\n Of any treason guilty short of that, \\n Stern usage--but assuredly not knowing, \\n Not knowing 'twas your sovereign lord, Clotaldo,\",\n \" Oh, had the self-same heaven upon his page \\n Inscribed my death ere I should read my life \\n And, by fore-casting of my own mischance, \\n Play not the victim but the suicide \\n In my own tragedy!--But you shall hear. \\n You know how once, as kings must for their people, \\n And only once, as wise men for themselves, \\n I woo'd and wedded: know too that my Queen \\n In childing died; but not, as you believe,\",\n \" Forthwith upon your brows the royal crown, \\n That now weighs heavy on my aged brows, \\n I will devolve; and while I pass away \\n Into some cloister, with my Maker there \\n To make my peace in penitence and prayer, \\n Happily settle the disorder'd realm \\n That now cries loudly for a lineal heir. \\n \\n SEG. \\n And so-- \\n When the crown falters on your shaking head,\",\n \" Walking as one who knows he soon may wake, \\n So fairly carry the full cup, so well \\n Disorder'd insolence and passion quell, \\n That there be nothing after to upbraid \\n Dreamer or doer in the part he play'd, \\n Whether To-morrow's dawn shall break the spell, \\n Or the Last Trumpet of the eternal Day, \\n When Dreaming with the Night shall pass away. \\n (Exeunt.) \\n \\n \\n \\n \\n\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" Then if with any show of human kindness \\n He fling discredit, not upon the stars, \\n But upon me, their misinterpreter, \\n With all apology mistaken age \\n Can make to youth it never meant to harm, \\n To my son's forehead will I shift the crown \\n I long have wish'd upon a younger brow; \\n And in religious humiliation, \\n For what of worn-out age remains to me, \\n Entreat my pardon both of Heaven and him\",\n \" My son withholding from his right thus long, \\n Shame and remorse to judge and father both: \\n Unless remorse and shame together drown'd \\n In having what I flung for worthless found. \\n But come--already weary with your travel, \\n And ill refresh'd by this strange history, \\n Until the hours that draw the sun from heaven \\n Unite us at the customary board, \\n Each to his several chamber: you to rest;\",\n \" With all its temples, marts, and arsenals; \\n This realm of which this city is the head, \\n With all its cities, villages, and tilth, \\n Its armies, fleets, and commerce; all your own; \\n And all the living souls that make them up, \\n From those who now, and those who shall, salute you, \\n Down to the poorest peasant of the realm, \\n Your subjects--Who, though now their mighty voice\"\n ],\n [\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Glaring at a suddenly encounter'd lion. \\n \\n KING. \\n And I that hither flew with open arms \\n To fold them round my son, must now return \\n To press them to an empty heart again! \\n (He sits on the throne.) \\n \\n SEG. \\n That is the King?--My father? \\n (After a long pause.) \\n I have heard \\n That sometimes some blind instinct has been known \\n To draw to mutual recognition those\",\n \" Against the scholar by that master turn'd \\n Who to himself reserves the master-stroke. \\n Witness whereof this venerable Age, \\n Thrice crown'd as Sire, and Sovereign, and Sage, \\n Down to the very dust dishonour'd by \\n The very means he tempted to defy \\n The irresistible. And shall not I, \\n Till now the mere dumb instrument that wrought \\n The battle Fate has with my father fought,\",\n \" Ay, but what some precocious warmth may spill, \\n May not an early frost as surely kill? \\n \\n KING. \\n But, Segismund, my son, whose quick discourse \\n Proves I have not extinguish'd and destroy'd \\n The Man you charge me with extinguishing, \\n However it condemn me for the fault \\n Of keeping a good light so long eclipsed, \\n Reflect! This is the moment upon which\",\n \" Into some happier constellation roll'd, \\n And brought my better fortune out on earth \\n Clear as themselves in heaven!--Prince Segismund \\n They call'd me--and at will I shook them off-- \\n Will they return again at my command \\n Again to call me so?--Within there! You! \\n Segismund calls--Prince Segismund-- \\n \\n (He has seated himself on the throne. \\n Enter Chamberlain, with lords in waiting.) \\n\",\n \" Out of the ashes of my self-extinction \\n A better self revive; if not beneath \\n Your feet, beneath your better wisdom bow'd, \\n The Sovereignty of Poland I resign, \\n With this its golden symbol; which if thus \\n Saved with its silver head inviolate, \\n Shall nevermore be subject to decline; \\n But when the head that it alights on now \\n Falls honour'd by the very foe that must,\",\n \" Where are my soldiers? Blow the trumpet, and \\n With one sharp blast scatter these butterflies \\n And bring the men of iron to my side, \\n With whom a king feels like a king indeed! \\n \\n (Voices within. Within there! room for the Princess Estrella!) \\n \\n (Enter Estrella with Ladies.) \\n \\n ESTRELLA. \\n Welcome, my Lord, right welcome to the throne \\n That much too long has waited for your coming:\",\n \" Fringes with such a gold; or over-laid \\n With sanguine-glowing semblances of men, \\n Each in his all but living action busied, \\n Or from the wall they look from, with fix'd eyes \\n Pursuing me; and one most strange of all \\n That, as I pass'd the crystal on the wall, \\n Look'd from it--left it--and as I return, \\n Returns, and looks me face to face again--\",\n \" And, but the martial out-burst that proclaims \\n His coming, makes all further parley vain, \\n Unless my bosom, by which only wise \\n I prophesy, now wrongly prophesies, \\n By such a happy compact as I dare \\n But glance at till the Royal Sage declare. \\n \\n (Trumpets, etc. Enter King Basilio with his Council.) \\n \\n ALL. \\n The King! God save the King! \\n\",\n \" --He's dead! He's dead! They've kill'd him-- \\n --No--he breathes-- \\n And the heart beats--and now he breathes again \\n Deeply, as one about to shake away \\n The load of sleep. \\n \\n CAPT. \\n Come, let us all kneel round, \\n And with a blast of warlike instruments, \\n And acclamation of all loyal hearts, \\n Rouse and restore him to his royal right,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" And bristle with the advancing soldiery \\n That glitters in your rising glory, sir; \\n And, at our signal, echo to our cry, \\n 'Segismund, King of Poland!' etc. \\n \\n (Shouts, trumpets, etc.) \\n \\n SEG. \\n Oh, how cheap \\n The muster of a countless host of shadows, \\n As impotent to do with as to keep! \\n All this they said before--to softer music. \\n\",\n \" My rising glory reach and over-lour-- \\n But, reach not I my height, he shall not hold, \\n But with me back to his own darkness! \\n \\n (He dashes toward the throne and is enclosed by the soldiers.) \\n \\n Traitors! \\n Hold off! Unhand me!--Am not I your king? \\n And you would strangle him!-- \\n But I am breaking with an inward Fire \\n Shall scorch you off, and wrap me on the wings\",\n \" Of him whose head you threaten with the dust, \\n Forthwith shall draw the curtain of the Past \\n About you; and this momentary gleam \\n Of glory that you think to hold life-fast, \\n So coming, so shall vanish, as a dream. \\n \\n SEG. \\n He prophesies; the old man prophesies; \\n And, at his trumpet's summons, from the tower \\n The leash-bound shadows loosen'd after me\",\n \" Sane waking senses, by these witnesses \\n Attested, till the story of it all, \\n Of which I bring a chapter, be reveal'd, \\n Assured of all you see and hear as neither \\n Madness nor mockery-- \\n \\n SEG. \\n What then? \\n \\n CLO. \\n All it seems: \\n This palace with its royal garniture; \\n This capital of which it is the eye,\"\n ],\n [\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Or take this foolish fellow for your sport: \\n Dressing me up in visionary glories, \\n Which the first air of waking consciousness \\n Scatters as fast as from the almander-- \\n That, waking one fine morning in full flower, \\n One rougher insurrection of the breeze \\n Of all her sudden honour disadorns \\n To the last blossom, and she stands again \\n The winter-naked scare-crow that she was! \\n \\n CAPT.\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" Whom Duke Astolfo, Prince of Muscovy, \\n With all the solemn vows of wedlock won, \\n And would have wedded, as I do believe, \\n Had not the cry of Poland for a Prince \\n Call'd him from Muscovy to join the prize \\n Of Poland with the fair Estrella's eyes. \\n I, following him hither, as you saw, \\n Was cast upon these rocks; arrested by \\n Clotaldo: who, for an old debt of love\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \" Some fairy had exchanged us as we lay \\n Two tiny foster-children in one cradle? \\n \\n ROS. \\n Well, be that as it may, Fife, it reminds me \\n Of what perhaps I should have thought before, \\n But better late than never--You know I love you, \\n As you, I know, love me, and loyally \\n Have follow'd me thus far in my wild venture. \\n Well! now then--having seen me safe thus far\",\n \" Methinks I'd venture something of a life \\n I care so little for-- \\n \\n SEG. \\n Who's that? Clotaldo? Who are you, I say, \\n That, venturing in these forbidden rocks, \\n Have lighted on my miserable life, \\n And your own death? \\n \\n ROS. \\n You would not hurt me, surely? \\n \\n SEG. \\n Not I; but those that, iron as the chain\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" And ev'n my very Gaoler, for my vassals! \\n \\n Enter suddenly Clotaldo \\n \\n CLOTALDO. \\n Stand all aside \\n That I may put into his hand the clue \\n To lead him out of this amazement. Sir, \\n Vouchsafe your Highness from my bended knee \\n Receive my homage first. \\n \\n SEG. \\n Clotaldo! What, \\n At last--his old self--undisguised where all\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" Was that his voice within!--Now louder--Oh, \\n Clotaldo, what! so soon begun to roar!-- \\n Again! above the music--But betide \\n What may, until the moment, we must hide. \\n \\n (Exeunt King and Clotaldo.) \\n \\n SEGISMUND (within). \\n Forbear! I stifle with your perfume! Cease \\n Your crazy salutations! peace, I say\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" And, as I trust, with both of us a few \\n White hairs to fall in yours. \\n \\n SEG. \\n Well said, well said! \\n Basilio, my father--well--Clotaldo \\n Is he my kinsman too? \\n \\n CHAMB. \\n Oh, my good Lord, \\n A General simply in your Highness' service, \\n Than whom your Highness has no trustier. \\n \\n SEG.\",\n \" I to contrive with old Clotaldo best \\n The method of a stranger thing than old \\n Time has a yet among his records told. \\n \\n Exeunt. \\n \\n \\n \\n \\n ACT II \\n \\n \\n \\n \\n SCENE I--A Throne-room in the Palace. Music within. \\n \\n \\n (Enter King and Clotaldo, meeting a Lord in waiting) \\n \\n KING.\"\n ],\n [\n \" That stare on this unnatural sight aghast, \\n Listen to one who, Heaven-inspired to do \\n What in its secret wisdom Heaven forecast, \\n By that same Heaven instructed prophet-wise \\n To justify the present in the past. \\n What in the sapphire volume of the skies \\n Is writ by God's own finger misleads none, \\n But him whose vain and misinstructed eyes, \\n They mock with misinterpretation,\",\n \" Those stars, whose eyes, although we see them not, \\n By day as well as night are on us still, \\n Hang watching up in the meridian heaven \\n Which way the balance turns; and if to you-- \\n As by your dealing God decide it may, \\n To my confusion!--let me answer it \\n Unto yourself alone, who shall at once \\n Approve yourself to be your father's judge, \\n And sovereign of Poland in his stead,\",\n \" But One who writes His order in the sky \\n I dared not misinterpret nor neglect, \\n Who knows with what reluctance-- \\n \\n SEG. \\n Oh, those stars, \\n Those stars, that too far up from human blame \\n To clear themselves, or careless of the charge, \\n Still bear upon their shining shoulders all \\n The guilt men shift upon them! \\n \\n KING. \\n Nay, but think: \\n Not only on the common score of kind,\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" And Poland of her rightful sovereign. \\n For, sure and certain prophets as the stars, \\n Although they err not, he who reads them may; \\n Or rightly reading--seeing there is One \\n Who governs them, as, under Him, they us, \\n We are not sure if the rough diagram \\n They draw in heaven and we interpret here, \\n Be sure of operation, if the Will \\n Supreme, that sometimes for some special end \\n The course of providential nature breaks\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" Whom Duke Astolfo, Prince of Muscovy, \\n With all the solemn vows of wedlock won, \\n And would have wedded, as I do believe, \\n Had not the cry of Poland for a Prince \\n Call'd him from Muscovy to join the prize \\n Of Poland with the fair Estrella's eyes. \\n I, following him hither, as you saw, \\n Was cast upon these rocks; arrested by \\n Clotaldo: who, for an old debt of love\",\n \" Are but fair vizors to black hearts below, \\n Or only serve to bring the wearer woe! \\n But to yourself--If haply the redress \\n That I am here upon may help to yours. \\n I heard you tax the heavens with ordering, \\n And men for executing, what, alas! \\n I now behold. But why, and who they are \\n Who do, and you who suffer-- \\n \\n SEG. (pointing upwards). \\n Ask of them,\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" (Shouts, etc. God save Estrella, Queen of Poland!) \\n \\n SEG (to Clotaldo). \\n You \\n That with unflinching duty to your King, \\n Till countermanded by the mightier Power, \\n Have held your Prince a captive in the tower, \\n Henceforth as strictly guard him on the throne \\n No less my people's keeper than my own. \\n You stare upon me all, amazed to hear \\n The word of civil justice from such lips\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" AST. \\n Nay, but indeed, fair cousin-- \\n \\n EST. \\n Ay, let Deed \\n Measure your words, indeed your flowers of speech \\n Ill with your iron equipage atone; \\n Irony indeed, and wordy compliment. \\n \\n AST. \\n Indeed, indeed, you wrong me, royal cousin, \\n And fair as royal, misinterpreting \\n What, even for the end you think I aim at,\",\n \" Creatures, but man too prospers with his kind; \\n Who leaving all his guilty fellows free, \\n Under your fatal auspice and divine \\n Compulsion, leagued in some mysterious ban \\n Against one innocent and helpless man, \\n Abuse their liberty to murder mine: \\n And sworn to silence, like their masters mute \\n In heaven, and like them twirling through the mask \\n Of darkness, answering to all I ask, \\n Point up to them whose work they execute! \\n\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" To fathers, kings, and heaven that order'd all. \\n But, mad or not, my hour is come, and I \\n Will have my reckoning--Either you lie, \\n Under the skirt of sinless majesty \\n Shrouding your treason; or if _that_ indeed, \\n Guilty itself, take refuge in the stars \\n That cannot hear the charge, or disavow-- \\n You, whether doer or deviser, who \\n Come first to hand, shall pay the penalty\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Methinks I'd venture something of a life \\n I care so little for-- \\n \\n SEG. \\n Who's that? Clotaldo? Who are you, I say, \\n That, venturing in these forbidden rocks, \\n Have lighted on my miserable life, \\n And your own death? \\n \\n ROS. \\n You would not hurt me, surely? \\n \\n SEG. \\n Not I; but those that, iron as the chain\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\"\n ],\n [\n \" SEG. \\n When he?-- \\n \\n CHAMB. \\n Your royal father, King Basilio, Sir. \\n \\n SEG. \\n My royal father--King Basilio. \\n You see I answer but as Echo does, \\n Not knowing what she listens or repeats. \\n This is my throne--this is my palace--Oh, \\n But this out of the window?-- \\n \\n CHAMB. \\n Warsaw, Sir, \\n Your capital--\",\n \" From which no royal wrong shall drive him more. \\n \\n (They all kneel round his bed: trumpets, drums, etc.) \\n \\n SOLDIERS. \\n --Segismund! Segismund! Prince Segismund! \\n --King Segismund! Down with Basilio! \\n --Down with Astolfo! Segismund our King! etc. \\n --He stares upon us wildly. He cannot speak. \\n --I said so--driv'n him mad.\",\n \" Of sovereignty, but even that prime \\n Inheritance that all men share alike, \\n And chain'd him--chain'd him!--like a wild beast's whelp. \\n Among as savage mountains, to this hour? \\n Answer if this be thus. \\n \\n KING. \\n Oh, Segismund, \\n In all that I have done that seems to you, \\n And, without further hearing, fairly seems, \\n Unnatural and cruel--'twas not I,\",\n \" --Speak to him, Captain. \\n \\n CAPTAIN. \\n Oh Royal Segismund, our Prince and King, \\n Look on us--listen to us--answer us, \\n Your faithful soldiery and subjects, now \\n About you kneeling, but on fire to rise \\n And cleave a passage through your enemies, \\n Until we seat you on your lawful throne. \\n For though your father, King Basilio, \\n Now King of Poland, jealous of the stars\",\n \"purposes in the Induction to the Shakespearean \\\"Taming of the Shrew.\\\" \\n But with Calderon the theme is lifted altogether out of the atmosphere \\n of comedy, and is worked up with poetic sentiment and a touch of \\n mysticism into a symbolic drama of profound and universal philosophical \\n significance. \\n \\n \\n \\n \\n \\n LIFE IS A DREAM \\n \\n \\n \\n DRAMATIS PERSONAE \\n \\n Basilio King of Poland. \\n Segismund his Son.\",\n \" Yet not so glorious, Segismund, if you \\n Your visionary honour wore so ill \\n As to work murder and revenge on those \\n Who meant you well. \\n \\n SEG. \\n Who meant me!--me! their Prince \\n Chain'd like a felon-- \\n \\n CLO. \\n Stay, stay--Not so fast, \\n You dream'd the Prince, remember. \\n \\n SEG. \\n Then in dream \\n Revenged it only. \\n\",\n \" That I--the Segismund you know so long \\n No longer than the sun that rose to-day \\n Rose--and from what you know-- \\n Rose to be Prince of Poland? \\n \\n CLO. \\n So to be \\n Acknowledged and entreated, Sir. \\n \\n SEG. \\n So be \\n Acknowledged and entreated-- \\n Well--But if now by all, by some at least \\n So known--if not entreated--heretofore--\",\n \" Astolfo, Duke of Muscovy, my Lord, \\n Saluted, and with gallant compliment \\n Welcomed you to your royal title. \\n \\n SEG. (to Astolfo). \\n Oh-- \\n You knew of this then? \\n \\n AST. \\n Knew of what, my Lord? \\n \\n SEG. \\n That I was Prince of Poland all the while, \\n And you my subject? \\n \\n AST.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Yet one whom these white locks, if nothing else, \\n to patient acquiescence consecrate, \\n I now demand and even supplicate. \\n \\n AST. \\n Such news, and from such lips, may well suspend \\n The tongue to loyal answer most attuned; \\n But if to me as spokesman of my faction \\n Your Highness looks for answer; I reply \\n For one and all--Let Segismund, whom now \\n We first hear tell of as your living heir,\",\n \" --Our own King Segismund, etc. \\n (They all rise.) \\n \\n SEG. \\n Again? So soon?--What, not yet done with me? \\n The sun is little higher up, I think, \\n Than when I last lay down, \\n To bury in the depth of your own sea \\n You that infest its shallows. \\n \\n CAPT. \\n Sir! \\n \\n SEG. \\n And now,\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \"SCENE I.--The Tower, etc., as in Act I. Scene I. \\n \\n Segismund, as at first, and Clotaldo. \\n \\n CLOTALDO. \\n Princes and princesses, and counsellors \\n Fluster'd to right and left--my life made at-- \\n But that was nothing \\n Even the white-hair'd, venerable King \\n Seized on--Indeed, you made wild work of it;\",\n \" KING. \\n That, living, you might learn to live, and rule \\n Yourself and Poland. \\n \\n SEG. \\n By the means you took \\n To spoil for either? \\n \\n KING. \\n Nay, but, Segismund! \\n You know not--cannot know--happily wanting \\n The sad experience on which knowledge grows, \\n How the too early consciousness of power \\n Spoils the best blood; nor whether for your long\",\n \" Now the mere mouth-piece of its victory \\n Oh, shall not I, the champions' sword laid down, \\n Be yet more shamed to wear the teacher's gown, \\n And, blushing at the part I had to play, \\n Down where that honour'd head I was to lay \\n By this more just submission of my own, \\n The treason Fate has forced on me atone? \\n \\n KING. \\n Oh, Segismund, in whom I see indeed,\",\n \" Ay, but what some precocious warmth may spill, \\n May not an early frost as surely kill? \\n \\n KING. \\n But, Segismund, my son, whose quick discourse \\n Proves I have not extinguish'd and destroy'd \\n The Man you charge me with extinguishing, \\n However it condemn me for the fault \\n Of keeping a good light so long eclipsed, \\n Reflect! This is the moment upon which\",\n \" And with one hand clench'd in his tangled hair \\n And with a sigh as if his heart would break-- \\n \\n (During this Segismund has entered from the fortress, with a \\n torch.) \\n \\n SEGISMUND. \\n Once more the storm has roar'd itself away, \\n Splitting the crags of God as it retires; \\n But sparing still what it should only blast, \\n This guilty piece of human handiwork,\",\n \" Yourself, ev'n more than any subject here, \\n Are bound by yet another and more strong \\n Allegiance--King Basilio--your Father-- \\n \\n SEG. \\n Basilio--King--my father!-- \\n \\n CLO. \\n Oh, my Lord, \\n Let me beseech you on my bended knee, \\n For your own sake--for Poland's--and for his, \\n Who, looking up for counsel to the skies, \\n Did what he did under authority\",\n \" (Shouts, etc. God save Estrella, Queen of Poland!) \\n \\n SEG (to Clotaldo). \\n You \\n That with unflinching duty to your King, \\n Till countermanded by the mightier Power, \\n Have held your Prince a captive in the tower, \\n Henceforth as strictly guard him on the throne \\n No less my people's keeper than my own. \\n You stare upon me all, amazed to hear \\n The word of civil justice from such lips\",\n \" To which the kings of earth themselves are subject, \\n And whose behest not only he that suffers, \\n But he that executes, not comprehends, \\n But only He that orders it-- \\n \\n SEG. \\n The King-- \\n My father!--Either I am mad already, \\n Or that way driving fast--or I should know \\n That fathers do not use their children so, \\n Or men were loosed from all allegiance\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" No, not for beast. Ah, but my heart begins \\n To yearn for her-- \\n \\n ROS. \\n Keep close, and keep your feet \\n From serving you as hers did. \\n \\n FIFE. \\n As for beasts, \\n If in default of other entertainment, \\n We should provide them with ourselves to eat-- \\n Bears, lions, wolves-- \\n \\n ROS. \\n Oh, never fear. \\n \\n FIFE.\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" As we say in my country, _dove_ below. \\n \\n ROS. \\n Well, we must follow him as best we may. \\n Poland is no great country, and, as rich \\n In men and means, will but few acres spare \\n To lie beneath her barrier mountains bare. \\n We cannot, I believe, be very far \\n From mankind or their dwellings. \\n \\n FIFE. \\n Send it so! \\n And well provided for man, woman, and beast.\",\n \" Pent in the rock leaps toward her at her touch, \\n Mine, before all the cousins in Muscovy! \\n You call me Prince of Poland, and yourselves \\n My subjects--traitors therefore to this hour, \\n Who let me perish all my youth away \\n Chain'd there among the mountains; till, forsooth, \\n Terrified at your treachery foregone, \\n You spirit me up here, I know not how, \\n Popinjay-like invest me like yourselves,\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" Something of 'following darkness like a dream,' \\n For that we're after. \\n \\n ROS. \\n No, after the sun; \\n Trying to catch hold of his glittering skirts \\n That hang upon the mountain as he goes. \\n \\n FIFE. \\n Ah, he's himself past catching--as you spoke \\n He heard what you were saying, and--just so-- \\n Like some scared water-bird,\",\n \" FIFE. \\n Why, 'tis his own: \\n Oh, 'tis some wild man of the woods; I've heard \\n They build and carry torches-- \\n \\n ROS. \\n Never Ape \\n Bore such a brow before the heavens as that-- \\n Chain'd as you say too!-- \\n \\n FIFE. \\n Oh, that dreadful chain! \\n \\n ROS. \\n And now he sets the lamp down by his side,\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\"\n ],\n [\n \" That prophesy his setting with your rise, \\n Here holds you ignominiously eclipsed, \\n And would Astolfo, Duke of Muscovy, \\n Mount to the throne of Poland after him; \\n So will not we, your loyal soldiery \\n And subjects; neither those of us now first \\n Apprised of your existence and your right: \\n Nor those that hitherto deluded by \\n Allegiance false, their vizors now fling down,\",\n \" That stare on this unnatural sight aghast, \\n Listen to one who, Heaven-inspired to do \\n What in its secret wisdom Heaven forecast, \\n By that same Heaven instructed prophet-wise \\n To justify the present in the past. \\n What in the sapphire volume of the skies \\n Is writ by God's own finger misleads none, \\n But him whose vain and misinstructed eyes, \\n They mock with misinterpretation,\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Whom Duke Astolfo, Prince of Muscovy, \\n With all the solemn vows of wedlock won, \\n And would have wedded, as I do believe, \\n Had not the cry of Poland for a Prince \\n Call'd him from Muscovy to join the prize \\n Of Poland with the fair Estrella's eyes. \\n I, following him hither, as you saw, \\n Was cast upon these rocks; arrested by \\n Clotaldo: who, for an old debt of love\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" (Voices within. Room for Astolfo, Duke of Muscovy!) \\n \\n (Enter Astolfo) \\n \\n ASTOLFO. \\n Welcome, thrice welcome, the auspicious day, \\n When from the mountain where he darkling lay, \\n The Polish sun into the firmament \\n Sprung all the brighter for his late ascent, \\n And in meridian glory-- \\n \\n SEG. \\n Where is he? \\n Why must I ask this twice?--\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" How whetted now with such a taste of blood, \\n And thus far conquest! \\n \\n KING. \\n Ay, and how he fought! \\n Oh how he fought, Astolfo; ranks of men \\n Falling as swathes of grass before the mower; \\n I could but pause to gaze at him, although, \\n Like the pale horseman of the Apocalypse, \\n Each moment brought him nearer--Yet I say,\",\n \" And Poland of her rightful sovereign. \\n For, sure and certain prophets as the stars, \\n Although they err not, he who reads them may; \\n Or rightly reading--seeing there is One \\n Who governs them, as, under Him, they us, \\n We are not sure if the rough diagram \\n They draw in heaven and we interpret here, \\n Be sure of operation, if the Will \\n Supreme, that sometimes for some special end \\n The course of providential nature breaks\",\n \" Of holy faith, and in such other lore \\n As may solace his life-imprisonment, \\n And tame perhaps the Savage prophesied \\n Toward such a trial as I aim at now, \\n And now demand your special hearing to. \\n What in this fearful business I have done, \\n Judge whether lightly or maliciously,-- \\n I, with my own and only flesh and blood, \\n And proper lineal inheritor! \\n I swear, had his foretold atrocities\",\n \" Astolfo, Duke of Muscovy, my Lord, \\n Saluted, and with gallant compliment \\n Welcomed you to your royal title. \\n \\n SEG. (to Astolfo). \\n Oh-- \\n You knew of this then? \\n \\n AST. \\n Knew of what, my Lord? \\n \\n SEG. \\n That I was Prince of Poland all the while, \\n And you my subject? \\n \\n AST.\",\n \" Of conflagration from a kindled pyre \\n Of lying prophecies and prophet-kings \\n Above the extinguish'd stars--Reach me the sword \\n He flung me--Fill me such a bowl of wine \\n As that you woke the day with-- \\n \\n KING. \\n And shall close,-- \\n But of the vintage that Clotaldo knows. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n ACT III. \\n \\n \\n\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" Who, should he live, would tear his country's entrails, \\n As by his birth his mother's; with which crime \\n Beginning, he should clench the dreadful tale \\n By trampling on his father's silver head. \\n All which fore-reading, and his act of birth \\n Fate's warrant that I read his life aright; \\n To save his country from his mother's fate, \\n I gave abroad that he had died with her\",\n \" And, but the martial out-burst that proclaims \\n His coming, makes all further parley vain, \\n Unless my bosom, by which only wise \\n I prophesy, now wrongly prophesies, \\n By such a happy compact as I dare \\n But glance at till the Royal Sage declare. \\n \\n (Trumpets, etc. Enter King Basilio with his Council.) \\n \\n ALL. \\n The King! God save the King! \\n\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Of him whose head you threaten with the dust, \\n Forthwith shall draw the curtain of the Past \\n About you; and this momentary gleam \\n Of glory that you think to hold life-fast, \\n So coming, so shall vanish, as a dream. \\n \\n SEG. \\n He prophesies; the old man prophesies; \\n And, at his trumpet's summons, from the tower \\n The leash-bound shadows loosen'd after me\",\n \" As never yet seem'd tuned to such discourse. \\n But listen--In that same enchanted tower, \\n Not long ago I learn'd it from a dream \\n Expounded by this ancient prophet here; \\n And which he told me, should it come again, \\n How I should bear myself beneath it; not \\n As then with angry passion all on fire, \\n Arguing and making a distemper'd soul; \\n But ev'n with justice, mercy, self-control,\",\n \" Pardon me, my Lord, \\n But some few hours ago myself I learn'd \\n Your dignity; but, knowing it, no more \\n Than when I knew it not, your subject. \\n \\n SEG. \\n What then? \\n \\n AST. \\n Your Highness' chamberlain ev'n now has told you; \\n Astolfo, Duke of Muscovy, \\n Your father's sister's son; your cousin, sir:\"\n ],\n [\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" The self-same foe who now pretends your right, \\n Withholding mine--that, of itself alone, \\n I know the royal blood that runs in you \\n Would vindicate, regardless of your own: \\n The right of injured innocence; and, more, \\n Spite of this epicene attire, a woman's; \\n And of a noble stock I will not name \\n Till I, who brought it, have retrieved the shame.\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" Out-crest the plumage of your lady court? \\n \\n EST. \\n But to defend what yours would force from me. \\n \\n AST. \\n Might not I, lady, say the same of mine? \\n But not to come to battle, ev'n of words, \\n With a fair lady, and my kinswoman; \\n And as averse to stand before your face, \\n Defenceless, and condemn'd in your disgrace,\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" CLO. \\n And whither bound? \\n \\n ROS. \\n Hither--if this be Poland; \\n But with no ill design on her, and therefore \\n Taking it ill that we should thus be stopt \\n Upon her threshold so uncivilly. \\n \\n CLO. \\n Whither in Poland? \\n \\n ROS. \\n To the capital. \\n \\n CLO. \\n And on what errand? \\n \\n ROS.\"\n ],\n [\n \" That stare on this unnatural sight aghast, \\n Listen to one who, Heaven-inspired to do \\n What in its secret wisdom Heaven forecast, \\n By that same Heaven instructed prophet-wise \\n To justify the present in the past. \\n What in the sapphire volume of the skies \\n Is writ by God's own finger misleads none, \\n But him whose vain and misinstructed eyes, \\n They mock with misinterpretation,\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" But One who writes His order in the sky \\n I dared not misinterpret nor neglect, \\n Who knows with what reluctance-- \\n \\n SEG. \\n Oh, those stars, \\n Those stars, that too far up from human blame \\n To clear themselves, or careless of the charge, \\n Still bear upon their shining shoulders all \\n The guilt men shift upon them! \\n \\n KING. \\n Nay, but think: \\n Not only on the common score of kind,\",\n \" Those stars, whose eyes, although we see them not, \\n By day as well as night are on us still, \\n Hang watching up in the meridian heaven \\n Which way the balance turns; and if to you-- \\n As by your dealing God decide it may, \\n To my confusion!--let me answer it \\n Unto yourself alone, who shall at once \\n Approve yourself to be your father's judge, \\n And sovereign of Poland in his stead,\",\n \" And Poland of her rightful sovereign. \\n For, sure and certain prophets as the stars, \\n Although they err not, he who reads them may; \\n Or rightly reading--seeing there is One \\n Who governs them, as, under Him, they us, \\n We are not sure if the rough diagram \\n They draw in heaven and we interpret here, \\n Be sure of operation, if the Will \\n Supreme, that sometimes for some special end \\n The course of providential nature breaks\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" (Shouts, etc. God save Estrella, Queen of Poland!) \\n \\n SEG (to Clotaldo). \\n You \\n That with unflinching duty to your King, \\n Till countermanded by the mightier Power, \\n Have held your Prince a captive in the tower, \\n Henceforth as strictly guard him on the throne \\n No less my people's keeper than my own. \\n You stare upon me all, amazed to hear \\n The word of civil justice from such lips\",\n \" ESTRELLA (Kneeling.) \\n Oh, Royal Sir!-- \\n \\n ASTOLFO (Kneeling.) \\n God save your Majesty-- \\n \\n KING. \\n Rise both of you, \\n Rise to my arms, Astolfo and Estrella; \\n As my two sisters' children always mine, \\n Now more than ever, since myself and Poland \\n Solely to you for our succession look'd.\",\n \" AST. \\n Nay, but indeed, fair cousin-- \\n \\n EST. \\n Ay, let Deed \\n Measure your words, indeed your flowers of speech \\n Ill with your iron equipage atone; \\n Irony indeed, and wordy compliment. \\n \\n AST. \\n Indeed, indeed, you wrong me, royal cousin, \\n And fair as royal, misinterpreting \\n What, even for the end you think I aim at,\",\n \" Whom Duke Astolfo, Prince of Muscovy, \\n With all the solemn vows of wedlock won, \\n And would have wedded, as I do believe, \\n Had not the cry of Poland for a Prince \\n Call'd him from Muscovy to join the prize \\n Of Poland with the fair Estrella's eyes. \\n I, following him hither, as you saw, \\n Was cast upon these rocks; arrested by \\n Clotaldo: who, for an old debt of love\",\n \" Are but fair vizors to black hearts below, \\n Or only serve to bring the wearer woe! \\n But to yourself--If haply the redress \\n That I am here upon may help to yours. \\n I heard you tax the heavens with ordering, \\n And men for executing, what, alas! \\n I now behold. But why, and who they are \\n Who do, and you who suffer-- \\n \\n SEG. (pointing upwards). \\n Ask of them,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" Creatures, but man too prospers with his kind; \\n Who leaving all his guilty fellows free, \\n Under your fatal auspice and divine \\n Compulsion, leagued in some mysterious ban \\n Against one innocent and helpless man, \\n Abuse their liberty to murder mine: \\n And sworn to silence, like their masters mute \\n In heaven, and like them twirling through the mask \\n Of darkness, answering to all I ask, \\n Point up to them whose work they execute! \\n\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" By justice, mercy, self-sobriety, \\n And all the reasonable attributes \\n Without which, impotent to rule himself, \\n Others one cannot, and one must not rule; \\n But which if you but show the blossom of-- \\n All that is past we shall but look upon \\n As the first out-fling of a generous nature \\n Rioting in first liberty; and if \\n This blossom do but promise such a flower \\n As promises in turn its kindly fruit:\"\n ],\n [\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Walking as one who knows he soon may wake, \\n So fairly carry the full cup, so well \\n Disorder'd insolence and passion quell, \\n That there be nothing after to upbraid \\n Dreamer or doer in the part he play'd, \\n Whether To-morrow's dawn shall break the spell, \\n Or the Last Trumpet of the eternal Day, \\n When Dreaming with the Night shall pass away. \\n (Exeunt.) \\n \\n \\n \\n \\n\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" Be cancell'd in the burning heavens, He leaves \\n His earthly delegates to execute, \\n Of retribution in reward to them \\n And woe to those who wrong'd them--Not as you, \\n Not you, Clotaldo, knowing not--And yet \\n Ev'n to the guiltiest wretch in all the realm, \\n Of any treason guilty short of that, \\n Stern usage--but assuredly not knowing, \\n Not knowing 'twas your sovereign lord, Clotaldo,\",\n \" And play'd at hazard with his fellows' lives, \\n Who cheaply dream'd away their lives to him. \\n The sailor dream'd of tossing on the flood: \\n The soldier of his laurels grown in blood: \\n The lover of the beauty that he knew \\n Must yet dissolve to dusty residue: \\n The merchant and the miser of his bags \\n Of finger'd gold; the beggar of his rags: \\n And all this stage of earth on which we seem\",\n \" Earth and her cities totter'd, and the world \\n Seem'd shaken to its last paralysis. \\n In such a paroxysm of dissolution \\n That son of mine was born; by that first act \\n Heading the monstrous catalogue of crime, \\n I found fore-written in his horoscope; \\n As great a monster in man's history \\n As was in nature his nativity; \\n So savage, bloody, terrible, and impious,\",\n \" Once more, you savage heavens, I ask of you-- \\n I, looking up to those relentless eyes \\n That, now the greater lamp is gone below, \\n Begin to muster in the listening skies; \\n In all the shining circuits you have gone \\n About this theatre of human woe, \\n What greater sorrow have you gazed upon \\n Than down this narrow chink you witness still; \\n And which, did you yourselves not fore-devise,\",\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" Among the tempest-shatter'd crags \\n Shattering your luckless rider \\n Back into the tempest pass'd? \\n There then lie to starve and die, \\n Or find another Phaeton \\n Mad-mettled as yourself; for I, \\n Wearied, worried, and for-done, \\n Alone will down the mountain try, \\n That knits his brows against the sun. \\n \\n FIFE (as to his mule).\",\n \" Ay, ev'n the Reason's self that dates with them, \\n Should be in essence or intensity \\n Hereafter so transcended, and awake \\n To a perceptive subtlety so keen \\n As to confess themselves befool'd before, \\n In all that now they will avouch for most? \\n One man--like this--but only so much longer \\n As life is longer than a summer's day, \\n Believed himself a king upon his throne,\",\n \" There, thou mis-begotten thing, \\n Long-ear'd lightning, tail'd tornado, \\n Griffin-hoof-in hurricano, \\n (I might swear till I were almost \\n Hoarse with roaring Asonante) \\n Who forsooth because our betters \\n Would begin to kick and fling \\n You forthwith your noble mind \\n Must prove, and kick me off behind, \\n Tow'rd the very centre whither \\n Gravity was most inclined.\",\n \" And slips the sceptre from your palsied hand, \\n And Poland for her rightful heir cries out; \\n When not only your stol'n monopoly \\n Fails you of earthly power, but 'cross the grave \\n The judgment-trumpet of another world \\n Calls you to count for your abuse of this; \\n Then, oh then, terrified by the double danger, \\n You drag me from my den-- \\n Boast not of giving up at last the power\",\n \" Which, by the way, now that I think of it, \\n May furnish us the key to this high flight \\n That royal Eagle we were watching, and \\n Talking of as you went to sleep last night. \\n \\n SEG. \\n Last night? Last night? \\n \\n CLO. \\n Ay, do you not remember \\n Envying his immunity of flight, \\n As, rising from his throne of rock, he sail'd \\n Above the mountains far into the West,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" Oh, had the self-same heaven upon his page \\n Inscribed my death ere I should read my life \\n And, by fore-casting of my own mischance, \\n Play not the victim but the suicide \\n In my own tragedy!--But you shall hear. \\n You know how once, as kings must for their people, \\n And only once, as wise men for themselves, \\n I woo'd and wedded: know too that my Queen \\n In childing died; but not, as you believe,\",\n \" His being slew; with midnight secrecy \\n I had him carried to a lonely tower \\n Hewn from the mountain-barriers of the realm, \\n And under strict anathema of death \\n Guarded from men's inquisitive approach, \\n Save from the trusty few one needs must trust; \\n Who while his fasten'd body they provide \\n With salutary garb and nourishment, \\n Instruct his soul in what no soul may miss\",\n \" And each must play his part out manfully, \\n Leaving the rest to heaven. \\n \\n KING. \\n Whose written words \\n If I should misinterpret or transgress! \\n But as you say-- \\n (To the Lord, who exit.) \\n You, back to him at once; \\n Clotaldo, you, when he is somewhat used \\n To the new world of which they call him Prince, \\n Where place and face, and all, is strange to him,\",\n \" My son withholding from his right thus long, \\n Shame and remorse to judge and father both: \\n Unless remorse and shame together drown'd \\n In having what I flung for worthless found. \\n But come--already weary with your travel, \\n And ill refresh'd by this strange history, \\n Until the hours that draw the sun from heaven \\n Unite us at the customary board, \\n Each to his several chamber: you to rest;\",\n \" SEG. \\n Not ev'n the Dead, \\n Call'd to the resurrection of the blest, \\n Shall so directly drop all memory \\n Of woes and wrongs foregone! \\n \\n CLO. \\n But not resent-- \\n Purged by the trial of that sorrow past \\n For full fruition of their present bliss. \\n \\n SEG. \\n But leaving with the Judge what, till this earth\"\n ],\n [\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \"attire; and, after her, Fife.) \\n \\n ROSAURA. \\n There, four-footed Fury, blast \\n Engender'd brute, without the wit \\n Of brute, or mouth to match the bit \\n Of man--art satisfied at last? \\n Who, when thunder roll'd aloof, \\n Tow'rd the spheres of fire your ears \\n Pricking, and the granite kicking \\n Into lightning with your hoof,\",\n \" With your known features and familiar garb \\n Shall then, as chorus to the scene, accost him, \\n And by such earnest of that old and too \\n Familiar world, assure him of the new. \\n Last in the strange procession, I myself \\n Will by one full and last development \\n Complete the plot for that catastrophe \\n That he must put to all; God grant it be \\n The crown of Poland on his brows!--Hark! hark!--\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" And ev'n my very Gaoler, for my vassals! \\n \\n Enter suddenly Clotaldo \\n \\n CLOTALDO. \\n Stand all aside \\n That I may put into his hand the clue \\n To lead him out of this amazement. Sir, \\n Vouchsafe your Highness from my bended knee \\n Receive my homage first. \\n \\n SEG. \\n Clotaldo! What, \\n At last--his old self--undisguised where all\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Set me on the road, \\n And you shall be the nearer to my answer. \\n \\n CLO. (aside). \\n So resolute and ready to reply, \\n And yet so young--and-- \\n (Aloud.) \\n Well,-- \\n Your business was not surely with the man \\n We found you with? \\n \\n ROS. \\n He was the first we saw,-- \\n And strangers and benighted, as we were,\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\"\n ],\n [\n \"detail and probability, so long as a good story, with strong, rapid, and \\n picturesque action and situation, was set before them. \\n \\n \\n \\n \\n ACT I \\n \\n \\n \\n \\n SCENE I--A pass of rocks, over which a storm is rolling away, \\n \\n and the sun setting: in the foreground, half-way down, a fortress. \\n \\n \\n (Enter first from the topmost rock Rosaura, as from horseback, in man's\",\n \" By the same hand you owe it to-- \\n (Seizing Clotaldo's sword and about to strike him.) \\n \\n (Enter Rosaura suddenly.) \\n \\n ROSAURA. \\n Fie, my Lord--forbear, \\n What! a young hand raised against silver hair!-- \\n \\n (She retreats through the crowd.) \\n \\n SEG. \\n Stay! stay! What come and vanish'd as before-- \\n I scarce remember how--but-- \\n\",\n \" SOL. \\n The Page who spurr'd us hither, \\n And now, dismounted from a foaming horse-- \\n \\n (Enter Rosaura) \\n \\n ROSAURA. \\n Where is--but where I need no further ask \\n Where the majestic presence, all in arms, \\n Mutely proclaims and vindicates himself. \\n \\n FIFE. \\n My darling Lady-lord-- \\n \\n ROS.\",\n \" SOLDIERS (bringing in Rosaura and Fife). \\n Here are two of them, \\n Whoever more to follow-- \\n \\n CLO. \\n Who are you, \\n That in defiance of known proclamation \\n Are found, at night-fall too, about this place? \\n \\n FIFE. \\n Oh, my Lord, she--I mean he-- \\n \\n ROS. \\n Silence, Fife,\",\n \" (Rosaura and Fife hide in the rocks; Enter Clotaldo) \\n \\n CLOTALDO. \\n These stormy days you like to see the last of \\n Are but ill opiates, Segismund, I think, \\n For night to follow: and to-night you seem \\n More than your wont disorder'd. What! A sword? \\n Within there! \\n \\n (Enter Soldiers with black vizors and torches) \\n \\n FIFE.\",\n \" ASTOLFO. \\n My royal cousin, if so near in blood, \\n Till this auspicious meeting scarcely known, \\n Till all that beauty promised in the bud \\n Is now to its consummate blossom blown, \\n Well met at last; and may-- \\n \\n ESTRELLA. \\n Enough, my Lord, \\n Of compliment devised for you by some \\n Court tailor, and, believe me, still too short \\n To cover the designful heart below.\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" Is not so clear about it--but I know \\n One test you gave me to discern between, \\n Which mad and dreaming people cannot master; \\n Or if the dreamer could, so best secure \\n A comfortable waking--Was't not so? \\n (To Rosaura). \\n Needs not your intercession now, you see, \\n As in the dream before-- \\n Clotaldo, rough old nurse and tutor too \\n That only traitor wert, to me if true--\",\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Alas! like him who caught the cast-off husk \\n Of what another bragg'd of feeding on, \\n Here's one that from the refuse of my sorrows \\n Could gather all the banquet he desires! \\n Poor soul, poor soul! \\n \\n FIFE. \\n Speak lower--he will hear you. \\n \\n ROS. \\n And if he should, what then? Why, if he would, \\n He could not harm me--Nay, and if he could,\",\n \"As this version of Calderon's drama is not for acting, a higher and \\n wider mountain-scene than practicable may be imagined for Rosaura's \\n descent in the first Act and the soldiers' ascent in the last. The bad \\n watch kept by the sentinels who guarded their state-prisoner, together \\n with much else (not all!) that defies sober sense in this wild drama, I \\n must leave Calderon to answer for; whose audience were not critical of\",\n \" There where you have made your bed \\n In it lie; for, wet or dry, \\n Let what will for me betide you, \\n Burning, blowing, freezing, hailing; \\n Famine waste you: devil ride you: \\n Tempest baste you black and blue: \\n (To Rosaura.) \\n There! I think in downright railing \\n I can hold my own with you. \\n \\n ROS. \\n Ah, my good Fife, whose merry loyal pipe,\",\n \" Shall see us both together on the way. \\n \\n ROS. \\n Thus then what I for misadventure blamed, \\n Directly draws me where my wishes aim'd. \\n \\n (Exeunt.) \\n \\n \\n \\n \\n SCENE II.--The Palace at Warsaw \\n \\n \\n Enter on one side Astolfo, Duke of Muscovy, with his train: and, on the \\n other, the Princess Estrella, with hers. \\n\",\n \" And calls me to the very point you aim at. \\n \\n ROS. \\n The capital? \\n \\n CLO. \\n Ay, the capital; and ev'n \\n That capital of capitals, the Court: \\n Where you may plead, and, I may promise, win \\n Pardon for this, you say unwilling, trespass, \\n And prosecute what else you have at heart, \\n With me to help you forward all I can; \\n Provided all in loyalty to those\",\n \" And ev'n my very Gaoler, for my vassals! \\n \\n Enter suddenly Clotaldo \\n \\n CLOTALDO. \\n Stand all aside \\n That I may put into his hand the clue \\n To lead him out of this amazement. Sir, \\n Vouchsafe your Highness from my bended knee \\n Receive my homage first. \\n \\n SEG. \\n Clotaldo! What, \\n At last--his old self--undisguised where all\",\n \" Was that his voice within!--Now louder--Oh, \\n Clotaldo, what! so soon begun to roar!-- \\n Again! above the music--But betide \\n What may, until the moment, we must hide. \\n \\n (Exeunt King and Clotaldo.) \\n \\n SEGISMUND (within). \\n Forbear! I stifle with your perfume! Cease \\n Your crazy salutations! peace, I say\",\n \" And, as I trust, with both of us a few \\n White hairs to fall in yours. \\n \\n SEG. \\n Well said, well said! \\n Basilio, my father--well--Clotaldo \\n Is he my kinsman too? \\n \\n CHAMB. \\n Oh, my good Lord, \\n A General simply in your Highness' service, \\n Than whom your Highness has no trustier. \\n \\n SEG.\",\n \" Quicker and thicker than you can escape, \\n Adopt your visionary soldiery, \\n Who, having struck a solid chain away, \\n Now put an airy sword into your hand, \\n And harnessing you piece-meal till you stand \\n Amidst us all complete in glittering, \\n If unsubstantial, steel-- \\n \\n ROSAURA (without). \\n The Prince! The Prince! \\n \\n CAPT. \\n Who calls for him? \\n\",\n \" Whom, as to-night, I have so often ask'd, \\n And ask'd in vain. \\n \\n ROS. \\n But surely, surely-- \\n \\n SEG. \\n Hark! \\n The trumpet of the watch to shut us in. \\n Oh, should they find you!--Quick! Behind the rocks! \\n To-morrow--if to-morrow-- \\n \\n ROS. (flinging her sword toward him). \\n Take my sword! \\n\",\n \" I to contrive with old Clotaldo best \\n The method of a stranger thing than old \\n Time has a yet among his records told. \\n \\n Exeunt. \\n \\n \\n \\n \\n ACT II \\n \\n \\n \\n \\n SCENE I--A Throne-room in the Palace. Music within. \\n \\n \\n (Enter King and Clotaldo, meeting a Lord in waiting) \\n \\n KING.\"\n ],\n [\n \" Whose golden letters on whose sapphire leaf, \\n Distinguishing the page of day and night, \\n And all the revolution of the year; \\n So with the turning volume where they lie \\n Still changing their prophetic syllables, \\n They register the destinies of men: \\n Until with eyes that, dim with years indeed, \\n Are quicker to pursue the stars than rule them, \\n I get the start of Time, and from his hand \\n The wand of tardy revelation draw.\",\n \" Swear it upon this Symbol, \\n and champion of the holy faith \\n I wear it to defend. \\n \\n SEG (to himself). \\n My eyes have not deceived me, nor my ears, \\n With this transfiguration, nor the strain \\n Of royal welcome that arose and blew, \\n Breathed from no lying lips, along with it. \\n For here Clotaldo comes, his own old self, \\n Who, if not Lie and phantom with the rest--\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" And unconditional of time and space, \\n Can pour infinities. \\n \\n SEG. \\n And I remember \\n How the old man they call'd the King, who wore \\n The crown of gold about his silver hair, \\n And a mysterious girdle round his waist, \\n Just when my rage was roaring at its height, \\n And after which it all was dark again, \\n Bid me beware lest all should be a dream. \\n \\n CLO.\",\n \" Against the scholar by that master turn'd \\n Who to himself reserves the master-stroke. \\n Witness whereof this venerable Age, \\n Thrice crown'd as Sire, and Sovereign, and Sage, \\n Down to the very dust dishonour'd by \\n The very means he tempted to defy \\n The irresistible. And shall not I, \\n Till now the mere dumb instrument that wrought \\n The battle Fate has with my father fought,\",\n \" With your known features and familiar garb \\n Shall then, as chorus to the scene, accost him, \\n And by such earnest of that old and too \\n Familiar world, assure him of the new. \\n Last in the strange procession, I myself \\n Will by one full and last development \\n Complete the plot for that catastrophe \\n That he must put to all; God grant it be \\n The crown of Poland on his brows!--Hark! hark!--\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" Glaring at a suddenly encounter'd lion. \\n \\n KING. \\n And I that hither flew with open arms \\n To fold them round my son, must now return \\n To press them to an empty heart again! \\n (He sits on the throne.) \\n \\n SEG. \\n That is the King?--My father? \\n (After a long pause.) \\n I have heard \\n That sometimes some blind instinct has been known \\n To draw to mutual recognition those\",\n \" As all things mortal, lay it in the dust, \\n Shall star-like shift to his successor's brow. \\n \\n (Shouts, trumpets, etc. God save King Segismund!) \\n \\n SEG. \\n For what remains-- \\n As for my own, so for my people's peace, \\n Astolfo's and Estrella's plighted hands \\n I disunite, and taking hers to mine, \\n His to one yet more dearly his resign.\",\n \" Into some happier constellation roll'd, \\n And brought my better fortune out on earth \\n Clear as themselves in heaven!--Prince Segismund \\n They call'd me--and at will I shook them off-- \\n Will they return again at my command \\n Again to call me so?--Within there! You! \\n Segismund calls--Prince Segismund-- \\n \\n (He has seated himself on the throne. \\n Enter Chamberlain, with lords in waiting.) \\n\",\n \" Of him whose head you threaten with the dust, \\n Forthwith shall draw the curtain of the Past \\n About you; and this momentary gleam \\n Of glory that you think to hold life-fast, \\n So coming, so shall vanish, as a dream. \\n \\n SEG. \\n He prophesies; the old man prophesies; \\n And, at his trumpet's summons, from the tower \\n The leash-bound shadows loosen'd after me\",\n \" Fringes with such a gold; or over-laid \\n With sanguine-glowing semblances of men, \\n Each in his all but living action busied, \\n Or from the wall they look from, with fix'd eyes \\n Pursuing me; and one most strange of all \\n That, as I pass'd the crystal on the wall, \\n Look'd from it--left it--and as I return, \\n Returns, and looks me face to face again--\",\n \" And, but the martial out-burst that proclaims \\n His coming, makes all further parley vain, \\n Unless my bosom, by which only wise \\n I prophesy, now wrongly prophesies, \\n By such a happy compact as I dare \\n But glance at till the Royal Sage declare. \\n \\n (Trumpets, etc. Enter King Basilio with his Council.) \\n \\n ALL. \\n The King! God save the King! \\n\",\n \" --He's dead! He's dead! They've kill'd him-- \\n --No--he breathes-- \\n And the heart beats--and now he breathes again \\n Deeply, as one about to shake away \\n The load of sleep. \\n \\n CAPT. \\n Come, let us all kneel round, \\n And with a blast of warlike instruments, \\n And acclamation of all loyal hearts, \\n Rouse and restore him to his royal right,\",\n \" Out of the ashes of my self-extinction \\n A better self revive; if not beneath \\n Your feet, beneath your better wisdom bow'd, \\n The Sovereignty of Poland I resign, \\n With this its golden symbol; which if thus \\n Saved with its silver head inviolate, \\n Shall nevermore be subject to decline; \\n But when the head that it alights on now \\n Falls honour'd by the very foe that must,\",\n \" And with one hand clench'd in his tangled hair \\n And with a sigh as if his heart would break-- \\n \\n (During this Segismund has entered from the fortress, with a \\n torch.) \\n \\n SEGISMUND. \\n Once more the storm has roar'd itself away, \\n Splitting the crags of God as it retires; \\n But sparing still what it should only blast, \\n This guilty piece of human handiwork,\",\n \" Charter'd with larger liberty to slay \\n Their guiltless kind, the tyrants of the air \\n Soar zenith-upward with their screaming prey, \\n Making pure heaven drop blood upon the stage \\n Of under earth, where lion, wolf, and bear, \\n And they that on their treacherous velvet wear \\n Figure and constellation like your own, \\n With their still living slaughter bound away \\n Over the barriers of the mountain cage,\",\n \" My rising glory reach and over-lour-- \\n But, reach not I my height, he shall not hold, \\n But with me back to his own darkness! \\n \\n (He dashes toward the throne and is enclosed by the soldiers.) \\n \\n Traitors! \\n Hold off! Unhand me!--Am not I your king? \\n And you would strangle him!-- \\n But I am breaking with an inward Fire \\n Shall scorch you off, and wrap me on the wings\",\n \" Then if with any show of human kindness \\n He fling discredit, not upon the stars, \\n But upon me, their misinterpreter, \\n With all apology mistaken age \\n Can make to youth it never meant to harm, \\n To my son's forehead will I shift the crown \\n I long have wish'd upon a younger brow; \\n And in religious humiliation, \\n For what of worn-out age remains to me, \\n Entreat my pardon both of Heaven and him\",\n \" Those stars, whose eyes, although we see them not, \\n By day as well as night are on us still, \\n Hang watching up in the meridian heaven \\n Which way the balance turns; and if to you-- \\n As by your dealing God decide it may, \\n To my confusion!--let me answer it \\n Unto yourself alone, who shall at once \\n Approve yourself to be your father's judge, \\n And sovereign of Poland in his stead,\"\n ],\n [\n \" Till the good king be here to clear it all-- \\n Will you vouchsafe to hear me? \\n \\n EST. \\n As you will. \\n \\n AST. \\n You know that, when about to leave this world, \\n Our royal grandsire, King Alfonso, left \\n Three children; one a son, Basilio, \\n Who wears--long may he wear! the crown of Poland; \\n And daughters twain: of whom the elder was\",\n \" Sane waking senses, by these witnesses \\n Attested, till the story of it all, \\n Of which I bring a chapter, be reveal'd, \\n Assured of all you see and hear as neither \\n Madness nor mockery-- \\n \\n SEG. \\n What then? \\n \\n CLO. \\n All it seems: \\n This palace with its royal garniture; \\n This capital of which it is the eye,\",\n \" He owes my family, with all his might \\n Served, and had served me further, till my cause \\n Clash'd with his duty to his sovereign, \\n Which, as became a loyal subject, sir, \\n (And never sovereign had a loyaller,) \\n Was still his first. He carried me to Court, \\n Where, for the second time, I crossed your path; \\n Where, as I watch'd my opportunity, \\n Suddenly broke this public passion out;\",\n \" Ay, ev'n the Reason's self that dates with them, \\n Should be in essence or intensity \\n Hereafter so transcended, and awake \\n To a perceptive subtlety so keen \\n As to confess themselves befool'd before, \\n In all that now they will avouch for most? \\n One man--like this--but only so much longer \\n As life is longer than a summer's day, \\n Believed himself a king upon his throne,\",\n \" With all its temples, marts, and arsenals; \\n This realm of which this city is the head, \\n With all its cities, villages, and tilth, \\n Its armies, fleets, and commerce; all your own; \\n And all the living souls that make them up, \\n From those who now, and those who shall, salute you, \\n Down to the poorest peasant of the realm, \\n Your subjects--Who, though now their mighty voice\",\n \" Has never by a second marriage yet \\n Replaced, as Poland ask'd of him, the heir \\n An early marriage brought and took away; \\n His young queen dying with the son she bore him; \\n And in such alienation grown so old \\n As leaves no other hope of heir to Poland \\n Than his two sisters' children; you, fair cousin, \\n And me; for whom the Commons of the realm \\n Divide themselves into two several factions;\",\n \" Forthwith upon your brows the royal crown, \\n That now weighs heavy on my aged brows, \\n I will devolve; and while I pass away \\n Into some cloister, with my Maker there \\n To make my peace in penitence and prayer, \\n Happily settle the disorder'd realm \\n That now cries loudly for a lineal heir. \\n \\n SEG. \\n And so-- \\n When the crown falters on your shaking head,\",\n \" CHAMB. \\n I rejoice \\n That unadvised of any but the voice \\n Of royal instinct in the blood, your Highness \\n Has ta'en the chair that you were born to fill. \\n \\n SEG. \\n The chair? \\n \\n CHAMB. \\n The royal throne of Poland, Sir, \\n Which may your Royal Highness keep as long \\n As he that now rules from it shall have ruled \\n When heaven has call'd him to itself. \\n\",\n \" Pent in the rock leaps toward her at her touch, \\n Mine, before all the cousins in Muscovy! \\n You call me Prince of Poland, and yourselves \\n My subjects--traitors therefore to this hour, \\n Who let me perish all my youth away \\n Chain'd there among the mountains; till, forsooth, \\n Terrified at your treachery foregone, \\n You spirit me up here, I know not how, \\n Popinjay-like invest me like yourselves,\",\n \" Your mother, Clorilena, now some while \\n Exalted to a more than mortal throne; \\n And Recisunda, mine, the younger sister, \\n Who, married to the Prince of Muscovy, \\n Gave me the light which may she live to see \\n Herself for many, many years to come. \\n Meanwhile, good King Basilio, as you know, \\n Deep in abstruser studies than this world, \\n And busier with the stars than lady's eyes,\",\n \" And while with princely raiment we invested \\n What nature surely modell'd for a Prince-- \\n All but the sword--as you directed-- \\n \\n KING. \\n Ay-- \\n \\n LORD. \\n If not too loudly, yet emphatically \\n Still with the title of a Prince address'd him. \\n \\n KING. \\n How bore he that? \\n \\n LORD. \\n With all the rest, my liege,\",\n \" To which the kings of earth themselves are subject, \\n And whose behest not only he that suffers, \\n But he that executes, not comprehends, \\n But only He that orders it-- \\n \\n SEG. \\n The King-- \\n My father!--Either I am mad already, \\n Or that way driving fast--or I should know \\n That fathers do not use their children so, \\n Or men were loosed from all allegiance\",\n \" And now give ear, you and your several factions, \\n And you, the Peers and Princes of this realm, \\n While I reveal the purport of this meeting \\n In words whose necessary length I trust \\n No unsuccessful issue shall excuse. \\n You and the world who have surnamed me \\\"Sage\\\" \\n Know that I owe that title, if my due, \\n To my long meditation on the book \\n Which ever lying open overhead-- \\n The book of heaven, I mean--so few have read;\",\n \" In a black turret which the wolf howl'd round, \\n And woke again upon a golden bed, \\n Round which as clouds about a rising sun, \\n In scarce less glittering caparison, \\n Gather'd gay shapes that, underneath a breeze \\n Of music, handed him upon their knees \\n The wine of heaven in a cup of gold, \\n And still in soft melodious under-song \\n Hailing me Prince of Poland!--'Segismund,'\",\n \" And slips the sceptre from your palsied hand, \\n And Poland for her rightful heir cries out; \\n When not only your stol'n monopoly \\n Fails you of earthly power, but 'cross the grave \\n The judgment-trumpet of another world \\n Calls you to count for your abuse of this; \\n Then, oh then, terrified by the double danger, \\n You drag me from my den-- \\n Boast not of giving up at last the power\",\n \" His being slew; with midnight secrecy \\n I had him carried to a lonely tower \\n Hewn from the mountain-barriers of the realm, \\n And under strict anathema of death \\n Guarded from men's inquisitive approach, \\n Save from the trusty few one needs must trust; \\n Who while his fasten'd body they provide \\n With salutary garb and nourishment, \\n Instruct his soul in what no soul may miss\",\n \" --He's dead! He's dead! They've kill'd him-- \\n --No--he breathes-- \\n And the heart beats--and now he breathes again \\n Deeply, as one about to shake away \\n The load of sleep. \\n \\n CAPT. \\n Come, let us all kneel round, \\n And with a blast of warlike instruments, \\n And acclamation of all loyal hearts, \\n Rouse and restore him to his royal right,\",\n \" Once he's his eye upon you. All grows dark-- \\n You glitter finely too--Well--we are dreaming \\n But when the bullet's off--Heaven save the mark! \\n So tell my mister--mastress-- \\n (Dies.) \\n \\n KING. \\n Oh God! How this poor creature's ignorance \\n Confounds our so-call'd wisdom! Even now \\n When death has stopt his lips, the wound through which\",\n \" My son withholding from his right thus long, \\n Shame and remorse to judge and father both: \\n Unless remorse and shame together drown'd \\n In having what I flung for worthless found. \\n But come--already weary with your travel, \\n And ill refresh'd by this strange history, \\n Until the hours that draw the sun from heaven \\n Unite us at the customary board, \\n Each to his several chamber: you to rest;\",\n \" Where scarce a ray of sunshine found him out, \\n In which the poorest beggar of my realm \\n At least to human-full proportion grows-- \\n Me! Me--whose station was the kingdom's top \\n To flourish in, reaching my head to heaven, \\n And with my branches overshadowing \\n The meaner growth below! \\n \\n CLO. \\n Still with the same \\n Fidelity-- \\n \\n SEG. \\n To me!-- \\n\"\n ],\n [\n \" Of sovereignty, but even that prime \\n Inheritance that all men share alike, \\n And chain'd him--chain'd him!--like a wild beast's whelp. \\n Among as savage mountains, to this hour? \\n Answer if this be thus. \\n \\n KING. \\n Oh, Segismund, \\n In all that I have done that seems to you, \\n And, without further hearing, fairly seems, \\n Unnatural and cruel--'twas not I,\",\n \" SEG. \\n When he?-- \\n \\n CHAMB. \\n Your royal father, King Basilio, Sir. \\n \\n SEG. \\n My royal father--King Basilio. \\n You see I answer but as Echo does, \\n Not knowing what she listens or repeats. \\n This is my throne--this is my palace--Oh, \\n But this out of the window?-- \\n \\n CHAMB. \\n Warsaw, Sir, \\n Your capital--\",\n \" From which no royal wrong shall drive him more. \\n \\n (They all kneel round his bed: trumpets, drums, etc.) \\n \\n SOLDIERS. \\n --Segismund! Segismund! Prince Segismund! \\n --King Segismund! Down with Basilio! \\n --Down with Astolfo! Segismund our King! etc. \\n --He stares upon us wildly. He cannot speak. \\n --I said so--driv'n him mad.\",\n \" Yet not so glorious, Segismund, if you \\n Your visionary honour wore so ill \\n As to work murder and revenge on those \\n Who meant you well. \\n \\n SEG. \\n Who meant me!--me! their Prince \\n Chain'd like a felon-- \\n \\n CLO. \\n Stay, stay--Not so fast, \\n You dream'd the Prince, remember. \\n \\n SEG. \\n Then in dream \\n Revenged it only. \\n\",\n \" --Speak to him, Captain. \\n \\n CAPTAIN. \\n Oh Royal Segismund, our Prince and King, \\n Look on us--listen to us--answer us, \\n Your faithful soldiery and subjects, now \\n About you kneeling, but on fire to rise \\n And cleave a passage through your enemies, \\n Until we seat you on your lawful throne. \\n For though your father, King Basilio, \\n Now King of Poland, jealous of the stars\",\n \" (Enter Segismund, Rosaura, Soldiers, etc.) \\n \\n SEG. \\n Where is the King? \\n \\n KING (prostrating himself). \\n Behold him,--by this late \\n Anticipation of resistless fate, \\n Thus underneath your feet his golden crown, \\n And the white head that wears it, laying down, \\n His fond resistance hope to expiate. \\n \\n SEG. \\n Princes and warriors of Poland--you\",\n \" KING. \\n That, living, you might learn to live, and rule \\n Yourself and Poland. \\n \\n SEG. \\n By the means you took \\n To spoil for either? \\n \\n KING. \\n Nay, but, Segismund! \\n You know not--cannot know--happily wanting \\n The sad experience on which knowledge grows, \\n How the too early consciousness of power \\n Spoils the best blood; nor whether for your long\",\n \" To which the kings of earth themselves are subject, \\n And whose behest not only he that suffers, \\n But he that executes, not comprehends, \\n But only He that orders it-- \\n \\n SEG. \\n The King-- \\n My father!--Either I am mad already, \\n Or that way driving fast--or I should know \\n That fathers do not use their children so, \\n Or men were loosed from all allegiance\",\n \" Not knowing what we did; but too ashamed \\n Not to undo ourselves what we had done. \\n \\n CAPT. \\n No matter, nor by whosesoever hands, \\n Provided done. Come; we will bring him forth \\n Out of that stony darkness here abroad, \\n Where air and sunshine sooner shall disperse \\n The sleepy fume which they have drugg'd him with. \\n \\n (They enter the tower, and thence bring out Segismund asleep on a\",\n \" Ay, but what some precocious warmth may spill, \\n May not an early frost as surely kill? \\n \\n KING. \\n But, Segismund, my son, whose quick discourse \\n Proves I have not extinguish'd and destroy'd \\n The Man you charge me with extinguishing, \\n However it condemn me for the fault \\n Of keeping a good light so long eclipsed, \\n Reflect! This is the moment upon which\",\n \"purposes in the Induction to the Shakespearean \\\"Taming of the Shrew.\\\" \\n But with Calderon the theme is lifted altogether out of the atmosphere \\n of comedy, and is worked up with poetic sentiment and a touch of \\n mysticism into a symbolic drama of profound and universal philosophical \\n significance. \\n \\n \\n \\n \\n \\n LIFE IS A DREAM \\n \\n \\n \\n DRAMATIS PERSONAE \\n \\n Basilio King of Poland. \\n Segismund his Son.\",\n \" That I--the Segismund you know so long \\n No longer than the sun that rose to-day \\n Rose--and from what you know-- \\n Rose to be Prince of Poland? \\n \\n CLO. \\n So to be \\n Acknowledged and entreated, Sir. \\n \\n SEG. \\n So be \\n Acknowledged and entreated-- \\n Well--But if now by all, by some at least \\n So known--if not entreated--heretofore--\",\n \" You used so sternly. \\n \\n CLO. \\n Ay, sir; with the same \\n Devotion and fidelity that now \\n Does homage to him for my sovereign. \\n \\n SEG. \\n Fidelity that held his Prince in chains! \\n \\n CLO. \\n Fidelity more fast than had it loosed him-- \\n \\n SEG. \\n Ev'n from the very dawn of consciousness \\n Down at the bottom of the barren rocks,\",\n \" And with one hand clench'd in his tangled hair \\n And with a sigh as if his heart would break-- \\n \\n (During this Segismund has entered from the fortress, with a \\n torch.) \\n \\n SEGISMUND. \\n Once more the storm has roar'd itself away, \\n Splitting the crags of God as it retires; \\n But sparing still what it should only blast, \\n This guilty piece of human handiwork,\",\n \" --Our own King Segismund, etc. \\n (They all rise.) \\n \\n SEG. \\n Again? So soon?--What, not yet done with me? \\n The sun is little higher up, I think, \\n Than when I last lay down, \\n To bury in the depth of your own sea \\n You that infest its shallows. \\n \\n CAPT. \\n Sir! \\n \\n SEG. \\n And now,\",\n \"SCENE I.--The Tower, etc., as in Act I. Scene I. \\n \\n Segismund, as at first, and Clotaldo. \\n \\n CLOTALDO. \\n Princes and princesses, and counsellors \\n Fluster'd to right and left--my life made at-- \\n But that was nothing \\n Even the white-hair'd, venerable King \\n Seized on--Indeed, you made wild work of it;\",\n \" Was that his voice within!--Now louder--Oh, \\n Clotaldo, what! so soon begun to roar!-- \\n Again! above the music--But betide \\n What may, until the moment, we must hide. \\n \\n (Exeunt King and Clotaldo.) \\n \\n SEGISMUND (within). \\n Forbear! I stifle with your perfume! Cease \\n Your crazy salutations! peace, I say\",\n \" Yourself, ev'n more than any subject here, \\n Are bound by yet another and more strong \\n Allegiance--King Basilio--your Father-- \\n \\n SEG. \\n Basilio--King--my father!-- \\n \\n CLO. \\n Oh, my Lord, \\n Let me beseech you on my bended knee, \\n For your own sake--for Poland's--and for his, \\n Who, looking up for counsel to the skies, \\n Did what he did under authority\",\n \" SEG. \\n And all the moving people? \\n \\n CHAMB. \\n Your subjects and your vassals like ourselves. \\n \\n SEG. \\n Ay, ay--my subjects--in my capital-- \\n Warsaw--and I am Prince of it--You see \\n It needs much iteration to strike sense \\n Into the human echo. \\n \\n CHAMB. \\n Left awhile \\n In the quick brain, the word will quickly to \\n Full meaning blow. \\n\",\n \" And what had those same stars to tell of me \\n That should compel a father and a king \\n So much against that double instinct? \\n \\n KING. \\n That, \\n Which I have brought you hither, at my peril, \\n Against their written warning, to disprove, \\n By justice, mercy, human kindliness. \\n \\n SEG. \\n And therefore made yourself their instrument \\n To make your son the savage and the brute\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What may Rousara possibly be representing?","What is Astraea goddess of?","When was the return of a Golden Age that Rousara may be representing?","What was representing King Phillip IV of Spain?","When does Rosaura give herself a different name?","Who was the last immortal to leave Earth?","Which land is the King from who is being represented under the return of a Golden Age during Segismundo?","Who rides the hippogriff?","What does Astraea's return signify?","What do Menendez y Pelayo compare the Rosaura subplot to?","What animal does Rosaura fall off during her first appearance?","What name does Rosauras take on at court?","Who was the last immortal to leave earth with the decline of ages?","What signals the return of the mythical Golden Age?","What character in Ariosto's Orlando furioso is Rosaura compared to?","What character decieves Rosaura?","What is Astraea the goddess of?","Whose actions is Rosaura said to parallel?","What real life person is the character of Segismundo said to represent?","When Rosaura first appears she falls from what animal?","Astolfo witnesses a prophecy of what?","What alias does Rosaura assume when she goes to court?","Astraea is the goddess of what?","Which immortal was the last to leave earth?","Rosaura guides who to the final conversion?","What character deceives Rosaura?","The return of what god signals the return of the Golden Age?","This story takes place in the reign of what?","Who is Segismundo a representation of?"],"string":"[\n \"What may Rousara possibly be representing?\",\n \"What is Astraea goddess of?\",\n \"When was the return of a Golden Age that Rousara may be representing?\",\n \"What was representing King Phillip IV of Spain?\",\n \"When does Rosaura give herself a different name?\",\n \"Who was the last immortal to leave Earth?\",\n \"Which land is the King from who is being represented under the return of a Golden Age during Segismundo?\",\n \"Who rides the hippogriff?\",\n \"What does Astraea's return signify?\",\n \"What do Menendez y Pelayo compare the Rosaura subplot to?\",\n \"What animal does Rosaura fall off during her first appearance?\",\n \"What name does Rosauras take on at court?\",\n \"Who was the last immortal to leave earth with the decline of ages?\",\n \"What signals the return of the mythical Golden Age?\",\n \"What character in Ariosto's Orlando furioso is Rosaura compared to?\",\n \"What character decieves Rosaura?\",\n \"What is Astraea the goddess of?\",\n \"Whose actions is Rosaura said to parallel?\",\n \"What real life person is the character of Segismundo said to represent?\",\n \"When Rosaura first appears she falls from what animal?\",\n \"Astolfo witnesses a prophecy of what?\",\n \"What alias does Rosaura assume when she goes to court?\",\n \"Astraea is the goddess of what?\",\n \"Which immortal was the last to leave earth?\",\n \"Rosaura guides who to the final conversion?\",\n \"What character deceives Rosaura?\",\n \"The return of what god signals the return of the Golden Age?\",\n \"This story takes place in the reign of what?\",\n \"Who is Segismundo a representation of?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["The return of a Golden Age.","Return of the Golden Age"],["Chastity and justice.","Chastity and jusitce"],["During the reign of Segismundo.","During the reign of Segismundo."],["The return of a Golden Age during Segismundo.","Segismundo."],["When she goes to Court.","Whenever she goes to court."],["Astraea.","Astraea "],["Spain.","Spain."],["Rosaura.","Astolfo"],["The return of the Golden Ages.","The return of the Golden Age."],["A parasitical vine","Exotic plot"],["A horse/hippogriff","Horse"],["Astraea","Astraea"],["Astraea","Astraea "],["The arrival of Astraea","The return to Earth of Astraea"],["Astolfo","Astolfo"],["Astolfo","Astolfo"],["Chastity and justice","Chastity and Justice"],["Segismundo","Segismundo"],["King Philip IV of Spain","King Philip IV of Spain."],["Horse/hippogriff","horse/hippogriff"],["The return of the Golden Age.","The mythical Golden Age"],["Astraea ","Astrea"],["Chastity and justice","Chastity and justice."],["Astraea","Astraea"],["Segismudo","segismundo"],["Astolfo","Astolfo."],["Astraea","Astraea"],["Reign of Segismundo","Segismundo."],["King Philip IV of Spain.","He represents King Philip IV of Spain."]],"string":"[\n [\n \"The return of a Golden Age.\",\n \"Return of the Golden Age\"\n ],\n [\n \"Chastity and justice.\",\n \"Chastity and jusitce\"\n ],\n [\n \"During the reign of Segismundo.\",\n \"During the reign of Segismundo.\"\n ],\n [\n \"The return of a Golden Age during Segismundo.\",\n \"Segismundo.\"\n ],\n 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justice.\"\n ],\n [\n \"Astraea\",\n \"Astraea\"\n ],\n [\n \"Segismudo\",\n \"segismundo\"\n ],\n [\n \"Astolfo\",\n \"Astolfo.\"\n ],\n [\n \"Astraea\",\n \"Astraea\"\n ],\n [\n \"Reign of Segismundo\",\n \"Segismundo.\"\n ],\n [\n \"King Philip IV of Spain.\",\n \"He represents King Philip IV of Spain.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"f67c7a2c3c54410ebc976f8c2a3b52fa71052c51"},"split":{"kind":"string","value":"train"}}},{"rowIdx":43,"cells":{"text":{"kind":"list like","value":[["carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","DE VRIES glances around the rooftop, annoyed. \n \n DE VRIES \n Hey, look; let's forget it. There's nothing up here. \n \n PREDATOR-VISION. \n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \n distorted. \n \n PREDATOR (O.S.) \n Nothing up here. Nothing up here. \n","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","are in such close proximity that the ALIEN's acidic blood sprays across \n the PREDATOR's head. While their technology seems to be resistant to \n it, their bodies aren't: the viscous yellow liquid begins burning into \n the PREDATOR's skin. He kicks the skeletal corpse away with a HIDEOUS \n PIERCING SCREAM, clawing at his seared face. \n","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a ","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \n YORK quickly retrieves his rifle, we... \n \n CUT TO \n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \n giving us a muted X-ray-type VIEW of circulatory fluid pumping around ","EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n PREDATOR-VISION. \n Gazing down at the platform, an unseen hunter watches the swift black \n SHAPE of the ALIEN in amongst the group of humans... \n \n From the corner of her eye, DE VRIES sees something moving nearby. She \n violently pulls GUTTIEREZ out of the path of the shimmering FORM that ","The causes the QUEEN to go \n berserk, straining at her bonds and SHRIEKING ferociously. She's \n obviously been through this before and knows what's about to happen. \n The protrusionsplits open, spilling out an intense white light: an \n energy-filled blast furnace. The manipulator claw opens, the EGG drops \n in, and is no more. \n \n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \n","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","EXT. PLANET SURFACE - DAY \n \n A white-hot fireball erupts out of the fissure, the result of the \n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \n away, disappearing into the clouds. \n \n EXT. SPACE \n \n A large spacecraft is suspended in orbit around the planet; the \n PREDATOR Mothership. The shuttle heads swiftly towards it. \n \n","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","INT. PREDATOR MOTHERSHIP - DOCKING BAY \n \n An airlock RUMBLES open and the PREDATORS file NOISILY into the \n Mothership's docking bay. An OLD PREDATOR crouched against a strut \n takes time out from carving something into a block of wood to briefly \n look up at them. Like the PREDATORS themselves, the ship is a curious \n mixture of old and new. An elaborate frieze written in alien script "],["The PREDATOR goes down, groping for the self-destruct system on his \n wrist. He manages to stroke a fingernail across the activation bar, but \n gets no further. An ALIEN pounces at him, it's tail descending. The \n PREDATOR raises his arm in reflex, but the stinger SMASHES straight \n through the buries it in his face-plate, taking out the wrist-computer \n in the process. \n","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \n flight; his companion is not as lucky. The other PREDATOR kicks an \n ALIEN from him and over the roof's edge. The ALIEN lashes out with \n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \n hurtle downward and hit a nest of cabling stretched across from one of ","the wall of a base module, trapping the enraged creature. Small motors \n WHINE as the thin metal pulls inward, slicing into the ALIEN's body... \n \n The PREDATOR savors the scene for just a second...which is a second too \n long. ALIENS are all over him, clawing and ripping at his body. The \n shoulder-mounted plasma-cannon is unceremoniously yanked away and \n CLATTERS to the floor. \n","There's a blinding flash, and most of the ALIEN's head vaporises. \n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \n fire suddenly occupy the killing ground between the HUMAN and ALIEN \n antagonists. Intense bursts of light illuminate the platform as hi- \n tech PREDATOR weaponry far in advance of the humans' sears the air... \n","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","are in such close proximity that the ALIEN's acidic blood sprays across \n the PREDATOR's head. While their technology seems to be resistant to \n it, their bodies aren't: the viscous yellow liquid begins burning into \n the PREDATOR's skin. He kicks the skeletal corpse away with a HIDEOUS \n PIERCING SCREAM, clawing at his seared face. \n","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \n YORK quickly retrieves his rifle, we... \n \n CUT TO \n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \n giving us a muted X-ray-type VIEW of circulatory fluid pumping around ","BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \n gets out of the path of the PREDATOR's tumbling mass. She looks up. \n \n The ALIEN stowaway on the roof of the chopper retracts it's \n sledgehammer tongue, it's head following her movements. \n \n The PREDATOR's 'smart' weapon has dropped to the floor and is laying ","He's so pre-occupied with this task, he totally fails to notice the \n skeletal ALIEN loom up behind him, emerging from the biomechanical \n growth on the floor. A barbed tail skewers the PREDATOR straight \n through the neck, splashing luminous blood across his chestplate. A \n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \n spinning around in time to see him being dragged below the ground. The ","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","follow. In one rapid movement a circular 'smart-weapon' is brought up, \n slicing the front of the ALIEN skull away from it's head. In a feat of \n strength, the PREDATOR lifts his opponent's corpse on the end of the \n spear and hurls it over the catwalk railing... \n \n Not wasting a second, BROKEN TUSK performs an almost-vertical bound of \n some twenty feet with astounding grace. He grips a pipe running down ","SNAPPING IN for a closer look at her. \n \n PREDATOR (CONT'D) \n No! \n \n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \n From the distinctive features, we see that it's BROKEN TUSK. The \n PREDATOR's good hand flashes down to his thigh, almost too quick to ","pushing her out of the way. She hits the deck hard and gasps. BROKEN \n TUSK is standing before her. He skillfully catches the frisbee-like \n 'smart weapon', then \n throws it again. \n \n HIROKO watches with awe as the PREDATOR joins battle against the \n ALIENS. HISSING ALIEN jaws are silenced by BROKEN TUSK's formidable ","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n"],["CASSIE's eyes widen in terror... \n \n CASSIE \n Behind you! \n \n HIROKO turns to see the long, phallic head of an ALIEN emerge \n momentarily from out of the foam. Something yanks at KAMEN and he \n disappears beneath the surface with an expression of pained surprise... \n \n HIROKO \n Kamen! \n \n HIROKO starts to thrash at the foam, but CASSIE reaches out and drags ","Traversing venturi duct en route to platform surface. \n \n WHAM! An ALIEN's head squeezes through the opening behind her. It's \n claw snakes in, groping blindly just inches from her feet. She grits \n her teeth and puts more effort into her ascent. \n \n WALLPO! It's hand closes around her leg, yanking her back. She tries ","stinger coming around. It leaps for her, and battle is joined. The \n ALIEN lashes out, but HIROKO counters by swinging the weapon time and \n time again. With each thrust, surgically thin wounds open up on the \n biomechanoid's body. One of the ALIEN's attacks sends her reeling to \n the floor, it's stinger arching towards her. She parries, slicing the \n tail in half and struggling to her feet. \n","ALIEN's wound. Speckles of it dot KAMEN's leg, eating through the \n material of his trousers and into the skin and muscle beneath. He \n SCREAMS, a sound of pure intense pain... \n \n HIROKO hurls the axe aside. She begins pulling KAMEN out of the hole \n as the caustic liquid seeps into the nearby electrical conduit. ","across the metal... \n \n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \n got the jump on them. HIROKO's forward momentum won't allow her to \n stop running...she's too close. Almost at the last moment, she jumps. \n claws brush her trouser leg, but close on thin air. She hits the deck ","The leering face of an ALIEN comes up over the roof's edge. HIROKO \n swings her pistol over and fires. It falls away...only to be replaced \n seconds later by two others. \n \n Her gun goes dry. Quick as a flash, she ejects the spent magazine. \n She slaps the spare in and continues firing. \n \n INT. BIG BERTHA - NIGHT \n \n Big Bertha's heading away from the base into the surrounding trees. ","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears ","HIROKO reaches slowly up and reactivates her helmet readout. \n \n COMPUTER VOICE (O.S., on speakers) \n ...Brrzzt. Traversing Central Reservoir en route to platform venturi \n dust DS two-six. \n \n HIROKO's P.O.V. \n She looks around and finds the exit point on the display. It's several \n feet away. Under the surface. She wades swiftly through the water, ","She's practically on top of the bolts. The EXPLOSION is DEAFENING. \n With the clamp on this side free, the conduit falls into the street \n with a SCREECH of twisted metal. One of the ALIENS is pulverized by \n the falling debris, but the others survive. All HIROKO's managed to do \n is buy herself some breathing space... \n \n She races across the building's roof. Reaches the other ","blade-down in the mire. HIROKO scoops up, activating it and scrambling \n away. She gets to her feet and holds the HUMMING disc before her. \n \n The ALIEN climbs warily down from the heli-jet, and the two opponents \n face each other like sumo wrestlers. HIROKO assumes a defensive \n stance, holding the disc ready to strike. The ALIEN hisses, it's tail ","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","concrete. ALIEN claws appear around the edge of one of the bike's \n manta wings. She's parked the bike over a drainage exit! \n \n HIROKO SPINS the key and guns the engine. The white-hot downblast from \n the turbine exhaust SPLASHES across the SCREECHING ALIENS. The vehicle \n tilts and KICKS forward. \n \n EXT. RYUSHI STATION - PLATFORM - NIGHT \n","They exit the culvert through another smashed grate. HIROKO finds \n herself back in the Central Reservoir again. She wades through the \n water behind BROKEN TUSK, holding the spear above her head. The two of \n them look very vulnerable in here. They pass beneath the PULSATING SAC \n HIROKO saw earlier. It looks riper now, ready to burst. An INSIDIOUS ","He SHOUTS back into the crowded room. \n \n YORK (CONT'D) \n They're inside, inside the corridor! \n \n INT. RYUSHI STATION - CORRIDOR \n \n HIROKO and KAMEN try to outrun the tidal wave of twisted and broken \n steel that emerges in their wake. KAMEN YELLS with fright as an ALIEN \n claw pinions his ankle. He trashes about, clutching at anything to ","throes. \n \n The group round the corner of a building. Across the street from them \n is parked KAMEN's crawler. \n \n GUTTIEREZ (CONT'D) \n Inside, inside! \n \n They scramble up into the cab. GUTTIEREZ throws himself into the \n driver's seat. An ALIEN sprints at the crawler with bared teeth. \n THOMAS looses a shot, blasting it backward into a Pepsi sign.","HIROKO looks furiously around. Spying an emergency axe in it's wall \n housing, she SMASHES the glass with her elbow, cutting herself in the \n process. HIROKO hefts the heavy tool, swinging it down onto the \n disappearing ALIEN's carapace with all her might... \n \n HIROKO (CONT'D) \n Bastard! \n \n The blade bites deep, and yellow blood bursts from the threshing ","back toward her. It contracts on itself, preparing to leap. HIROKO \n raises the power-tool, \n reflexively squeezing the trigger again and again. Fat rivets RIP \n through the FACEHUGGER's body. It writhes around on the water's \n surface, a cloud ofyellow acid billowing outward from it. HIROKO dives \n into the water again. She rams the power-tool at the final bolt. \n","nearby wall PEELS OPEN. Before the FACEHUGGER even has a chance to \n spring, BROKEN TUSK swings his wrist-blades in a wide arc, cutting \n through the EGG and it's writhing contents. \n \n The two of them reach the deep end and have to wade. HIROKO pushes \n herself along the biomechanical outcropping. Ahead of them is the ","GUTTIEREZ stares through the narrow opening as the doors seal back up. \n In the midst of the flames, the ALIENS are fighting a pitched battle \n tooth-and-nail with their unseen opponents. It's like a scene out of \n Hell. \n \n INT. RYUSHI STATION - CORRIDORS \n \n Clusters of rotating emergency lights wig-wag above HIROKO and KAMEN as ","across to the bike and rams the key into the ignition. The turbines \n ROAR to life, and it lifts smoothly into the air. HIROKO pivots the \n powerful machine around, avoiding the creature's questing grasp. \n Losing it's balance, the ALIEN SMASHES into the deck. \n \n HIROKO's guns the bike away, speeding along the platform. The fire "],["band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","seasoned Green Berets perform - he plunges it downward into the fallen \n hunter. This unpleasant task accomplished, \n \n BROKEN TUSK straightens up and activates his wrist-computer. A dark \n shape blots out the light coming from the entrance; a small PREDATOR \n shuttlecraft, sleek and elegant. It hovers in the air with little more \n than a loud HUM, and extends a ramp. The surviving PREDATORS leap ","a spear. The PREDATOR looks at her, and his lip curls. It takes a \n second for HIROKO to realise he's offering it to her. Bewildered, she \n accepts it, pulling herself up. \n \n A bright orange ball of flame mushrooms up behind, getting both of \n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \n nervously... \n \n HIROKO","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","There's a blinding flash, and most of the ALIEN's head vaporises. \n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \n fire suddenly occupy the killing ground between the HUMAN and ALIEN \n antagonists. Intense bursts of light illuminate the platform as hi- \n tech PREDATOR weaponry far in advance of the humans' sears the air... \n","INT. PREDATOR MOTHERSHIP - DOCKING BAY \n \n An airlock RUMBLES open and the PREDATORS file NOISILY into the \n Mothership's docking bay. An OLD PREDATOR crouched against a strut \n takes time out from carving something into a block of wood to briefly \n look up at them. Like the PREDATORS themselves, the ship is a curious \n mixture of old and new. An elaborate frieze written in alien script ","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a ","What he finds causes him to react with \n pity and disgust. His fallen comrade is only just alive; mandibles \n clicking frailly, half his head burnt away. BROKEN TUSK watches the \n ailing PREDATOR slide a steel blade from it's sheath and offer it to \n him. He takes it, knowing what has to be done. Rolling the knife \n quickly over the back of his hand - the sort of elaborate trick ","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","He nods toward the PREDATOR spear in HIROKO's hands. \n \n YORK (CONT'D) \n The one I clipped with the hoverbike shoved that at me. Whatever it's \n made of, it went straight through a double-layer of honeycomb polyalloy \n composite like it was butter. \n \n YORK shakes his head in fear. \n \n YORK (CONT'D) \n I don't wanna ever come up against those things again. Ever. \n"],["carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","seasoned Green Berets perform - he plunges it downward into the fallen \n hunter. This unpleasant task accomplished, \n \n BROKEN TUSK straightens up and activates his wrist-computer. A dark \n shape blots out the light coming from the entrance; a small PREDATOR \n shuttlecraft, sleek and elegant. It hovers in the air with little more \n than a loud HUM, and extends a ramp. The surviving PREDATORS leap ","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","INT. PREDATOR MOTHERSHIP - DOCKING BAY \n \n An airlock RUMBLES open and the PREDATORS file NOISILY into the \n Mothership's docking bay. An OLD PREDATOR crouched against a strut \n takes time out from carving something into a block of wood to briefly \n look up at them. Like the PREDATORS themselves, the ship is a curious \n mixture of old and new. An elaborate frieze written in alien script ","up from a series of blue geodesic shapes. The damage registers as a \n cold, black mass. \n \n The beam switches off and the hovering PREDATOR shuttle turns smoothly \n on it's axis, thrusting towards the planet. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \n \n Shafts of torch-light fan out above the thick foliage in the darkness. ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","EXT. PLANET SURFACE - DAY \n \n A white-hot fireball erupts out of the fissure, the result of the \n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \n away, disappearing into the clouds. \n \n EXT. SPACE \n \n A large spacecraft is suspended in orbit around the planet; the \n PREDATOR Mothership. The shuttle heads swiftly towards it. \n \n","aboard, carrying their trophies with the reserved silence of men \n returning from combat. \n \n One more thing need to be done. BROKEN TUSK bends down and flips a \n sequence of keys on the dead PREDATOR's wrist. A countdown is \n displayed in some unknown character-set, accompanied by a HIGH PITCHED \n BEEPING. He then turns and swiftly boards the craft which takes \n smoothly to the air, it's undergear retracting. \n","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","Aliens vs. Predator \n \n Dark Horse Prod. Presents \n \n ALIENS \n \n Vs. \n \n PREDATOR \n \n Screenplay by Peter Briggs \n \n EXT. DEEP SPACE \n \n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \n depths of space. As the TITLES ROLL, we notice that three of these \n specks seem to be moving; one of them picking up acceleration and ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \n away across the rain-swept platform, a SHIMMERING FROM detaches itself \n from the rear of the chopper and lowers itself to the heli-jet pad. \n \n PREDATOR-VISION. \n A newly-arrived PREDATOR scans the towers and modules of the relay- \n station with great interest. An oscillating red line appears to the ","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","HIROKO glances back at the hovering DROPSHIPS, then walks around the \n waiting PREDATOR and into the shuttlecraft without looking back. \n \n The PREDATOR follows her. The ramp SLAMS closed, as we... \n \n CUT TO BLACK \n THE END \n","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a "],["It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","With superhuman strength, the ALIEN brutally back-hands DILLER, \n splintering his skull and killing him instantly. His body caromes into \n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \n questing fingers closing around his throat and hauling him off the \n ground. The space on the catwalk it limited; there's so many people \n it's impossible to get a clean \n shot... \n","Unseen by anybody, another ALIEN has escaped to the roof of the \n platform-bound crawler. It wraps it's long, bony fingers around the \n face of the MAN, stifling his CRIES and pulling him off the deck. The \n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \n THOMAS' attention. \n \n THOMAS \n Mother-fucker! \n","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n","KAMEN nods and heads off that way, while HIROKO carefully inspects the \n wreckage dotted around the perimeter. \n \n INT. TENT - DAWN \n \n KAMEN opens the tent flap and peers inside. ACKLAND's on the cot, \n sweating heavily. There is no sign of the FACEHUGGER. \n \n EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \n","throes. \n \n The group round the corner of a building. Across the street from them \n is parked KAMEN's crawler. \n \n GUTTIEREZ (CONT'D) \n Inside, inside! \n \n They scramble up into the cab. GUTTIEREZ throws himself into the \n driver's seat. An ALIEN sprints at the crawler with bared teeth. \n THOMAS looses a shot, blasting it backward into a Pepsi sign.","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","INT. BIG BERTHA - NIGHT \n \n DE VRIES \n That's it! We've got it! Get us out of here. \n \n GUTTIEREZ looses one last volley at the ALIENS. He pulls the cab door \n shut, and throws himself into the driver's seat. \n \n GUTTIEREZ \n C'mon sweetheart. Do your stuff... \n \n EXT. SWAMP - NIGHT \n","strikes like a snake. Once. Twice. The stinger punctures CALDWELL's \n chest and throat. Nobody could survive something like that... \n \n The ALIEN flicks it's skull back around to KAMEN. The man's head is \n inches away from it's eyeless face...a row of burnished metal teeth \n open...the toothed inner tongue ready to strike... \n","He SHOUTS back into the crowded room. \n \n YORK (CONT'D) \n They're inside, inside the corridor! \n \n INT. RYUSHI STATION - CORRIDOR \n \n HIROKO and KAMEN try to outrun the tidal wave of twisted and broken \n steel that emerges in their wake. KAMEN YELLS with fright as an ALIEN \n claw pinions his ankle. He trashes about, clutching at anything to ","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","As ACKLAND is turned over, BEAUVIAS gets her first look at a \n FACEHUGGER. She shies away, repulsed. \n \n BEAUVAIS \n What is that? \n \n YORK \n Don't... uuh... don't know. Help me... uuh... help me get him inside. \n Shit! \n \n YORK grits his teeth, but the leg injury is too painful. He slumps \n slowly to the floor. \n","Half-way there he remembers his pulse-rifle and dives to the floor, \n grasping it just as the ALIEN reaches the top. DILLER fumbles with the \n safety and give the creature a full BLAST on rock-and-roll, BLASTING it \n back into the pit. \n \n EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n GUTTIEREZ and DE VRIES hear the gunfire from below. \n","do. BREWSTER's legs are the last thing we see, thrashing helplessly as \n she's dragged down into the splinter-edged gap. \n \n DE VRIES \n Get out of there, man! \n \n THOMAS grabs CALDWELL's rifle from the deck. He races towards \n GUTTIEREZ, with \n DE VRIES close behind... \n \n THOMAS \n Catch this! \n","the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \n particularly loud BLEEP registers from a source immediately behind \n them. He glances over his shoulder and sees an ALIEN crawling down the \n outside of a module towards them. \n \n GUTTIEREZ \n De Vries! \n \n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \n burst. It falls onto the concrete nearby, writhing in it's death ","HIROKO \n What's the story? \n \n PARSONS runs through each of the screens. \n \n PARSONS \n Everything on this module is locked and sealed. We've lost 'B', 'C', \n and 'E' wings, but 'E' was the only one we didn't manage to totally \n evacuate. \n \n HIROKO \n How many... how many people are missing? \n \n CASSIE","into the cab's rear seat and promptly burning through that as well. Not \n far away across the platform, the massive doors to the auto-shop hanger \n are RUMBLING slowly closed... \n \n GUTTIEREZ (shouting) \n Hold the doors, hold the doors! \n \n They don't hear him. The doors seal with a BOOM of finality. \n \n DE VRIES \n Over there, on the right! \n","There's no way a rhino'd survive that drop. \n \n DE VRIES \n Goldsmith's gonna be plenty pissed at losing one of her babies. \n \n GUTTIEREZ \n That's a fact. \n \n GUTTIEREZ' tracker starts to BLEEP. He raises it excitedly. \n \n GUTTIEREZ (CONT'D) \n Whoa, wait a minute... \n \n DE VRIES \n What? \n \n GUTTIEREZ","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears ","THOMAS \n Open the doors! Open the goddamned fucking doors! \n \n BLAM! BLAM! BLAM! CLICK. GUTTIEREZ' bullets are gone. \n \n DE VRIES \n That's it! We're dead! \n \n The first of the ALIENS rushes at them. This is the end. DE VRIES \n SCREAMS... \n"],["The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n","a spear. The PREDATOR looks at her, and his lip curls. It takes a \n second for HIROKO to realise he's offering it to her. Bewildered, she \n accepts it, pulling herself up. \n \n A bright orange ball of flame mushrooms up behind, getting both of \n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \n nervously... \n \n HIROKO","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","SNAPPING IN for a closer look at her. \n \n PREDATOR (CONT'D) \n No! \n \n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \n From the distinctive features, we see that it's BROKEN TUSK. The \n PREDATOR's good hand flashes down to his thigh, almost too quick to ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","She SLAPS BROKEN TUSK on the arm. \n \n HIROKO (CONT'D) \n Come on, Butch. Let's go. \n \n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \n peering over the side... \n \n HIROKO (CONT'D) \n Hey! I said come on! \n \n The PREDATOR turns a deaf ear to her. He gauges the distance below, ","What he finds causes him to react with \n pity and disgust. His fallen comrade is only just alive; mandibles \n clicking frailly, half his head burnt away. BROKEN TUSK watches the \n ailing PREDATOR slide a steel blade from it's sheath and offer it to \n him. He takes it, knowing what has to be done. Rolling the knife \n quickly over the back of his hand - the sort of elaborate trick ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","DE VRIES glances around the rooftop, annoyed. \n \n DE VRIES \n Hey, look; let's forget it. There's nothing up here. \n \n PREDATOR-VISION. \n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \n distorted. \n \n PREDATOR (O.S.) \n Nothing up here. Nothing up here. \n","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","He nods toward the PREDATOR spear in HIROKO's hands. \n \n YORK (CONT'D) \n The one I clipped with the hoverbike shoved that at me. Whatever it's \n made of, it went straight through a double-layer of honeycomb polyalloy \n composite like it was butter. \n \n YORK shakes his head in fear. \n \n YORK (CONT'D) \n I don't wanna ever come up against those things again. Ever. \n","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \n away across the rain-swept platform, a SHIMMERING FROM detaches itself \n from the rear of the chopper and lowers itself to the heli-jet pad. \n \n PREDATOR-VISION. \n A newly-arrived PREDATOR scans the towers and modules of the relay- \n station with great interest. An oscillating red line appears to the ","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a ","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","disappears. In it's place is a PREDATOR, a luminous green patch \n trickling from a wound on it's arm. It's head flicks around as it \n zeroes-in on YORK, the three red dots of the PREDATOR's cannon \n following suit. YORK's quick though, already up and running when the \n plasma bolt EXPLODES into the tree despite the pain in his leg. \n"],["The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","then throws himself off the platform's edge. \n \n HIROKO (CONT'D) \n What...? \n \n She races across to the rail and gazes downward. \n \n HIROKO'S P.O.V. \n The PREDATOR wades through the swamp towards something she cannot see. \n HIROKO looks around the platform. She's suddenly very alone. \n \n HIROKO (CONT'D) \n Shit! \n","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","She SLAPS BROKEN TUSK on the arm. \n \n HIROKO (CONT'D) \n Come on, Butch. Let's go. \n \n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \n peering over the side... \n \n HIROKO (CONT'D) \n Hey! I said come on! \n \n The PREDATOR turns a deaf ear to her. He gauges the distance below, ","moment HIROKO sees what he's about to do... \n \n HIROKO \n No! \n \n Reflexively, she knocks the barrel away as THOMAS looses a volley of \n shots. \n \n PREDATOR-VISION. \n The PREDATOR's speech analyser plays back her vocal patterns as white- \n hot bullets sear the night. \n \n PREDATOR \n No! \n \n PREDATOR-VISION. ","DE VRIES glances around the rooftop, annoyed. \n \n DE VRIES \n Hey, look; let's forget it. There's nothing up here. \n \n PREDATOR-VISION. \n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \n distorted. \n \n PREDATOR (O.S.) \n Nothing up here. Nothing up here. \n","EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n PREDATOR-VISION. \n Gazing down at the platform, an unseen hunter watches the swift black \n SHAPE of the ALIEN in amongst the group of humans... \n \n From the corner of her eye, DE VRIES sees something moving nearby. She \n violently pulls GUTTIEREZ out of the path of the shimmering FORM that ","a spear. The PREDATOR looks at her, and his lip curls. It takes a \n second for HIROKO to realise he's offering it to her. Bewildered, she \n accepts it, pulling herself up. \n \n A bright orange ball of flame mushrooms up behind, getting both of \n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \n nervously... \n \n HIROKO","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","seasoned Green Berets perform - he plunges it downward into the fallen \n hunter. This unpleasant task accomplished, \n \n BROKEN TUSK straightens up and activates his wrist-computer. A dark \n shape blots out the light coming from the entrance; a small PREDATOR \n shuttlecraft, sleek and elegant. It hovers in the air with little more \n than a loud HUM, and extends a ramp. The surviving PREDATORS leap ","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a "],["The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n","He nods toward the PREDATOR spear in HIROKO's hands. \n \n YORK (CONT'D) \n The one I clipped with the hoverbike shoved that at me. Whatever it's \n made of, it went straight through a double-layer of honeycomb polyalloy \n composite like it was butter. \n \n YORK shakes his head in fear. \n \n YORK (CONT'D) \n I don't wanna ever come up against those things again. Ever. \n","a spear. The PREDATOR looks at her, and his lip curls. It takes a \n second for HIROKO to realise he's offering it to her. Bewildered, she \n accepts it, pulling herself up. \n \n A bright orange ball of flame mushrooms up behind, getting both of \n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \n nervously... \n \n HIROKO","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","SNAPPING IN for a closer look at her. \n \n PREDATOR (CONT'D) \n No! \n \n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \n From the distinctive features, we see that it's BROKEN TUSK. The \n PREDATOR's good hand flashes down to his thigh, almost too quick to ","BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \n gets out of the path of the PREDATOR's tumbling mass. She looks up. \n \n The ALIEN stowaway on the roof of the chopper retracts it's \n sledgehammer tongue, it's head following her movements. \n \n The PREDATOR's 'smart' weapon has dropped to the floor and is laying ","moment HIROKO sees what he's about to do... \n \n HIROKO \n No! \n \n Reflexively, she knocks the barrel away as THOMAS looses a volley of \n shots. \n \n PREDATOR-VISION. \n The PREDATOR's speech analyser plays back her vocal patterns as white- \n hot bullets sear the night. \n \n PREDATOR \n No! \n \n PREDATOR-VISION. ","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","There's a blinding flash, and most of the ALIEN's head vaporises. \n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \n fire suddenly occupy the killing ground between the HUMAN and ALIEN \n antagonists. Intense bursts of light illuminate the platform as hi- \n tech PREDATOR weaponry far in advance of the humans' sears the air... \n","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","DILLER \n He looks in a bad way. Help me get him up to Infirmary. \n \n CASSIE \n Wait a minute... \n \n Something else has caught CASSIE's eye. A \"something\" almost two \n metres in length protruding from the rear of the wrecked hoverbike. \n Grasping the haft firmly, she works it free. CASSIE examines the \n PREDATOR spear, and slowly shakes her head. \n","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","pushing her out of the way. She hits the deck hard and gasps. BROKEN \n TUSK is standing before her. He skillfully catches the frisbee-like \n 'smart weapon', then \n throws it again. \n \n HIROKO watches with awe as the PREDATOR joins battle against the \n ALIENS. HISSING ALIEN jaws are silenced by BROKEN TUSK's formidable ","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","She SLAPS BROKEN TUSK on the arm. \n \n HIROKO (CONT'D) \n Come on, Butch. Let's go. \n \n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \n peering over the side... \n \n HIROKO (CONT'D) \n Hey! I said come on! \n \n The PREDATOR turns a deaf ear to her. He gauges the distance below, ","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n PREDATOR-VISION. \n Gazing down at the platform, an unseen hunter watches the swift black \n SHAPE of the ALIEN in amongst the group of humans... \n \n From the corner of her eye, DE VRIES sees something moving nearby. She \n violently pulls GUTTIEREZ out of the path of the shimmering FORM that ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned "],["YORK and ACKLAND wade through the chin-high reeds, cursing. \n \n ACKLAND \n Found anything? \n \n YORK looks down at his data-stick, a handheld torch with a multi- \n purpose readout screen. \n \n YORK \n Nada. No radiation... no movement... nothing. \n \n ACKLAND \n Well, just keep looking. It's gotta be... whoa, Jesus! \n \n ACKLAND falls toward onto something, and YORK comes running.","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","EXT. RYUSHI STATION - MIDDAY \n \n Imagine a world where every square mile is covered by a canopy of \n treetop foliage, and you've just drawn yourself a picture of the planet \n Ryushi. \n \n Nestled amongst this lush rainforest is the Yutani-Templin \n Communications Relay Station. Several inverted-'U'-shaped suspension \n cranes painted bright yellow look down over a collection of ","GUTTIEREZ (CONT'D) \n Little bit further... \n \n The beam comes to rest on a protruding piece of apparatus. A short- \n range antennae, about seven feet wide. \n \n GUTTIEREZ (CONT'D) \n Yeah, yeah, yeah. Right there, right behind the antennae. I think \n we're got it cornered... \n \n EXT. RYUSHI STATION - PLATFORM - DUSK \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","safety off his rifle. ACKLAND wordlessly unshoulders his too. They \n step around the crater and warily follow the ragged path to... \n \n YORK \n Another one? \n \n ACKLAND prods this SECOND EGG with his gun. \n \n ACKLAND \n Yeah. This's closed. \n \n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in ","KAMEN nods and heads off that way, while HIROKO carefully inspects the \n wreckage dotted around the perimeter. \n \n INT. TENT - DAWN \n \n KAMEN opens the tent flap and peers inside. ACKLAND's on the cot, \n sweating heavily. There is no sign of the FACEHUGGER. \n \n EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \n","He hands the bag over to REVNA. She peers at the contents curiously. \n The FACEHUGGER is inside, stiff and shriveled. \n \n REVNA \n Is this it? \n \n KAMEN \n Yeah. Found it curled up in a corner of the tent. Any idea? \n \n REVNA shakes her head. \n \n REVNA \n Never come across one of these before. Maybe the original survey team ","As ACKLAND is turned over, BEAUVIAS gets her first look at a \n FACEHUGGER. She shies away, repulsed. \n \n BEAUVAIS \n What is that? \n \n YORK \n Don't... uuh... don't know. Help me... uuh... help me get him inside. \n Shit! \n \n YORK grits his teeth, but the leg injury is too painful. He slumps \n slowly to the floor. \n","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","cylindrical tube containing a substance similar to mercury which \n constantly changes it's mass into shapes and alien text. He peers over \n the protective railing. \n \n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \n tethered by straining clamps preventing any movement. To the rear, ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","Unseen by anybody, another ALIEN has escaped to the roof of the \n platform-bound crawler. It wraps it's long, bony fingers around the \n face of the MAN, stifling his CRIES and pulling him off the deck. The \n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \n THOMAS' attention. \n \n THOMAS \n Mother-fucker! \n","ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \n \n HIROKO runs towards the waiting heli-jet. The flicker of an \n andrenalin-fueled smile plays on her face...the disappears. \n \n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \n the grounded machine. It's head turn towards her. HIROKO starts to ","Let's get back and call this in. \n \n ACKLAND \n Wait a minute. \n \n YORK reluctantly follows ACKLAND as he thrashes through the thinn ing \n foliage, coming out at the rim of the impact crater. It's beginning to \n partially collapse, water seeping in. YORK runs his beam over \n something at the bottom of the shallow pit. \n \n YORK \n What is that... is that metal fragments? \n","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n"],["The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","throes. \n \n The group round the corner of a building. Across the street from them \n is parked KAMEN's crawler. \n \n GUTTIEREZ (CONT'D) \n Inside, inside! \n \n They scramble up into the cab. GUTTIEREZ throws himself into the \n driver's seat. An ALIEN sprints at the crawler with bared teeth. \n THOMAS looses a shot, blasting it backward into a Pepsi sign.","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","GUTTIEREZ (CONT'D) \n Little bit further... \n \n The beam comes to rest on a protruding piece of apparatus. A short- \n range antennae, about seven feet wide. \n \n GUTTIEREZ (CONT'D) \n Yeah, yeah, yeah. Right there, right behind the antennae. I think \n we're got it cornered... \n \n EXT. RYUSHI STATION - PLATFORM - DUSK \n","with a block-and-tackle arrangement. A hook dangles below this, it's \n thick metal cabling going up through the block-and-tackle and \n connecting to the drum of a small industrial winch attached securely to \n the wall. DILLER hands the tripod over to URIOSTE. She splays the \n legs apart and inserts their tips into matching holes around the open \n pit. \n \n EXT. RYUSHI STATION - PLATFORM - DUSK","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","making the platform lower. Several tons of machinery and crawler bring \n about the demise of the ALIENS as they reach the lip of the opening, \n CRUSHING their chitinous limbs to smithereens. \n \n An ALIEN rolls out of the pit in time, scrambling for the safety of the \n nearby shadows. DE VRIES sights it. \n \n DE VRIES \n Over there! \n","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","into the cab's rear seat and promptly burning through that as well. Not \n far away across the platform, the massive doors to the auto-shop hanger \n are RUMBLING slowly closed... \n \n GUTTIEREZ (shouting) \n Hold the doors, hold the doors! \n \n They don't hear him. The doors seal with a BOOM of finality. \n \n DE VRIES \n Over there, on the right! \n","THOMAS is laid-out in the back seat of the crawler's cab, with DE VRIES \n and MATT trying to staunch the wounds from the chainsaw band's impact \n to his chest. GUTTIEREZ speaks into his headset mike. \n \n GUTTIEREZ \n Rob? We got problems. \n \n INT. RYUSHI STATION - SEWER SYSTEM - SUMP CHAMBER \n","DE VRIES races up to join them, SCREAMING as she fires. KAMEN glances \n down at this tracker's tiny screen. It shows clusters of signals, lots \n of them. \n \n KAMEN (hollering) \n They're all around, they're in the drainage system! \n \n DE VRIES reacts swiftly, loosing a round of shots at the emerging \n ALIENS. GUTTIEREZ yells across to KAMEN. \n","INT. BIG BERTHA - NIGHT \n \n DE VRIES \n That's it! We've got it! Get us out of here. \n \n GUTTIEREZ looses one last volley at the ALIENS. He pulls the cab door \n shut, and throws himself into the driver's seat. \n \n GUTTIEREZ \n C'mon sweetheart. Do your stuff... \n \n EXT. SWAMP - NIGHT \n","fingers curl around the weapon, and she tugs it upwards. \n \n EXT. RYUSHI STATION - PLATFORM - NIGHT \n \n The two crawlers plunge into the curtain of flames spreading across the \n platform. \n \n INT. FIRST CRAWLER CAB - NIGHT \n \n DE VRIES YELLS at GUTTIEREZ over the ROAR of the flames. \n \n DE VRIES \n Hotter 'n hell out there! \n","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n"],["ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","YORK \n Yeah, it's fine. \n \n ACKLAND \n God, I hope that thing didn't bring down a virus. \n \n YORK \n I told you we... what's that? \n \n Their torch beams PAN ACROSS a three-foot high ovular shape. \n \n ACKLAND \n Looks like a spore. Fungus of some kind, maybe? \n \n YORK \n Bloody big if it is. Top's open. \n","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","HIROKO (CONT'D) \n I don't care how you kill this thing, just be careful not to get in \n it's way when it bleeds. You all saw what happened to Doc Revna. \n \n There are nods of agreement and general enthusiasm all round. \n \n HIROKO (CONT'D) \n Nobody wander off on their own until it's found. Keep in pairs. \n Diller, once the first team's done their sweep I want you to go down ","YORK and ACKLAND wade through the chin-high reeds, cursing. \n \n ACKLAND \n Found anything? \n \n YORK looks down at his data-stick, a handheld torch with a multi- \n purpose readout screen. \n \n YORK \n Nada. No radiation... no movement... nothing. \n \n ACKLAND \n Well, just keep looking. It's gotta be... whoa, Jesus! \n \n ACKLAND falls toward onto something, and YORK comes running.","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","different to the others; in addition, one of the fangs of his mandibles \n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \n the hunting party. He reaches out a hand to caress the wall of the \n tunnel. \n \n Several feet in from the rim, it changes from rock to a textured \n biomechanical surface; a swirling mass of disturbing shapes. He ","GUTTIEREZ (CONT'D) \n Little bit further... \n \n The beam comes to rest on a protruding piece of apparatus. A short- \n range antennae, about seven feet wide. \n \n GUTTIEREZ (CONT'D) \n Yeah, yeah, yeah. Right there, right behind the antennae. I think \n we're got it cornered... \n \n EXT. RYUSHI STATION - PLATFORM - DUSK \n","GUTTIEREZ and DE VRIES exit the crawler in a big hurry. The moment \n they're clear, the vehicle starts up and is gone. DE VRIES is alert, \n the tip of her rifle probing their surroundings. \n \n DE VRIES \n C'mon, man! Let's shag it! \n \n GUTTIEREZ begins climbing the tall ladder running up to the Bertha's \n cab. \n","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","From behind the metal disc there comes a SHUFFLING SOUND, followed by a \n METALLIC THUNK. This gets their attention. The two of them halt in \n their tracks. \n \n DE VRIES \n Oh, man. That's no glitch! \n \n GUTTIEREZ \n It's alright, it's cool... \n \n DE VRIES \n Is it still moving? \n \n GUTTIEREZ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","fuckin' sweep. We're been lookin' for this thing for three days now, \n and found zip. \n \n DE VRIES \n Ah, quit griping. Keeps you in shape doesn't it? \n \n GUTTIEREZ \n Hey! I was in shape before we started doing this. \n \n DE VRIES pauses, listening to the sound from the surrounding forest. \n \n DE VRIES \n Listen to that... \n","safety off his rifle. ACKLAND wordlessly unshoulders his too. They \n step around the crater and warily follow the ragged path to... \n \n YORK \n Another one? \n \n ACKLAND prods this SECOND EGG with his gun. \n \n ACKLAND \n Yeah. This's closed. \n \n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in "],["PULSING NOISE - like a heartbeat - gains in volume the further they \n travel. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n They come out in a chamber some forty feet in height and dominated by \n an enormous pump. ALIEN gunk covers everything. \n \n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast ","INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n Columns of fire jet from fissures and openings inside the Pump Chamber, \n rippling across the adult QUEEN ALIEN and her hapless victims. She \n begins to SCREAM, flailing around atop her metal throne... \n \n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \n","The grinning face of the young QUEEN gets suddenly closer as the heli- \n jet is propelled towards the metal structure. \n \n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n CRUNCH! The chopper hits, knocking several ALIENS from their \n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \n the port engine mount. \n \n INT. CHOPPER - PRE-DAWN","PULSING SAC. Before they're even passed beneath it, they hear \n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \n \n The SAC ruptures, spattering thick gloopy matter. A form comprised of \n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and ","The causes the QUEEN to go \n berserk, straining at her bonds and SHRIEKING ferociously. She's \n obviously been through this before and knows what's about to happen. \n The protrusionsplits open, spilling out an intense white light: an \n energy-filled blast furnace. The manipulator claw opens, the EGG drops \n in, and is no more. \n \n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \n","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \n around several trapped victims. A number of empty EGGS are scattered \n here-and-there. \n \n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \n bellows-like SOUND of her BREATHING is overwhelming. He reaches the ","the floor from below ACKLAND's corpse. REVNA shudders as the body \n moves a little, then is rolled over by something underneath it. \n \n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \n revealing a gaping cavity in his back. Bits of spine and ribcage are \n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform ","cylindrical tube containing a substance similar to mercury which \n constantly changes it's mass into shapes and alien text. He peers over \n the protective railing. \n \n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \n tethered by straining clamps preventing any movement. To the rear, ","INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \n \n The blue beam slides across one of the eggs, and suddenly changes to \n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \n from a rotating simulation of an ALIEN WARRIOR skull to a \n representation of a QUEEN's head. The manipulator arm swiftly grasps \n the EGG in question and moves it over to a protrusion on the floor. ","EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \n \n HIROKO runs towards the waiting heli-jet. The flicker of an \n andrenalin-fueled smile plays on her face...the disappears. \n \n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \n the grounded machine. It's head turn towards her. HIROKO starts to ","EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \n tower is a gallery catwalk surrounding the flashing beacon array. \n \n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \n almost upon him. The PREDATOR drives his wrist knives into the throat ","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears ","it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \n defying gravity. As each EGG is scanned by a blue triangular beam - \n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \n view of the pulsing FACEHUGGER inside. This done, a manipulator are ","of a grasping ALIEN, which falls downward, writhing. It CRASHES into \n the QUEEN, who almost loses her grip on the skeletal metalwork. She \n HISSES, lashing out at the creature. Sends it hurtling to the ground. \n \n EXT. RYUSHI STATION - TOWER CATWALK - PRE-DAWN \n","...And finds herself staring at an ALIEN EGG, it's top cracking open in \n four neat sections. The FACEHUGGER leaps straight as her faceplate... \n \n ...And misses, it's fingers failing to gain purchase on the slippery \n dome. HIROKO kicks away from the spindly creature as it orientates \n itself on the water's surface, it's powerful tail propelling itself ","the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \n particularly loud BLEEP registers from a source immediately behind \n them. He glances over his shoulder and sees an ALIEN crawling down the \n outside of a module towards them. \n \n GUTTIEREZ \n De Vries! \n \n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \n burst. It falls onto the concrete nearby, writhing in it's death ","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n","mechanism. It's EGG SAC drapes around the pump; spiraling down around \n it. She seems to be asleep. \n \n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \n forms - human and otherwise - cocooned into the walls. He finds what \n he's looking for. Up on one wall is another PREDATOR. Dead. It's \n stomach blown open. \n","takes flight. It strikes at HIROKO, who reflexively draws her head \n back and escapes with nothing more than a light scratch to the cheek. \n The ALIEN disappears down the corridor, leaving a trail of smeared \n blood and a series of acidic pits which melt the grillework flooring. \n GUTTIEREZ bends down and \n helps HIROKO to her feet. Shocked, she MUTTERS something to herself in "],["In a second, it's all over; the FACEHUGGER struggles free of YORK's \n grasp, and clamps itself firmly on ACKLAND's face with a faint SUCKING \n SOUND. YORK shivers, then uses his good leg to propel himself a few \n feet away. He watches the hapless Teamster go rigid, then stop moving \n altogether. \n \n YORK \n Oh, God; oh, shit; oh, God. \n","As ACKLAND is turned over, BEAUVIAS gets her first look at a \n FACEHUGGER. She shies away, repulsed. \n \n BEAUVAIS \n What is that? \n \n YORK \n Don't... uuh... don't know. Help me... uuh... help me get him inside. \n Shit! \n \n YORK grits his teeth, but the leg injury is too painful. He slumps \n slowly to the floor. \n","FACEHUGGER. ACKLAND trips backwards, caught off-balance. His finger \n involuntarily squeezes the trigger of his rifle as he falls. A volley \n of shots describe and arc and light up the night with a PERCUSSIVE \n BOOM, and we... \n \n CUT TO \n ...A SHORT DISTANCE ACROSS THE CLEARING. SOMETHING is watching them ","he races forward to help his friend. The HUGGER's tail is already \n around ACKLAND's throat, it's fingers scrabbling for purchase. YORK \n pulls at one set of digits, and manages to raise them for just an \n instant. What we see is horrific; the look of terror on ACKLAND's \n face, and the questing tendril on \n the HUGGER's underside trying to force it's way between ACKLAND's lips. ","back toward her. It contracts on itself, preparing to leap. HIROKO \n raises the power-tool, \n reflexively squeezing the trigger again and again. Fat rivets RIP \n through the FACEHUGGER's body. It writhes around on the water's \n surface, a cloud ofyellow acid billowing outward from it. HIROKO dives \n into the water again. She rams the power-tool at the final bolt. \n","...And finds herself staring at an ALIEN EGG, it's top cracking open in \n four neat sections. The FACEHUGGER leaps straight as her faceplate... \n \n ...And misses, it's fingers failing to gain purchase on the slippery \n dome. HIROKO kicks away from the spindly creature as it orientates \n itself on the water's surface, it's powerful tail propelling itself ","strikes like a snake. Once. Twice. The stinger punctures CALDWELL's \n chest and throat. Nobody could survive something like that... \n \n The ALIEN flicks it's skull back around to KAMEN. The man's head is \n inches away from it's eyeless face...a row of burnished metal teeth \n open...the toothed inner tongue ready to strike... \n","The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \n YORK quickly retrieves his rifle, we... \n \n CUT TO \n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \n giving us a muted X-ray-type VIEW of circulatory fluid pumping around ","HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \n around several trapped victims. A number of empty EGGS are scattered \n here-and-there. \n \n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \n bellows-like SOUND of her BREATHING is overwhelming. He reaches the ","the floor from below ACKLAND's corpse. REVNA shudders as the body \n moves a little, then is rolled over by something underneath it. \n \n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \n revealing a gaping cavity in his back. Bits of spine and ribcage are \n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform ","BEAUVAIS (yelling) \n Minh! Minh, get out here! \n \n INT. TENT - NIGHT \n \n A portable neon light in the tent flickers, casting staccato bluish \n light over ACKLAND and the FACEHUGGER. MINH and BEAUVAIS stare at it \n in horrified fascination, while YORK pulls a tourniquet around his \n thigh. He winces. \n \n BEAUVAIS","He hands the bag over to REVNA. She peers at the contents curiously. \n The FACEHUGGER is inside, stiff and shriveled. \n \n REVNA \n Is this it? \n \n KAMEN \n Yeah. Found it curled up in a corner of the tent. Any idea? \n \n REVNA shakes her head. \n \n REVNA \n Never come across one of these before. Maybe the original survey team ","it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \n defying gravity. As each EGG is scanned by a blue triangular beam - \n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \n view of the pulsing FACEHUGGER inside. This done, a manipulator are ","PULSING SAC. Before they're even passed beneath it, they hear \n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \n \n The SAC ruptures, spattering thick gloopy matter. A form comprised of \n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and ","another FACEHUGGER, which dwarfs it's small furry body. The HUGGER's \n fingers all ripple simultaneously as it strengthens it's hold; the \n movement akin to somebody drumming their \n fingers on a table-top. \n \n EXT. LINSON'S RANGE - RIVER BANK - NIGHT \n \n As YORK hauls ACKLAND onto one of the bikes, he hears a TICKING SOUND ","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","Traversing venturi duct en route to platform surface. \n \n WHAM! An ALIEN's head squeezes through the opening behind her. It's \n claw snakes in, groping blindly just inches from her feet. She grits \n her teeth and puts more effort into her ascent. \n \n WALLPO! It's hand closes around her leg, yanking her back. She tries ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","mechanism. It's EGG SAC drapes around the pump; spiraling down around \n it. She seems to be asleep. \n \n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \n forms - human and otherwise - cocooned into the walls. He finds what \n he's looking for. Up on one wall is another PREDATOR. Dead. It's \n stomach blown open. \n","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears "],["It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","He pulls off his headset with weary resignation. \n \n PARSONS (CONT'D) \n We've lost the downlink. It's gone. \n \n EXT. SPACE \n \n The mass of the satellite tumbles end-over-end. A gaping rent is torn \n through it; something sparks and flashes within. The second pod \n accelerates off curving into the atmosphere. \n","He's so pre-occupied with this task, he totally fails to notice the \n skeletal ALIEN loom up behind him, emerging from the biomechanical \n growth on the floor. A barbed tail skewers the PREDATOR straight \n through the neck, splashing luminous blood across his chestplate. A \n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \n spinning around in time to see him being dragged below the ground. The ","it clips a fallen log and spins end-over-end. It's rider flies through \n the air and hits the swamp face-first. DILLER and CASSIE race down the \n ramp with BREWSTER YELPING excitedly in the lead. \n \n CASSIE \n I don't believe it. \n \n DILLER splashes through the swamp and pulls the limp body out of the \n mire. It's YORK. Blood has caked around his wounded leg.","What he finds causes him to react with \n pity and disgust. His fallen comrade is only just alive; mandibles \n clicking frailly, half his head burnt away. BROKEN TUSK watches the \n ailing PREDATOR slide a steel blade from it's sheath and offer it to \n him. He takes it, knowing what has to be done. Rolling the knife \n quickly over the back of his hand - the sort of elaborate trick ","SWISH of sliding metal, and a telescopic spear appears out of thin air. \n It SLAMS through BEAUVAIS' body, lifting her off the ground and \n impaling her against a tree. \n \n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \n her struggles cease, and she'd dropped to the floor like a broken \n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS ","In a second, it's all over; the FACEHUGGER struggles free of YORK's \n grasp, and clamps itself firmly on ACKLAND's face with a faint SUCKING \n SOUND. YORK shivers, then uses his good leg to propel himself a few \n feet away. He watches the hapless Teamster go rigid, then stop moving \n altogether. \n \n YORK \n Oh, God; oh, shit; oh, God. \n","silt. YORK climbs off the bike and stumbles, then starts to unfasten \n the straps holding ACKLAND's body. \n \n BEAUVAIS \n Jesus Christ! What happened? \n \n YORK \n Give me a hand with Ack. \n \n She races over to help YORK ease ACKLAND up. \n \n BEAUVAIS \n How bad is... oh my God. \n","As ACKLAND is turned over, BEAUVIAS gets her first look at a \n FACEHUGGER. She shies away, repulsed. \n \n BEAUVAIS \n What is that? \n \n YORK \n Don't... uuh... don't know. Help me... uuh... help me get him inside. \n Shit! \n \n YORK grits his teeth, but the leg injury is too painful. He slumps \n slowly to the floor. \n","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n","Unseen by anybody, another ALIEN has escaped to the roof of the \n platform-bound crawler. It wraps it's long, bony fingers around the \n face of the MAN, stifling his CRIES and pulling him off the deck. The \n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \n THOMAS' attention. \n \n THOMAS \n Mother-fucker! \n","the floor, his hands clawing at the air. REVNA fumbles with the \n injector control and gives him a blast in his upper arm. ACKLAND \n convulses once then goes still, his eyes staring fixedly at the \n ceiling. The Infirmary is deathly quiet once again. \n \n We hear a gentle CRACKING, like twigs being snapped. REVNA watches in \n horrified fascination as a pool of blood spreads swiftly outward across ","One of the MEN has seen it. His head snaps up to a mammoth engine- \n block suspended from a winch high above. He LEAPS for the release- \n catch as the ALIEN passes underneath. Pulls hard on the grip. Chains \n RATTLE noisily as the block THUNDERS down. The ALIEN begins to look \n up, just a second too late. The heavy piece of machinery SMASHES into \n the creature, flattening it instantly. \n","With superhuman strength, the ALIEN brutally back-hands DILLER, \n splintering his skull and killing him instantly. His body caromes into \n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \n questing fingers closing around his throat and hauling him off the \n ground. The space on the catwalk it limited; there's so many people \n it's impossible to get a clean \n shot... \n","revealing a circular mechanism beneath. BREWSTER scratches at the \n bulkhead and WHINES. MUFFLED THUMPS come from within. \n \n HIROKO \n What happened? \n \n DILLER \n York just turned up outside. We're trying to get him into Infirmary. \n \n HIROKO (astonished) \n York... \n \n HIROKO leans over to examine him, but a particularly loud CRASH from ","into the cab's rear seat and promptly burning through that as well. Not \n far away across the platform, the massive doors to the auto-shop hanger \n are RUMBLING slowly closed... \n \n GUTTIEREZ (shouting) \n Hold the doors, hold the doors! \n \n They don't hear him. The doors seal with a BOOM of finality. \n \n DE VRIES \n Over there, on the right! \n","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","aboard, carrying their trophies with the reserved silence of men \n returning from combat. \n \n One more thing need to be done. BROKEN TUSK bends down and flips a \n sequence of keys on the dead PREDATOR's wrist. A countdown is \n displayed in some unknown character-set, accompanied by a HIGH PITCHED \n BEEPING. He then turns and swiftly boards the craft which takes \n smoothly to the air, it's undergear retracting. \n","he races forward to help his friend. The HUGGER's tail is already \n around ACKLAND's throat, it's fingers scrabbling for purchase. YORK \n pulls at one set of digits, and manages to raise them for just an \n instant. What we see is horrific; the look of terror on ACKLAND's \n face, and the questing tendril on \n the HUGGER's underside trying to force it's way between ACKLAND's lips. ","WHOOMPH. Something lands heavily close-up, jarring the catwalk. The \n ALIEN drops KAMEN and WHIRLS. A spear wielded by an INVISIBLE FORM \n appears out of nowhere and PIERCES the ALIEN's midriff, spraying acidic \n fluid. The creature emits a OUTRAGED SHRIEK and flails around, it's "],["seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","racing toward us. Our perspective changes, and we catch a quick \n glimpse as it HURTLES past, and into the gravitational pull of a large \n brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. \n It seems to be manmade. Or at least artificial. \n \n EXT. PLANET SURFACE - DAY \n \n The planet is dead, barren. Death Valley on a grand scale. We watch ","cylindrical tube containing a substance similar to mercury which \n constantly changes it's mass into shapes and alien text. He peers over \n the protective railing. \n \n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \n tethered by straining clamps preventing any movement. To the rear, ","...I mean, these... these mothers were... were huge. They look like \n bushmen, but they had all this hi-tech shit strapped all over 'em. \n They must've wasted Beauvais and Minh inside thirty seconds. Minh got \n off a couple of shots from that cannon of his, but he might as well \n have been using a B-B gun. I don't know how the hell I made it out of \n there alive. \n","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","ground. A BOOMING ECHO resonates across the forest, followed by a few \n plaintive SCREECHES from the planet's indigenous lifeforms, before \n settling back into an eerie silence. \n \n ACKLAND \n Meteor, I guess. \n \n He raises a set of compact field binoculars to his face. THROUGH THEM \n he sees a thin haze of smoke rising from the treetops. \n \n ACKLAND","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","shapes comprised of surreal creatures and protrusions are starting to \n cover it's surface. ALIENS drop from dizzying heights, exuding streams \n of gelatinous gunk from the four 'exhaust' pipes on their backs. \n They're building a nest of staggering proportions. \n \n Unnoticed by the busy biomechanoids, faint sparks flicker from the \n crane catwalk high above... \n","throes. \n \n The group round the corner of a building. Across the street from them \n is parked KAMEN's crawler. \n \n GUTTIEREZ (CONT'D) \n Inside, inside! \n \n They scramble up into the cab. GUTTIEREZ throws himself into the \n driver's seat. An ALIEN sprints at the crawler with bared teeth. \n THOMAS looses a shot, blasting it backward into a Pepsi sign.","different to the others; in addition, one of the fangs of his mandibles \n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \n the hunting party. He reaches out a hand to caress the wall of the \n tunnel. \n \n Several feet in from the rim, it changes from rock to a textured \n biomechanical surface; a swirling mass of disturbing shapes. He ","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","God. \n \n MINH watches the helmeted PREDATOR fall face down into the water with a \n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \n an instant. \n \n PREDATOR-VISION. \n Three humans; in motion and 'hot'. The triangular mechanism of the \n PREDATOR's gun locks onto MINH. \n \n A BLAST of plasma-energy rips a gaping hole through MINH's body, ","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","GUTTIEREZ' smoldering crawler pulls-up alongside Big Bertha's titanic \n wheels. \n \n INT. FIRST CRAWLER - NIGHT \n \n GUTTIEREZ turns his head to one of the guys in the rear. \n \n GUTTIEREZ \n Take the wheel, Roy! \n \n EXT. RYUSHI STATION - BIG BERTHA - NIGHT \n","ACKLAND thinks hard. \n \n ACKLAND \n We... watched a meteor hit over Linson's. \n \n HIROKO and KAMEN exchange significant glances. \n \n HIROKO \n A meteor? \n \n ACKLAND \n Yeah, it impacted really off. We went out to the crash-site... and... \n uh... that's... that's all. \n \n KAMEN \n Nothing else? \n","In CENTER FRAME, the planet sits still and green, awash with nebulous \n clouds. A hulking METAL FORM ROLLS RIGHT-TO-LEFT across our view, \n sunlight glinting from it's surface. It's a rectangular satellite- \n construction comprised of hundreds of communication dishes in a \n latticework of steel tubing. We hear FILTERED HUMAN VOICES O.S. \n Subspace chatter. \n"],["carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","INT. PREDATOR MOTHERSHIP - DOCKING BAY \n \n An airlock RUMBLES open and the PREDATORS file NOISILY into the \n Mothership's docking bay. An OLD PREDATOR crouched against a strut \n takes time out from carving something into a block of wood to briefly \n look up at them. Like the PREDATORS themselves, the ship is a curious \n mixture of old and new. An elaborate frieze written in alien script ","seasoned Green Berets perform - he plunges it downward into the fallen \n hunter. This unpleasant task accomplished, \n \n BROKEN TUSK straightens up and activates his wrist-computer. A dark \n shape blots out the light coming from the entrance; a small PREDATOR \n shuttlecraft, sleek and elegant. It hovers in the air with little more \n than a loud HUM, and extends a ramp. The surviving PREDATORS leap ","up from a series of blue geodesic shapes. The damage registers as a \n cold, black mass. \n \n The beam switches off and the hovering PREDATOR shuttle turns smoothly \n on it's axis, thrusting towards the planet. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \n \n Shafts of torch-light fan out above the thick foliage in the darkness. ","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","EXT. PLANET SURFACE - DAY \n \n A white-hot fireball erupts out of the fissure, the result of the \n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \n away, disappearing into the clouds. \n \n EXT. SPACE \n \n A large spacecraft is suspended in orbit around the planet; the \n PREDATOR Mothership. The shuttle heads swiftly towards it. \n \n","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","aboard, carrying their trophies with the reserved silence of men \n returning from combat. \n \n One more thing need to be done. BROKEN TUSK bends down and flips a \n sequence of keys on the dead PREDATOR's wrist. A countdown is \n displayed in some unknown character-set, accompanied by a HIGH PITCHED \n BEEPING. He then turns and swiftly boards the craft which takes \n smoothly to the air, it's undergear retracting. \n","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","Aliens vs. Predator \n \n Dark Horse Prod. Presents \n \n ALIENS \n \n Vs. \n \n PREDATOR \n \n Screenplay by Peter Briggs \n \n EXT. DEEP SPACE \n \n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \n depths of space. As the TITLES ROLL, we notice that three of these \n specks seem to be moving; one of them picking up acceleration and ","ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \n away across the rain-swept platform, a SHIMMERING FROM detaches itself \n from the rear of the chopper and lowers itself to the heli-jet pad. \n \n PREDATOR-VISION. \n A newly-arrived PREDATOR scans the towers and modules of the relay- \n station with great interest. An oscillating red line appears to the ","PREDATOR-VISION. \n We're looking at the site in colours: the cold blue of empty ALIEN \n EGGS, and the warm reds of just-breathing ANIMALS rendered inert the \n FACEHUGGER parasites. \n \n A group of PREDATORS appear in three-dimensional solidity, their \n camouflage cloaks deactivated. The LEAD PREDATOR SPLASHES across to ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a ","It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \n flight; his companion is not as lucky. The other PREDATOR kicks an \n ALIEN from him and over the roof's edge. The ALIEN lashes out with \n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \n hurtle downward and hit a nest of cabling stretched across from one of "],["carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","INT. PREDATOR MOTHERSHIP - DOCKING BAY \n \n An airlock RUMBLES open and the PREDATORS file NOISILY into the \n Mothership's docking bay. An OLD PREDATOR crouched against a strut \n takes time out from carving something into a block of wood to briefly \n look up at them. Like the PREDATORS themselves, the ship is a curious \n mixture of old and new. An elaborate frieze written in alien script ","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","band of extraterrestrial hunters have no time to come to his aid; they \n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \n swift and terrifying, a blur of motion. \n \n Steel blades and serrated biomechanical limbs scythe the air, alive \n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned ","EXT. PLANET SURFACE - DAY \n \n A white-hot fireball erupts out of the fissure, the result of the \n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \n away, disappearing into the clouds. \n \n EXT. SPACE \n \n A large spacecraft is suspended in orbit around the planet; the \n PREDATOR Mothership. The shuttle heads swiftly towards it. \n \n","Aliens vs. Predator \n \n Dark Horse Prod. Presents \n \n ALIENS \n \n Vs. \n \n PREDATOR \n \n Screenplay by Peter Briggs \n \n EXT. DEEP SPACE \n \n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \n depths of space. As the TITLES ROLL, we notice that three of these \n specks seem to be moving; one of them picking up acceleration and ","of metal spikes have been driven into the earth. Four are topped with \n still-smoking ALIEN skulls. Two and empty. \n \n PREDATOR-VISION. \n A newly decapitated ALIEN head is turned around in another PREDATOR's \n hands in admiration. This PREDATOR thrusts his trophy onto the next \n spike, then stares at the vacant one for a long moment. His wrist \n computer BLEEPS for attention... \n","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","aboard, carrying their trophies with the reserved silence of men \n returning from combat. \n \n One more thing need to be done. BROKEN TUSK bends down and flips a \n sequence of keys on the dead PREDATOR's wrist. A countdown is \n displayed in some unknown character-set, accompanied by a HIGH PITCHED \n BEEPING. He then turns and swiftly boards the craft which takes \n smoothly to the air, it's undergear retracting. \n","seasoned Green Berets perform - he plunges it downward into the fallen \n hunter. This unpleasant task accomplished, \n \n BROKEN TUSK straightens up and activates his wrist-computer. A dark \n shape blots out the light coming from the entrance; a small PREDATOR \n shuttlecraft, sleek and elegant. It hovers in the air with little more \n than a loud HUM, and extends a ramp. The surviving PREDATORS leap ","up from a series of blue geodesic shapes. The damage registers as a \n cold, black mass. \n \n The beam switches off and the hovering PREDATOR shuttle turns smoothly \n on it's axis, thrusting towards the planet. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \n \n Shafts of torch-light fan out above the thick foliage in the darkness. ","weapons arms unfurled like exotic armed insects. Searchlights probe the \n ground far below. \n \n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \n occupies the air above, delineated only by a telltale vibration. The \n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \n gear and a ramp. It touches down in the bayou with scarcely a whisper. \n","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","PREDATOR-VISION. \n We're looking at the site in colours: the cold blue of empty ALIEN \n EGGS, and the warm reds of just-breathing ANIMALS rendered inert the \n FACEHUGGER parasites. \n \n A group of PREDATORS appear in three-dimensional solidity, their \n camouflage cloaks deactivated. The LEAD PREDATOR SPLASHES across to ","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","HIROKO glances back at the hovering DROPSHIPS, then walks around the \n waiting PREDATOR and into the shuttlecraft without looking back. \n \n The PREDATOR follows her. The ramp SLAMS closed, as we... \n \n CUT TO BLACK \n THE END \n","The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n"],["It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","The causes the QUEEN to go \n berserk, straining at her bonds and SHRIEKING ferociously. She's \n obviously been through this before and knows what's about to happen. \n The protrusionsplits open, spilling out an intense white light: an \n energy-filled blast furnace. The manipulator claw opens, the EGG drops \n in, and is no more. \n \n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \n","PREDATORS are being overrun by the ALIEN horde. \n \n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \n another attacker. Hearing a distinctive SCREAM, he looks across the \n platform. One of the PREDATORS, it's camouflage cloak flickering \n intermittently, is trying to resist being dragged down into a duct. \n The two ALIENS in either side plunge their tail-stingers into the ","EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \n tower is a gallery catwalk surrounding the flashing beacon array. \n \n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \n almost upon him. The PREDATOR drives his wrist knives into the throat ","The tips lock into place. The PREDATOR offers it to HIROKO. She \n accepts, a little confused. \n \n There's a long moment. The PREDATOR is still standing there. Waiting. \n HIROKO's eyes narrow. Her mind is working furiously. What do they \n want? \n \n She realises. It suddenly becomes clear. She smiles. \n \n HIROKO \n Yeah. Why not. \n","SNAPPING IN for a closer look at her. \n \n PREDATOR (CONT'D) \n No! \n \n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \n From the distinctive features, we see that it's BROKEN TUSK. The \n PREDATOR's good hand flashes down to his thigh, almost too quick to ","DRIVES her spear into the ALIEN's chest. She grabs the injured \n PREDATOR and pulls him away from the thrashing creature. \n \n HIROKO \n Come on! Come on! \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n The alien numbers on the PREDATOR self-destruct readout inexorably \n count down... \n","INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \n \n The blue beam slides across one of the eggs, and suddenly changes to \n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \n from a rotating simulation of an ALIEN WARRIOR skull to a \n representation of a QUEEN's head. The manipulator arm swiftly grasps \n the EGG in question and moves it over to a protrusion on the floor. ","closed. The two women collapse in a heap on the floor. \n \n EXT. RYUSHI STATION - PLATFORM - DUSK \n \n The battle outside is going badly for the PREDATORS. There's only \n three of them left, and one is BROKEN TUSK. \n \n A projectile WHISTLES through the air towards an ALIEN, expanding in \n flight into a wire capture net. Barbed tips on each corner bite into ","aboard, carrying their trophies with the reserved silence of men \n returning from combat. \n \n One more thing need to be done. BROKEN TUSK bends down and flips a \n sequence of keys on the dead PREDATOR's wrist. A countdown is \n displayed in some unknown character-set, accompanied by a HIGH PITCHED \n BEEPING. He then turns and swiftly boards the craft which takes \n smoothly to the air, it's undergear retracting. \n","It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \n flight; his companion is not as lucky. The other PREDATOR kicks an \n ALIEN from him and over the roof's edge. The ALIEN lashes out with \n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \n hurtle downward and hit a nest of cabling stretched across from one of ","BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \n gets out of the path of the PREDATOR's tumbling mass. She looks up. \n \n The ALIEN stowaway on the roof of the chopper retracts it's \n sledgehammer tongue, it's head following her movements. \n \n The PREDATOR's 'smart' weapon has dropped to the floor and is laying ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","bid to escape their unstoppable opponents. Back-to-back, they take up \n fighting positions. A few seconds later, the first of the ALIENS \n arrives. \n \n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \n Still the ALIENS keep on coming, finally reaching the point where it's \n hand-to-hand...and nothing else. \n","it's throat. It gazes up at HIROKO. \n \n BROKEN TUSK \n Not...a pretty...sight... \n \n And with that, the PREDATOR dies. \n \n HIROKO look around. The sun is rising above the treetops, and the \n setting is serene. Somehow beautiful. \n \n The speakers in the heli-jet cabin CRACKLE to life, jarring her. \n \n VOICE (O.S., on speakers)","The PREDATOR goes down, groping for the self-destruct system on his \n wrist. He manages to stroke a fingernail across the activation bar, but \n gets no further. An ALIEN pounces at him, it's tail descending. The \n PREDATOR raises his arm in reflex, but the stinger SMASHES straight \n through the buries it in his face-plate, taking out the wrist-computer \n in the process. \n","entrapped PREDATOR. It's left arm is encased in a solidified mass of \n secreted resin. BROKEN TUSK raises his 'smart weapon' and activates \n it. \n \n The SPLINTERING NOISE makes HIROKO wince. She glances up at the QUEEN. \n It's breathing start to change, and it's head moves... \n \n BROKEN TUSK sees it too. He hesitates for a moment. The QUEEN ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","mechanism. It's EGG SAC drapes around the pump; spiraling down around \n it. She seems to be asleep. \n \n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \n forms - human and otherwise - cocooned into the walls. He finds what \n he's looking for. Up on one wall is another PREDATOR. Dead. It's \n stomach blown open. \n","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! "],["We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","a tough-looking Afrikaan woman with a think accent - looks uneasily \n about them. Another GROUP of PEOPLE with trackers and guns are \n searching around in the BACKGROUND. Nearby, the vertical yellow column \n of a suspension-crane gantry towers high above. \n \n DE VRIES \n C'mon, man. One more sweep. \n \n GUTTIEREZ \n One more sweep... one more sweep. I'm getting tired of one more ","She brushes up at the miserable weather. She and KAMEN are standing on \n one of the twelve-feet-in-diameter wheels of the gargantuan haulage \n vehicle we saw outside the base earlier. Up on the side of the cab is \n painted a Nordic Valkyrie with an impressive bustline, next to which is \n the legend 'BIG BERTHA'. Two mechanics, JAN GUTTIEREZ and KEVIN ","Up on a mud-bank, at the base of a sturdy gantry tower with two \n blinking blue lights atop it, stands the camp. It looks a little like \n a Bedouin bivouac, but up-close we can see the techno-fitted details. \n A hard-featured woman seated next to a solid-fuel burner sips from a \n mug, while her Vietnamese counterpart is manually loading large-caliber \n bullets into a belt-feed. They ","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","revealing a circular mechanism beneath. BREWSTER scratches at the \n bulkhead and WHINES. MUFFLED THUMPS come from within. \n \n HIROKO \n What happened? \n \n DILLER \n York just turned up outside. We're trying to get him into Infirmary. \n \n HIROKO (astonished) \n York... \n \n HIROKO leans over to examine him, but a particularly loud CRASH from ","OF ENERGY expands outward, vaporising the station and most of the \n surrounding bayou for about a mile's radius. \n \n EXT. LINSON'S RANGE - ENCAMPMENT - PRE-DAWN \n \n Big Bertha's parked by the blinking blue beacon tower, site of the ill- \n fated hunting expedition. About a dozen or so people are milling \n around, smoking cigarettes or talking. \n","while somewhere off in the distance a dog BARKS. \n \n DON KAMEN, a lean man in his forties. climbs down from the cab mounted \n five feet above the ground and squints up at the main relay antenna. He \n adjusts the cowboy hat on his head against the drizzle and crosses the \n street towards one of the buildings, ignoring a Pepsi sign CREAKING in \n the gentle breeze. A glass-paneled door SWISHES automatically open \n before him. ","GUTTIEREZ cocks his head and listens. He has no idea what she means. \n \n GUTTIEREZ \n Listen to what? \n \n DE VRIES \n That's what I mean. This is the quietest I've ever heard it. It's \n unnatural. \n \n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \n blackness beyond the confines of the base. \n \n GUTTIEREZ","Down here in the swamp, the trunks of magnificent trees terminate in \n gnarled roots and disappear into watery murk, much like a Louisiana \n bayou. A group of attentive LEMUR-TYPE CREATURES suddenly bound for \n cover as a line of bullets THUDS into the wood nearby. Seconds later, \n a loud HUMMING NOISE intrudes O.S. and a pair of manta-ray-shaped ","Noguchi wouldn't let her go off on your hunting trip. \n \n KAMEN pours himself a cup of coffee from a BUBBLING percolator. \n \n KAMEN \n Wasn't my trip, I just did the driving. 'Sides, freezing my butt off \n out in the wet taking pot-shots at the local wildlife isn't my idea of \n a good time, either. \n \n He sips gingerly from the cup of scalding liquid. \n \n PARSONS","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","spraying blood across YORK. He topples dead to the ground, a look of \n pained surprise on his face. BEAUVAIS is there immediately, racing \n across and scrabbling for the 'howitzer'. She doesn't have time to \n take the harness off - she just slides her finger through the trigger \n guard and starts squeezing off random shots. The air shimmers as an \n unseen shape races at her. There's a loud \n","YORK watches HIROKO's feet disappear into the shaft. \n \n PARSONS \n Seal it. \n \n The heavy sealing-plug is dragged across the grating and positioned \n over the hole. YORK shakes his head. \n \n YORK \n Suicide run, man. Fuckin' suicide run. \n \n INT. RYUSHI STATION - SEWER SYSTEM - VENTURI DUCT \n","I've found Ackland! \n \n HIROKO \n Hold on... \n \n She begins to cross the camp, and her foot catches on a taut length of \n rope. SOMETHING swings down from the trees, hitting her squarely in the \n face and knocking her off her feet. HIROKO CRIES OUT in fear and \n surprise, then freezes at what she sees. \n \n Two bloodied bodies dangle head-first from the bough overhead; BEAUVAIS ","SWISH of sliding metal, and a telescopic spear appears out of thin air. \n It SLAMS through BEAUVAIS' body, lifting her off the ground and \n impaling her against a tree. \n \n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \n her struggles cease, and she'd dropped to the floor like a broken \n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS ","She climbs around GUTTIEREZ and begins to ascend the ladder. BREWSTER \n WHIMPERS and plaintively BARKS after them. \n \n EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n The rooftop is dark, mysterious. Pieces of retrofitted junk can be \n seen in silhouette, edged in light from way below. DE VRIES and ","GUTTIEREZ (CONT'D) \n Little bit further... \n \n The beam comes to rest on a protruding piece of apparatus. A short- \n range antennae, about seven feet wide. \n \n GUTTIEREZ (CONT'D) \n Yeah, yeah, yeah. Right there, right behind the antennae. I think \n we're got it cornered... \n \n EXT. RYUSHI STATION - PLATFORM - DUSK \n","HIROKO turns her recovered headset over in her hands. \n \n HIROKO (CONT'D) \n Broken. Useless! \n \n She throws it aside. BROKEN TUSK stands beside her, keeping guard. \n Another DETONATION goes off behind, even LOUDER. \n \n HIROKO (CONT'D) \n Jesus. I.C.C.'re gonna have to close the book on this place. \n","EXT. RYUSHI STATION - MIDDAY \n \n Imagine a world where every square mile is covered by a canopy of \n treetop foliage, and you've just drawn yourself a picture of the planet \n Ryushi. \n \n Nestled amongst this lush rainforest is the Yutani-Templin \n Communications Relay Station. Several inverted-'U'-shaped suspension \n cranes painted bright yellow look down over a collection of "],["aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \n defying gravity. As each EGG is scanned by a blue triangular beam - \n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \n view of the pulsing FACEHUGGER inside. This done, a manipulator are ","cannon-blasts blossom around him. \n \n The group of PREDATORS appear in the camp and cautiously survey the \n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \n to the tent and opens the entry flap. \n \n INT. TENT - NIGHT \n \n PREDATOR-VISION. \n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \n ACKLAND for a long moment, but takes no further action.","Unseen by anybody, another ALIEN has escaped to the roof of the \n platform-bound crawler. It wraps it's long, bony fingers around the \n face of the MAN, stifling his CRIES and pulling him off the deck. The \n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \n THOMAS' attention. \n \n THOMAS \n Mother-fucker! \n","throes. \n \n The group round the corner of a building. Across the street from them \n is parked KAMEN's crawler. \n \n GUTTIEREZ (CONT'D) \n Inside, inside! \n \n They scramble up into the cab. GUTTIEREZ throws himself into the \n driver's seat. An ALIEN sprints at the crawler with bared teeth. \n THOMAS looses a shot, blasting it backward into a Pepsi sign.","spears and elaborately-shaped swords. Several shoulder-mounted plasma \n cannons slide up to firing position, tracking with their owners' \n helmets. Thus armed, they move cautiously ahead...taking no chances. \n One helmeted PREDATOR pauses, scanning the area. \n \n PREDATOR-VISION. \n \n He switches through a variety of different views; infra-red, ultra- \n violet, enhanced motion-tracking. Nothing. \n","ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \n away across the rain-swept platform, a SHIMMERING FROM detaches itself \n from the rear of the chopper and lowers itself to the heli-jet pad. \n \n PREDATOR-VISION. \n A newly-arrived PREDATOR scans the towers and modules of the relay- \n station with great interest. An oscillating red line appears to the ","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","DE VRIES glances around the rooftop, annoyed. \n \n DE VRIES \n Hey, look; let's forget it. There's nothing up here. \n \n PREDATOR-VISION. \n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \n distorted. \n \n PREDATOR (O.S.) \n Nothing up here. Nothing up here. \n","from the trees; something with a heat-vision P.O.V. A PREDATOR. We \n see the flare of ACKLAND's gunshots, then SNAP IN to see the multi- \n colored from of his body toppling over, trailing a purplish FACEHUGGER, \n before we... \n \n CUT BACK TO \n ...One of ACKLAND's bullets taking a meaty chunk out of YORK's thigh as ","YORK and ACKLAND wade through the chin-high reeds, cursing. \n \n ACKLAND \n Found anything? \n \n YORK looks down at his data-stick, a handheld torch with a multi- \n purpose readout screen. \n \n YORK \n Nada. No radiation... no movement... nothing. \n \n ACKLAND \n Well, just keep looking. It's gotta be... whoa, Jesus! \n \n ACKLAND falls toward onto something, and YORK comes running.","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \n curled up there. Most of it has been madly mutilated by something \n erupting from inside it's body. The PREDATOR looks up and scans the \n swamp, ignoring the swarm of FLIES buzzing in the air. \n \n PREDATOR-VISION. \n This time, an oscillating line appears to the left of our view, and a ","BEAUVAIS (yelling) \n Minh! Minh, get out here! \n \n INT. TENT - NIGHT \n \n A portable neon light in the tent flickers, casting staccato bluish \n light over ACKLAND and the FACEHUGGER. MINH and BEAUVAIS stare at it \n in horrified fascination, while YORK pulls a tourniquet around his \n thigh. He winces. \n \n BEAUVAIS","EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \n \n PREDATOR-VISION. \n Gazing down at the platform, an unseen hunter watches the swift black \n SHAPE of the ALIEN in amongst the group of humans... \n \n From the corner of her eye, DE VRIES sees something moving nearby. She \n violently pulls GUTTIEREZ out of the path of the shimmering FORM that ","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n","EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \n \n HIROKO runs towards the waiting heli-jet. The flicker of an \n andrenalin-fueled smile plays on her face...the disappears. \n \n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \n the grounded machine. It's head turn towards her. HIROKO starts to ","PULSING NOISE - like a heartbeat - gains in volume the further they \n travel. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n They come out in a chamber some forty feet in height and dominated by \n an enormous pump. ALIEN gunk covers everything. \n \n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast ","from the trees, like an engine cooling on a warm summer's day. YORK \n clutches his rifle and stares upward. There seems to be a VAGUE \n SHIMMERING FORM in the bough of a tree. Although it might be a trick \n of the light, he isn't sticking around to find out. YORK guns the bike \n to life and ROARS off above the swamp. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT"],["She brushes up at the miserable weather. She and KAMEN are standing on \n one of the twelve-feet-in-diameter wheels of the gargantuan haulage \n vehicle we saw outside the base earlier. Up on the side of the cab is \n painted a Nordic Valkyrie with an impressive bustline, next to which is \n the legend 'BIG BERTHA'. Two mechanics, JAN GUTTIEREZ and KEVIN ","a tough-looking Afrikaan woman with a think accent - looks uneasily \n about them. Another GROUP of PEOPLE with trackers and guns are \n searching around in the BACKGROUND. Nearby, the vertical yellow column \n of a suspension-crane gantry towers high above. \n \n DE VRIES \n C'mon, man. One more sweep. \n \n GUTTIEREZ \n One more sweep... one more sweep. I'm getting tired of one more ","it clips a fallen log and spins end-over-end. It's rider flies through \n the air and hits the swamp face-first. DILLER and CASSIE race down the \n ramp with BREWSTER YELPING excitedly in the lead. \n \n CASSIE \n I don't believe it. \n \n DILLER splashes through the swamp and pulls the limp body out of the \n mire. It's YORK. Blood has caked around his wounded leg.","while somewhere off in the distance a dog BARKS. \n \n DON KAMEN, a lean man in his forties. climbs down from the cab mounted \n five feet above the ground and squints up at the main relay antenna. He \n adjusts the cowboy hat on his head against the drizzle and crosses the \n street towards one of the buildings, ignoring a Pepsi sign CREAKING in \n the gentle breeze. A glass-paneled door SWISHES automatically open \n before him. ","DE VRIES \n What the hell are you doing? \n \n GUTTIEREZ \n Hey, fair enough. If you won't come, I'll handle it myself. \n \n DE VRIES runs her fingers through her hair in frustration. Comes to a \n decision counter to what she wants to do... \n \n DE VRIES \n Wait a minute! \n \n GUTTIEREZ stops climbing. \n \n DE VRIES (CONT'D) \n Alright, okay. Look...","long; two NINJA SWORDSMEN drop to the floor in front of her, striking \n without hesitation. \n \n She expertly avoid the blows, parrying relentlessly. A persistent TONE \n begins to intrude O.S., like a telephone RINGING. She tries to ignore \n it, but her concentration is clearly broken. A THIRD SWORDSMAN appears \n from out of nowhere, his sword SWISHING towards her chest. The blade ","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","from the trees, like an engine cooling on a warm summer's day. YORK \n clutches his rifle and stares upward. There seems to be a VAGUE \n SHIMMERING FORM in the bough of a tree. Although it might be a trick \n of the light, he isn't sticking around to find out. YORK guns the bike \n to life and ROARS off above the swamp. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT","The leering face of an ALIEN comes up over the roof's edge. HIROKO \n swings her pistol over and fires. It falls away...only to be replaced \n seconds later by two others. \n \n Her gun goes dry. Quick as a flash, she ejects the spent magazine. \n She slaps the spare in and continues firing. \n \n INT. BIG BERTHA - NIGHT \n \n Big Bertha's heading away from the base into the surrounding trees. ","pulling the French-plaited hair of ANNIE URIOSTE, an Italian systems- \n mechanic with her hands buried in a disassembled console. \n \n URIOSTE \n You didn't wipe your feet coming in. \n \n KAMEN \n Well, it's okay. You didn't tell me it was monsoon season going out. \n \n PARSONS looks up at KAMEN and grins. \n \n PARSONS","REDHEADED GIRL \n I have. \n \n HIROKO \n Let me have the keys. \n \n The GIRL rummages in her pockets and throws the keys over. HIROKO puts \n them in a pocket on the suit's sleeve. \n \n HIROKO (CONT'D) \n Which one is it? \n \n REDHEADED GIRL \n Uh... the Hyundai racer. Yellow and black stripes. \n","to look up from his magazine. \n \n KAMEN'S P.O.V. \n From out of the window of the 'chopper', we see the twin blue lights of \n the navigation beacon blinking on-and-off above the trees. \n \n KAMEN nudges HIROKO awake. \n \n KAMEN \n Wake up. We're at the beacon. \n \n He switches the controls over to manual and takes the chopper down. ","GUTTIEREZ cocks his head and listens. He has no idea what she means. \n \n GUTTIEREZ \n Listen to what? \n \n DE VRIES \n That's what I mean. This is the quietest I've ever heard it. It's \n unnatural. \n \n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \n blackness beyond the confines of the base. \n \n GUTTIEREZ","She shakes her head, and manages a smile. \n \n HIROKO \n I've got a lot of thinking to do. 'Sides, the room was getting too \n crowded for me. \n \n KAMEN \n Not too much of the socializing type, then? \n \n HIROKO \n No, not really. More sort of the 'claustrophobic' type. \n \n KAMEN LAUGHS. HIROKO is straight-faced. \n","EXT. LINSON'S RANGE - ENCAMPMENT - NIGHT \n \n We PAN SLOWLY ACROSS the deserted campsite. There isn't a soul there, \n human or otherwise. The wind whistles eerily through the tree-boughs. \n \n EXT. RAINFOREST AIRSPACE - DAWN \n \n First light the next day, the sun rising on the horizon. A 'chopper' - ","fuckin' sweep. We're been lookin' for this thing for three days now, \n and found zip. \n \n DE VRIES \n Ah, quit griping. Keeps you in shape doesn't it? \n \n GUTTIEREZ \n Hey! I was in shape before we started doing this. \n \n DE VRIES pauses, listening to the sound from the surrounding forest. \n \n DE VRIES \n Listen to that... \n","SWISH of sliding metal, and a telescopic spear appears out of thin air. \n It SLAMS through BEAUVAIS' body, lifting her off the ground and \n impaling her against a tree. \n \n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \n her struggles cease, and she'd dropped to the floor like a broken \n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS ","against it down by the access ramp, smoking a cigarette and idly \n blowing rings into the air. BREWSTER pricks up her years and begins to \n quietly SNARL. DILLER glances down at her curiously. \n \n DILLER \n What's the matter, girl? You smell something? \n \n Now the rhino are restless too. CASSIE walks across the concrete \n roadway to join them. \n \n CASSIE \n Rhinos look a little antsy, \n","HIROKO takes flight across the rooftops with the ALIENS in pursuit like \n a pack of dogs. She vaults extractor intakes and retrofitted junk with \n ease. So do the ALIENS. \n \n She cuts across a conduit overpass bridging two buildings across the \n main street, trying not to lose her footing. Just before reaching the \n other side, HIROKO slips and falls to her knees. Her headset drops "],["Across the clearing, HIROKO turns a piece of charred plating over in \n her hands before discarding it. \n \n Her foot slips on an object sunk into the soft mud. It's MINH's \n 'howitzer'. A dark slippery patch coats the metal. She crouches down \n and rubs her fingers through it. Blood. KAMEN's VOICE intrudes, O.S. \n \n KAMEN (O.S.)","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","ground. A BOOMING ECHO resonates across the forest, followed by a few \n plaintive SCREECHES from the planet's indigenous lifeforms, before \n settling back into an eerie silence. \n \n ACKLAND \n Meteor, I guess. \n \n He raises a set of compact field binoculars to his face. THROUGH THEM \n he sees a thin haze of smoke rising from the treetops. \n \n ACKLAND","from the trees, like an engine cooling on a warm summer's day. YORK \n clutches his rifle and stares upward. There seems to be a VAGUE \n SHIMMERING FORM in the bough of a tree. Although it might be a trick \n of the light, he isn't sticking around to find out. YORK guns the bike \n to life and ROARS off above the swamp. \n \n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","rear, shifting her attention to-and-fro from it and the antennae. \n \n DE VRIES \n Can't see a thing. Are you sure? \n \n GUTTIEREZ \n Yeah, I... \n \n The second blip on the small screen abruptly vanishes. \n \n GUTTIEREZ (CONT'D) \n Wait. Lost it. \n \n DE VRIES \n How? \n \n GUTTIEREZ \n I dunno. Might be a glitch.","ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","passing beneath something that gives her cause to pause. A large \n PULSATING BAG, about ten feet long and roughly ovular in shape. It \n might be translucent, but in this light it's hard to tell. \n \n HIROKO submerges. Sure enough, there's the grille. She raises the \n power-tool and starts extracting the bolts. BZZZZ! There's the first ","YORK and ACKLAND wade through the chin-high reeds, cursing. \n \n ACKLAND \n Found anything? \n \n YORK looks down at his data-stick, a handheld torch with a multi- \n purpose readout screen. \n \n YORK \n Nada. No radiation... no movement... nothing. \n \n ACKLAND \n Well, just keep looking. It's gotta be... whoa, Jesus! \n \n ACKLAND falls toward onto something, and YORK comes running.","revealing a circular mechanism beneath. BREWSTER scratches at the \n bulkhead and WHINES. MUFFLED THUMPS come from within. \n \n HIROKO \n What happened? \n \n DILLER \n York just turned up outside. We're trying to get him into Infirmary. \n \n HIROKO (astonished) \n York... \n \n HIROKO leans over to examine him, but a particularly loud CRASH from ","GUTTIEREZ cocks his head and listens. He has no idea what she means. \n \n GUTTIEREZ \n Listen to what? \n \n DE VRIES \n That's what I mean. This is the quietest I've ever heard it. It's \n unnatural. \n \n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \n blackness beyond the confines of the base. \n \n GUTTIEREZ","band sweeps quickly ACROSS the screen synchronous to us hearing \n different levels of SOUND STATIC. This abruptly stops as the \n oscillating line begins to moves in peaks and valleys. The PREDATOR is \n picking up radio \n waves. A HUMAN VOICE; albeit grossly-distorted. \n \n EXT. LINSON'S RANGE - ENCAMPMENT - NIGHT \n","fuckin' sweep. We're been lookin' for this thing for three days now, \n and found zip. \n \n DE VRIES \n Ah, quit griping. Keeps you in shape doesn't it? \n \n GUTTIEREZ \n Hey! I was in shape before we started doing this. \n \n DE VRIES pauses, listening to the sound from the surrounding forest. \n \n DE VRIES \n Listen to that... \n","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","against it down by the access ramp, smoking a cigarette and idly \n blowing rings into the air. BREWSTER pricks up her years and begins to \n quietly SNARL. DILLER glances down at her curiously. \n \n DILLER \n What's the matter, girl? You smell something? \n \n Now the rhino are restless too. CASSIE walks across the concrete \n roadway to join them. \n \n CASSIE \n Rhinos look a little antsy, \n","impenetrable. Behind and above, the lights of the cranes and the \n communications array strobe on-and-off. Above the bar on the main \n street is a flicking neon sign erected after-the-fact, emblazoned with \n the words \"TORCHY'S\". The MUFFLED SOUNDS of MERRY-MAKING from within \n become momentarily louder, and HIROKO glances over to see it's ","to look up from his magazine. \n \n KAMEN'S P.O.V. \n From out of the window of the 'chopper', we see the twin blue lights of \n the navigation beacon blinking on-and-off above the trees. \n \n KAMEN nudges HIROKO awake. \n \n KAMEN \n Wake up. We're at the beacon. \n \n He switches the controls over to manual and takes the chopper down. ","HIROKO bends down to inspect a small plastic grating fitted flush with \n the roadway. The broken grillework is melted outwards. KAMEN and two \n other men - CALDWELL and THOMAS - stand behind. \n \n THOMAS \n The door to the food storage locker was smashed open. It must have \n come straight out of here. \n \n HIROKO yawns. \n \n HIROKO"],["URIOSTE pulls at a two-piece hexagonal grating set in the center of the \n floor. It's heavy and thick with grease, but she doesn't seem to mind. \n Below it is what looks like a round metal plug. Recessed into its \n surface is a lever next to a central pressure valve, with handholds on \n either side. She turns the lever. There's a loud CLUNK, and a plume \n of steam JETS out of the valve. \n","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","at a fixed point on the ground. Two ONLOOKERS bend down to the \n pressure-hatch beneath the floor-grating. It's identical to the one \n DILLER and URIOSTE removed earlier. A plume of pressurised gas jets \n into the air, and they pull the metal sealing-plug free. CASSIE \n scrutinizes her tracker... \n \n CASSIE \n All clear... \n","passing beneath something that gives her cause to pause. A large \n PULSATING BAG, about ten feet long and roughly ovular in shape. It \n might be translucent, but in this light it's hard to tell. \n \n HIROKO submerges. Sure enough, there's the grille. She raises the \n power-tool and starts extracting the bolts. BZZZZ! There's the first ","We're in the dark womb of a split-level command center alive with \n clusters of video readouts, somewhat reminiscent of a futuristic air- \n traffic control tower. On the upper tier, a large circular holo- \n display currently projects an image of the satellite we just saw. Thin \n trailers of paper flutter gently in the current coming from the air \n conditioning ducks, though beads of sweat still dot the foreheads of ","impenetrable. Behind and above, the lights of the cranes and the \n communications array strobe on-and-off. Above the bar on the main \n street is a flicking neon sign erected after-the-fact, emblazoned with \n the words \"TORCHY'S\". The MUFFLED SOUNDS of MERRY-MAKING from within \n become momentarily louder, and HIROKO glances over to see it's ","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","with a block-and-tackle arrangement. A hook dangles below this, it's \n thick metal cabling going up through the block-and-tackle and \n connecting to the drum of a small industrial winch attached securely to \n the wall. DILLER hands the tripod over to URIOSTE. She splays the \n legs apart and inserts their tips into matching holes around the open \n pit. \n \n EXT. RYUSHI STATION - PLATFORM - DUSK","and ceiling ought to be. Kicking up a swirl of particles. Pale blue \n light filters down from above. \n \n COMPUTER VOICE (O.S., on speakers) \n Caution! Entering secondary overflow sump DS oh-four slash eleven. \n Grating must be removed to facilitate entry to Central Reservoir... \n \n HIROKO (annoyed) \n Yeah, yeah, yeah... \n","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","the gloom of the Pump Shaft. In front of her is a machine-part we saw \n her carry earlier. With the strap of a flashlight clenched in her \n mouth, she's just finishing up bolting the part to the larger piece of \n machinery in an alcove, with simultaneously doing her best not to touch \n the walls which are covered by a thin layer of gunge. \n \n The REPORT of DE VRIES' weapon can be heard even down here, perhaps ","it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \n defying gravity. As each EGG is scanned by a blue triangular beam - \n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \n view of the pulsing FACEHUGGER inside. This done, a manipulator are ","Across the clearing, HIROKO turns a piece of charred plating over in \n her hands before discarding it. \n \n Her foot slips on an object sunk into the soft mud. It's MINH's \n 'howitzer'. A dark slippery patch coats the metal. She crouches down \n and rubs her fingers through it. Blood. KAMEN's VOICE intrudes, O.S. \n \n KAMEN (O.S.)","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","revealing a circular mechanism beneath. BREWSTER scratches at the \n bulkhead and WHINES. MUFFLED THUMPS come from within. \n \n HIROKO \n What happened? \n \n DILLER \n York just turned up outside. We're trying to get him into Infirmary. \n \n HIROKO (astonished) \n York... \n \n HIROKO leans over to examine him, but a particularly loud CRASH from ","They exit the culvert through another smashed grate. HIROKO finds \n herself back in the Central Reservoir again. She wades through the \n water behind BROKEN TUSK, holding the spear above her head. The two of \n them look very vulnerable in here. They pass beneath the PULSATING SAC \n HIROKO saw earlier. It looks riper now, ready to burst. An INSIDIOUS ","URIOSTE (CONT'D) \n Give me a hand with this. \n \n GRUNTING, the two of them pull the thick metal plug clear of the pit. \n Murky water sloshes around below. URIOSTE pulls a second lever, and \n hidden pumps make the water level drop rapidly. \n \n URIOSTE (CONT'D) \n Pass me over that tripod, will you? \n \n Leaning against the wall behind DILLER is a sturdy metal tripod topped ","Up on a mud-bank, at the base of a sturdy gantry tower with two \n blinking blue lights atop it, stands the camp. It looks a little like \n a Bedouin bivouac, but up-close we can see the techno-fitted details. \n A hard-featured woman seated next to a solid-fuel burner sips from a \n mug, while her Vietnamese counterpart is manually loading large-caliber \n bullets into a belt-feed. They ","PULSING NOISE - like a heartbeat - gains in volume the further they \n travel. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n They come out in a chamber some forty feet in height and dominated by \n an enormous pump. ALIEN gunk covers everything. \n \n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast ","THUMP. THUMP. SLAM! The grille in knocked out of it's housing and \n floats lazily off into the water. HIROKO passes through the newly- \n created hole. \n \n HIROKO'S P.O.V. \n She finds herself in an upright cylindrical chamber, about five feet in \n height. Massive extractor fans churn dangerously where both the floor "],["ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","YORK and ACKLAND wade through the chin-high reeds, cursing. \n \n ACKLAND \n Found anything? \n \n YORK looks down at his data-stick, a handheld torch with a multi- \n purpose readout screen. \n \n YORK \n Nada. No radiation... no movement... nothing. \n \n ACKLAND \n Well, just keep looking. It's gotta be... whoa, Jesus! \n \n ACKLAND falls toward onto something, and YORK comes running.","hurries forward in response to the GURGLING-HISS of one of his team who \n has found something. \n \n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \n on the end is a shriveled FORM with eight spindly legs and a segmented \n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \n BROKEN TUSK HISSES a caution to his party; they respond by pulling ","YORK \n Yeah, it's fine. \n \n ACKLAND \n God, I hope that thing didn't bring down a virus. \n \n YORK \n I told you we... what's that? \n \n Their torch beams PAN ACROSS a three-foot high ovular shape. \n \n ACKLAND \n Looks like a spore. Fungus of some kind, maybe? \n \n YORK \n Bloody big if it is. Top's open. \n","Let's get back and call this in. \n \n ACKLAND \n Wait a minute. \n \n YORK reluctantly follows ACKLAND as he thrashes through the thinn ing \n foliage, coming out at the rim of the impact crater. It's beginning to \n partially collapse, water seeping in. YORK runs his beam over \n something at the bottom of the shallow pit. \n \n YORK \n What is that... is that metal fragments? \n","safety off his rifle. ACKLAND wordlessly unshoulders his too. They \n step around the crater and warily follow the ragged path to... \n \n YORK \n Another one? \n \n ACKLAND prods this SECOND EGG with his gun. \n \n ACKLAND \n Yeah. This's closed. \n \n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in ","aborigine and ultra-hi-tech. In their hands are circular metal discs; \n 'smart weapons' which cut into the stone and give them purchase. \n \n PREDATOR-VISION. \n \n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \n The entrance registers as a black gaping void. \n \n INT. FISSURE NEST TUNNEL \n","seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","HIROKO (CONT'D) \n I don't care how you kill this thing, just be careful not to get in \n it's way when it bleeds. You all saw what happened to Doc Revna. \n \n There are nods of agreement and general enthusiasm all round. \n \n HIROKO (CONT'D) \n Nobody wander off on their own until it's found. Keep in pairs. \n Diller, once the first team's done their sweep I want you to go down ","He hands the bag over to REVNA. She peers at the contents curiously. \n The FACEHUGGER is inside, stiff and shriveled. \n \n REVNA \n Is this it? \n \n KAMEN \n Yeah. Found it curled up in a corner of the tent. Any idea? \n \n REVNA shakes her head. \n \n REVNA \n Never come across one of these before. Maybe the original survey team ","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","different to the others; in addition, one of the fangs of his mandibles \n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \n the hunting party. He reaches out a hand to caress the wall of the \n tunnel. \n \n Several feet in from the rim, it changes from rock to a textured \n biomechanical surface; a swirling mass of disturbing shapes. He ","at a fixed point on the ground. Two ONLOOKERS bend down to the \n pressure-hatch beneath the floor-grating. It's identical to the one \n DILLER and URIOSTE removed earlier. A plume of pressurised gas jets \n into the air, and they pull the metal sealing-plug free. CASSIE \n scrutinizes her tracker... \n \n CASSIE \n All clear... \n","GUTTIEREZ \n Hold it, hold it... \n \n DE VRIES \n What's wrong? \n \n GUTTIEREZ \n I'm picking up another signal. \n \n DE VRIES looks around, unnerved. \n \n DE VRIES \n What? Where? \n \n GUTTIEREZ \n Just behind us, over to the right. \n \n DE VRIES shines her beam over the surface of the yellow crane to their ","The five hunters climb inside the rim of the tunnel, out of the wind's \n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \n at the coupling pipes connecting it to a hidden breathing-apparatus. \n He removes the helmet, clips it to his rear utility pack, and takes a \n deep breath of the air. A curious speckled pattern runs across his \n wide forehead, marking him ","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a ","four sections. The two men jump back in alarm, and YORK LAUGHS \n nervously. Something organic is pulsing inside. ACKLAND cranes his \n neck forward for a better look... \n \n There's an EXPLOSION of MOVEMENT. A spindly shape with a long \n segmented tail launches itself jack-in-a-box-style at ACKLAND. It's a ","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","revealing a circular mechanism beneath. BREWSTER scratches at the \n bulkhead and WHINES. MUFFLED THUMPS come from within. \n \n HIROKO \n What happened? \n \n DILLER \n York just turned up outside. We're trying to get him into Infirmary. \n \n HIROKO (astonished) \n York... \n \n HIROKO leans over to examine him, but a particularly loud CRASH from "],["The grinning face of the young QUEEN gets suddenly closer as the heli- \n jet is propelled towards the metal structure. \n \n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n CRUNCH! The chopper hits, knocking several ALIENS from their \n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \n the port engine mount. \n \n INT. CHOPPER - PRE-DAWN","PULSING NOISE - like a heartbeat - gains in volume the further they \n travel. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n They come out in a chamber some forty feet in height and dominated by \n an enormous pump. ALIEN gunk covers everything. \n \n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast ","The causes the QUEEN to go \n berserk, straining at her bonds and SHRIEKING ferociously. She's \n obviously been through this before and knows what's about to happen. \n The protrusionsplits open, spilling out an intense white light: an \n energy-filled blast furnace. The manipulator claw opens, the EGG drops \n in, and is no more. \n \n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \n","PULSING SAC. Before they're even passed beneath it, they hear \n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \n \n The SAC ruptures, spattering thick gloopy matter. A form comprised of \n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and ","cylindrical tube containing a substance similar to mercury which \n constantly changes it's mass into shapes and alien text. He peers over \n the protective railing. \n \n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \n tethered by straining clamps preventing any movement. To the rear, ","HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \n around several trapped victims. A number of empty EGGS are scattered \n here-and-there. \n \n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \n bellows-like SOUND of her BREATHING is overwhelming. He reaches the ","INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n Columns of fire jet from fissures and openings inside the Pump Chamber, \n rippling across the adult QUEEN ALIEN and her hapless victims. She \n begins to SCREAM, flailing around atop her metal throne... \n \n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \n","INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \n \n The blue beam slides across one of the eggs, and suddenly changes to \n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \n from a rotating simulation of an ALIEN WARRIOR skull to a \n representation of a QUEEN's head. The manipulator arm swiftly grasps \n the EGG in question and moves it over to a protrusion on the floor. ","...And finds herself staring at an ALIEN EGG, it's top cracking open in \n four neat sections. The FACEHUGGER leaps straight as her faceplate... \n \n ...And misses, it's fingers failing to gain purchase on the slippery \n dome. HIROKO kicks away from the spindly creature as it orientates \n itself on the water's surface, it's powerful tail propelling itself ","it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \n defying gravity. As each EGG is scanned by a blue triangular beam - \n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \n view of the pulsing FACEHUGGER inside. This done, a manipulator are ","of a grasping ALIEN, which falls downward, writhing. It CRASHES into \n the QUEEN, who almost loses her grip on the skeletal metalwork. She \n HISSES, lashing out at the creature. Sends it hurtling to the ground. \n \n EXT. RYUSHI STATION - TOWER CATWALK - PRE-DAWN \n","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears ","EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \n \n HIROKO runs towards the waiting heli-jet. The flicker of an \n andrenalin-fueled smile plays on her face...the disappears. \n \n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \n the grounded machine. It's head turn towards her. HIROKO starts to ","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","the floor from below ACKLAND's corpse. REVNA shudders as the body \n moves a little, then is rolled over by something underneath it. \n \n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \n revealing a gaping cavity in his back. Bits of spine and ribcage are \n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform ","takes flight. It strikes at HIROKO, who reflexively draws her head \n back and escapes with nothing more than a light scratch to the cheek. \n The ALIEN disappears down the corridor, leaving a trail of smeared \n blood and a series of acidic pits which melt the grillework flooring. \n GUTTIEREZ bends down and \n helps HIROKO to her feet. Shocked, she MUTTERS something to herself in ","EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \n tower is a gallery catwalk surrounding the flashing beacon array. \n \n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \n almost upon him. The PREDATOR drives his wrist knives into the throat ","across the metal... \n \n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \n got the jump on them. HIROKO's forward momentum won't allow her to \n stop running...she's too close. Almost at the last moment, she jumps. \n claws brush her trouser leg, but close on thin air. She hits the deck ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \n particularly loud BLEEP registers from a source immediately behind \n them. He glances over his shoulder and sees an ALIEN crawling down the \n outside of a module towards them. \n \n GUTTIEREZ \n De Vries! \n \n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \n burst. It falls onto the concrete nearby, writhing in it's death "],["seventy feet down there's a hole in the rock-face that just might be a \n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \n humanoid SHAPES clinging to the sheer rock - each well over seven feet \n tall. They are PREDATORS, a race of intergalactic big-game hunters on \n permanent safari; their clothing and weaponry a bizarre mix of ","carefully loads several eggs onto a pallet, which then sinks into a \n hatchway in the floor. It's an assembly-line of almost frightening \n mechanical efficiency. \n \n EXT. SPACE \n \n We see a pod ejected from the Mothership, rocketing away from the \n planet into deep space. The inference is obvious; the PREDATORS are \n seeding worlds with ALIENS to hunt. \n","preassembled buildings and roadways raised above the swamp on \n platforms, much like a truncated oil-rig. A navigation beacon flashes \n intermittently from a tall gantry tower above, while dominating the \n view is the sloping face of a communications array several storeyes \n high. Off to one side of the platform is a gigantic many-wheeled \n haulage vehicle. A flock of bird-like creatures fly past. \n \n INT. RYUSHI STATION - COMMAND CENTER","We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \n against intruding animals. The sound brings BEAUVAIS out of her tent, \n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \n when she sees YORK's hover-bike, lit by the sensors' flashing red \n strobe. It skids to a halt against a mud-bank, sending up a spray of ","racing toward us. Our perspective changes, and we catch a quick \n glimpse as it HURTLES past, and into the gravitational pull of a large \n brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. \n It seems to be manmade. Or at least artificial. \n \n EXT. PLANET SURFACE - DAY \n \n The planet is dead, barren. Death Valley on a grand scale. We watch ","ground. A BOOMING ECHO resonates across the forest, followed by a few \n plaintive SCREECHES from the planet's indigenous lifeforms, before \n settling back into an eerie silence. \n \n ACKLAND \n Meteor, I guess. \n \n He raises a set of compact field binoculars to his face. THROUGH THEM \n he sees a thin haze of smoke rising from the treetops. \n \n ACKLAND","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","different to the others; in addition, one of the fangs of his mandibles \n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \n the hunting party. He reaches out a hand to caress the wall of the \n tunnel. \n \n Several feet in from the rim, it changes from rock to a textured \n biomechanical surface; a swirling mass of disturbing shapes. He ","The adult QUEEN's SHRIEK echoes through the reservoir, accompanied by a \n ball of fire that travels part of the way down. The IMMATURE QUEEN \n turns her head in reply, answering with her own YOWL. \n \n BROKEN TUSK HISSES with hate, and brings his 'smart weapon' SLICING \n down through her arm, severing it at the wrist. HIROKO simultanesouly ","DE VRIES \n Take a look at this. \n \n GUTTIEREZ moves over for a closer look. There's a torn hole in the \n meshwork, just big enough for a rhino to squeeze through. Blood and \n fragments of skin coat the edge of the gap. \n \n GUTTIEREZ \n One of 'em must have escaped. \n \n DE VRIES \n That's impossible, man. This fence is high-tensile. The breaking ","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","shapes comprised of surreal creatures and protrusions are starting to \n cover it's surface. ALIENS drop from dizzying heights, exuding streams \n of gelatinous gunk from the four 'exhaust' pipes on their backs. \n They're building a nest of staggering proportions. \n \n Unnoticed by the busy biomechanoids, faint sparks flicker from the \n crane catwalk high above... \n","against it down by the access ramp, smoking a cigarette and idly \n blowing rings into the air. BREWSTER pricks up her years and begins to \n quietly SNARL. DILLER glances down at her curiously. \n \n DILLER \n What's the matter, girl? You smell something? \n \n Now the rhino are restless too. CASSIE walks across the concrete \n roadway to join them. \n \n CASSIE \n Rhinos look a little antsy, \n","ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","GUTTIEREZ' smoldering crawler pulls-up alongside Big Bertha's titanic \n wheels. \n \n INT. FIRST CRAWLER - NIGHT \n \n GUTTIEREZ turns his head to one of the guys in the rear. \n \n GUTTIEREZ \n Take the wheel, Roy! \n \n EXT. RYUSHI STATION - BIG BERTHA - NIGHT \n","cylindrical tube containing a substance similar to mercury which \n constantly changes it's mass into shapes and alien text. He peers over \n the protective railing. \n \n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \n tethered by straining clamps preventing any movement. To the rear, ","fuckin' sweep. We're been lookin' for this thing for three days now, \n and found zip. \n \n DE VRIES \n Ah, quit griping. Keeps you in shape doesn't it? \n \n GUTTIEREZ \n Hey! I was in shape before we started doing this. \n \n DE VRIES pauses, listening to the sound from the surrounding forest. \n \n DE VRIES \n Listen to that... \n","EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \n \n The two of them pick their way across mangled tripods and charred \n canvas. Part of the bivouac has collapsed - one of the guide ropes has \n burned through. \n \n HIROKO (quietly) \n Somebody picked an argument. \n \n KAMEN \n Yeah. Somebody won. \n \n HIROKO \n Check out the tent. \n","Up on a mud-bank, at the base of a sturdy gantry tower with two \n blinking blue lights atop it, stands the camp. It looks a little like \n a Bedouin bivouac, but up-close we can see the techno-fitted details. \n A hard-featured woman seated next to a solid-fuel burner sips from a \n mug, while her Vietnamese counterpart is manually loading large-caliber \n bullets into a belt-feed. They ","down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \n heaves itself out of the hole, it's surface smoking with heat. It \n pauses for a BEAT like some giant tarantula seeking prey, them moves \n purposely outwards about twenty yards before halting. A hatch on the \n underside opens, and a complex delivery mechanism extends. After a "],["EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \n tower is a gallery catwalk surrounding the flashing beacon array. \n \n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \n almost upon him. The PREDATOR drives his wrist knives into the throat ","towards it, then remembers the keys are in the sleeve pocket of the \n ruined pressure-suit. She drops to he knees and gingerly pokes through \n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \n the keys. \n \n SLAP! A glistening wet claw emerges from the open hole. HIROKO \n scrambles to her feet as the injured ALIEN pulls itself out. She tears ","PULSING SAC. Before they're even passed beneath it, they hear \n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \n \n The SAC ruptures, spattering thick gloopy matter. A form comprised of \n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and ","The grinning face of the young QUEEN gets suddenly closer as the heli- \n jet is propelled towards the metal structure. \n \n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \n \n CRUNCH! The chopper hits, knocking several ALIENS from their \n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \n the port engine mount. \n \n INT. CHOPPER - PRE-DAWN","The causes the QUEEN to go \n berserk, straining at her bonds and SHRIEKING ferociously. She's \n obviously been through this before and knows what's about to happen. \n The protrusionsplits open, spilling out an intense white light: an \n energy-filled blast furnace. The manipulator claw opens, the EGG drops \n in, and is no more. \n \n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \n","INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n Columns of fire jet from fissures and openings inside the Pump Chamber, \n rippling across the adult QUEEN ALIEN and her hapless victims. She \n begins to SCREAM, flailing around atop her metal throne... \n \n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \n","THOMAS retrieves the fallen tool and jams the 'on' switch hard. The \n ALIEN's tongue shoots through the GREASE MONKEY's skull, showering \n THOMAS with a faint speckling of blood. The ALIEN discards the body \n and lunges at THOMAS, who counters bringing the chainsaw up. \n \n The blade slices into the creature's throat, and up through it's head. ","into a blazing inferno. The ALIEN's body twists end-over-end, \n remaining immobile as it hits the deck. A curtain of fire ripples \n across the platform... \n \n THOMAS \n Yes! \n \n Their victory is short-lived. The other ALIENS crawl cautiously \n forward, flames licking their faces but leaving them unharmed. We can \n clearly hear the HISSING of their internal jaws. \n","HIROKO looks furiously around. Spying an emergency axe in it's wall \n housing, she SMASHES the glass with her elbow, cutting herself in the \n process. HIROKO hefts the heavy tool, swinging it down onto the \n disappearing ALIEN's carapace with all her might... \n \n HIROKO (CONT'D) \n Bastard! \n \n The blade bites deep, and yellow blood bursts from the threshing ","EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \n \n HIROKO runs towards the waiting heli-jet. The flicker of an \n andrenalin-fueled smile plays on her face...the disappears. \n \n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \n the grounded machine. It's head turn towards her. HIROKO starts to ","She's found the main offshoot of the ALIENS' nest. Glued into the \n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \n Other ANIMALS. Most are dead, their innards blown open. The rest are \n comatose, twitching occasionally. Every square inch not containing \n bodies is filled with ALIEN EGGS. It's like Hell for real. \n","across the metal... \n \n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \n got the jump on them. HIROKO's forward momentum won't allow her to \n stop running...she's too close. Almost at the last moment, she jumps. \n claws brush her trouser leg, but close on thin air. She hits the deck ","DRIVES her spear into the ALIEN's chest. She grabs the injured \n PREDATOR and pulls him away from the thrashing creature. \n \n HIROKO \n Come on! Come on! \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n The alien numbers on the PREDATOR self-destruct readout inexorably \n count down... \n","ALIEN's wound. Speckles of it dot KAMEN's leg, eating through the \n material of his trousers and into the skin and muscle beneath. He \n SCREAMS, a sound of pure intense pain... \n \n HIROKO hurls the axe aside. She begins pulling KAMEN out of the hole \n as the caustic liquid seeps into the nearby electrical conduit. ","HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \n around several trapped victims. A number of empty EGGS are scattered \n here-and-there. \n \n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \n bellows-like SOUND of her BREATHING is overwhelming. He reaches the ","stinger coming around. It leaps for her, and battle is joined. The \n ALIEN lashes out, but HIROKO counters by swinging the weapon time and \n time again. With each thrust, surgically thin wounds open up on the \n biomechanoid's body. One of the ALIEN's attacks sends her reeling to \n the floor, it's stinger arching towards her. She parries, slicing the \n tail in half and struggling to her feet. \n","PULSING NOISE - like a heartbeat - gains in volume the further they \n travel. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n \n They come out in a chamber some forty feet in height and dominated by \n an enormous pump. ALIEN gunk covers everything. \n \n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast ","One of the MEN has seen it. His head snaps up to a mammoth engine- \n block suspended from a winch high above. He LEAPS for the release- \n catch as the ALIEN passes underneath. Pulls hard on the grip. Chains \n RATTLE noisily as the block THUNDERS down. The ALIEN begins to look \n up, just a second too late. The heavy piece of machinery SMASHES into \n the creature, flattening it instantly. \n","She's practically on top of the bolts. The EXPLOSION is DEAFENING. \n With the clamp on this side free, the conduit falls into the street \n with a SCREECH of twisted metal. One of the ALIENS is pulverized by \n the falling debris, but the others survive. All HIROKO's managed to do \n is buy herself some breathing space... \n \n She races across the building's roof. Reaches the other ","making the platform lower. Several tons of machinery and crawler bring \n about the demise of the ALIENS as they reach the lip of the opening, \n CRUSHING their chitinous limbs to smithereens. \n \n An ALIEN rolls out of the pit in time, scrambling for the safety of the \n nearby shadows. DE VRIES sights it. \n \n DE VRIES \n Over there! \n"],["it clips a fallen log and spins end-over-end. It's rider flies through \n the air and hits the swamp face-first. DILLER and CASSIE race down the \n ramp with BREWSTER YELPING excitedly in the lead. \n \n CASSIE \n I don't believe it. \n \n DILLER splashes through the swamp and pulls the limp body out of the \n mire. It's YORK. Blood has caked around his wounded leg.","What he finds causes him to react with \n pity and disgust. His fallen comrade is only just alive; mandibles \n clicking frailly, half his head burnt away. BROKEN TUSK watches the \n ailing PREDATOR slide a steel blade from it's sheath and offer it to \n him. He takes it, knowing what has to be done. Rolling the knife \n quickly over the back of his hand - the sort of elaborate trick ","surrounding brush still aflame. A SCORPION scuttles inquisitively to \n the edge of the pit and stops, it's stinger twitching hesitantly. We \n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \n can decide what to do, it's fate is sealed. A large METAL CLAW comes ","SWISH of sliding metal, and a telescopic spear appears out of thin air. \n It SLAMS through BEAUVAIS' body, lifting her off the ground and \n impaling her against a tree. \n \n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \n her struggles cease, and she'd dropped to the floor like a broken \n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS ","ACKLAND steps cautiously forward to shine his torch inside. \n \n YORK (CONT'D) \n Careful... \n \n There's nothing inside. ACKLAND looks disappointed. \n \n ACKLAND \n It's hollow. Think our rhino must've ate something that didn't agree \n with him. \n \n A heavy gust of air blows unexpectedly across the clearing with a \n BANSHEE HOWL, ruffling their hair. \n \n YORK","It all seems to be over as quickly as it began; there can be no \n question as to who were the victors. The PREDATORS stand amidst a sea \n of biomechanical limbs strewn around like a charnel house. As his \n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \n steps over the corpses to examine his fallen comrades. The first \n PREDATOR to be attacked was killed instantly; he crosses to the other. ","The adult QUEEN's SHRIEK echoes through the reservoir, accompanied by a \n ball of fire that travels part of the way down. The IMMATURE QUEEN \n turns her head in reply, answering with her own YOWL. \n \n BROKEN TUSK HISSES with hate, and brings his 'smart weapon' SLICING \n down through her arm, severing it at the wrist. HIROKO simultanesouly ","the HUGGER and into ACKLAND. \n \n YORK's limping badly, a dark stain blossoming on his baggy fatigue \n trousers. ACKLAND's not a small man, and the physical effort of hauling \n him through the reeds makes him sweat profusely. There's movement on \n the ground, and YORK sees why; one of the LEMURS has fallen victim to ","She SLAPS BROKEN TUSK on the arm. \n \n HIROKO (CONT'D) \n Come on, Butch. Let's go. \n \n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \n peering over the side... \n \n HIROKO (CONT'D) \n Hey! I said come on! \n \n The PREDATOR turns a deaf ear to her. He gauges the distance below, ","HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \n borne aloft and carried back inside. The LEAD PREDATOR turns to \n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \n eyepieces of the PREDATOR's helmet. \n \n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! ","the rifle's barrel abruptly stops. \n \n HIROKO \n What? \n \n KAMEN \n I'm out of ammo. Get inside, get inside! \n \n HIROKO hears a HORRIBLE NOISE nearby. A field of cows being \n slaughtered by machetes would sound like this. \n \n HIROKO \n They're in with the rhino! \n","slightly. Skeletal fingers SLICE through, RIPPING at the metal like a \n can-opener. \n \n DE VRIES \n Jesus! \n \n THOMAS raises his rifle and looses a fusillade of shots through the \n roof. One of them RICOCHETS off the interior, SHATTERING the \n windscreen. There's a THUMP from outside... \n \n DE VRIES (CONT'D) \n You got 'im! \n","With superhuman strength, the ALIEN brutally back-hands DILLER, \n splintering his skull and killing him instantly. His body caromes into \n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \n questing fingers closing around his throat and hauling him off the \n ground. The space on the catwalk it limited; there's so many people \n it's impossible to get a clean \n shot... \n","it's throat. It gazes up at HIROKO. \n \n BROKEN TUSK \n Not...a pretty...sight... \n \n And with that, the PREDATOR dies. \n \n HIROKO look around. The sun is rising above the treetops, and the \n setting is serene. Somehow beautiful. \n \n The speakers in the heli-jet cabin CRACKLE to life, jarring her. \n \n VOICE (O.S., on speakers)","By way of an answer, a powerful ray cuts a swathe through the air. DE \n VRIES takes the torch from him and shines it on the ground. Circular \n extractor fans rotate quietly in the gloom. \n \n DE VRIES (CONT'D) \n Still got him? \n \n GUTTIEREZ \n It's moving slow. About... eleven metres. On the left. \n \n DE VRIES plays the flashlight across the rooftop. \n","DILLER sprints out of the building like a bat out of hell and collides \n with him. \n \n KAMEN \n Kev, wha...? \n \n DILLER breaks free of the other man's grasp. He looks as if he's about \n to say something, but never gets the chance. \n \n There's a sound of TEARING METAL, and a HISSING seven-foot express \n train of teeth and biomechanical limbs ERUPTS from the shadows.","He's so pre-occupied with this task, he totally fails to notice the \n skeletal ALIEN loom up behind him, emerging from the biomechanical \n growth on the floor. A barbed tail skewers the PREDATOR straight \n through the neck, splashing luminous blood across his chestplate. A \n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \n spinning around in time to see him being dragged below the ground. The ","The rifle goes skittering away out of reach, and he scrambles away as \n an ALIEN half-pulls itself out of the sewer overflow, wet and \n glistening... \n \n KAMEN \n Jan! \n \n BREWSTER's a mass of fur, totally out of control. When the ALIEN \n lashes out to grab the HOWLING animal, there's nothing GUTTIEREZ can ","against it down by the access ramp, smoking a cigarette and idly \n blowing rings into the air. BREWSTER pricks up her years and begins to \n quietly SNARL. DILLER glances down at her curiously. \n \n DILLER \n What's the matter, girl? You smell something? \n \n Now the rhino are restless too. CASSIE walks across the concrete \n roadway to join them. \n \n CASSIE \n Rhinos look a little antsy, \n","BROKEN TUSK \n Chew...on...this...! \n \n BLAM! A round open a nice, neat hole in the QUEEN's head. She YOWLS. \n BLAM! A second round does the job. The QUEEN relinquishes her grip and \n falls, SCREECHING all the way down into the raging inferno below. \n \n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \n"]],"string":"[\n [\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"DE VRIES glances around the rooftop, annoyed. \\n \\n DE VRIES \\n Hey, look; let's forget it. There's nothing up here. \\n \\n PREDATOR-VISION. \\n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \\n distorted. \\n \\n PREDATOR (O.S.) \\n Nothing up here. Nothing up here. \\n\",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"are in such close proximity that the ALIEN's acidic blood sprays across \\n the PREDATOR's head. While their technology seems to be resistant to \\n it, their bodies aren't: the viscous yellow liquid begins burning into \\n the PREDATOR's skin. He kicks the skeletal corpse away with a HIDEOUS \\n PIERCING SCREAM, clawing at his seared face. \\n\",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \\n YORK quickly retrieves his rifle, we... \\n \\n CUT TO \\n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \\n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \\n giving us a muted X-ray-type VIEW of circulatory fluid pumping around \",\n \"EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n PREDATOR-VISION. \\n Gazing down at the platform, an unseen hunter watches the swift black \\n SHAPE of the ALIEN in amongst the group of humans... \\n \\n From the corner of her eye, DE VRIES sees something moving nearby. She \\n violently pulls GUTTIEREZ out of the path of the shimmering FORM that \",\n \"The causes the QUEEN to go \\n berserk, straining at her bonds and SHRIEKING ferociously. She's \\n obviously been through this before and knows what's about to happen. \\n The protrusionsplits open, spilling out an intense white light: an \\n energy-filled blast furnace. The manipulator claw opens, the EGG drops \\n in, and is no more. \\n \\n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \\n\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"EXT. PLANET SURFACE - DAY \\n \\n A white-hot fireball erupts out of the fissure, the result of the \\n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \\n away, disappearing into the clouds. \\n \\n EXT. SPACE \\n \\n A large spacecraft is suspended in orbit around the planet; the \\n PREDATOR Mothership. The shuttle heads swiftly towards it. \\n \\n\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"INT. PREDATOR MOTHERSHIP - DOCKING BAY \\n \\n An airlock RUMBLES open and the PREDATORS file NOISILY into the \\n Mothership's docking bay. An OLD PREDATOR crouched against a strut \\n takes time out from carving something into a block of wood to briefly \\n look up at them. Like the PREDATORS themselves, the ship is a curious \\n mixture of old and new. An elaborate frieze written in alien script \"\n ],\n [\n \"The PREDATOR goes down, groping for the self-destruct system on his \\n wrist. He manages to stroke a fingernail across the activation bar, but \\n gets no further. An ALIEN pounces at him, it's tail descending. The \\n PREDATOR raises his arm in reflex, but the stinger SMASHES straight \\n through the buries it in his face-plate, taking out the wrist-computer \\n in the process. \\n\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \\n flight; his companion is not as lucky. The other PREDATOR kicks an \\n ALIEN from him and over the roof's edge. The ALIEN lashes out with \\n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \\n hurtle downward and hit a nest of cabling stretched across from one of \",\n \"the wall of a base module, trapping the enraged creature. Small motors \\n WHINE as the thin metal pulls inward, slicing into the ALIEN's body... \\n \\n The PREDATOR savors the scene for just a second...which is a second too \\n long. ALIENS are all over him, clawing and ripping at his body. The \\n shoulder-mounted plasma-cannon is unceremoniously yanked away and \\n CLATTERS to the floor. \\n\",\n \"There's a blinding flash, and most of the ALIEN's head vaporises. \\n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \\n fire suddenly occupy the killing ground between the HUMAN and ALIEN \\n antagonists. Intense bursts of light illuminate the platform as hi- \\n tech PREDATOR weaponry far in advance of the humans' sears the air... \\n\",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"are in such close proximity that the ALIEN's acidic blood sprays across \\n the PREDATOR's head. While their technology seems to be resistant to \\n it, their bodies aren't: the viscous yellow liquid begins burning into \\n the PREDATOR's skin. He kicks the skeletal corpse away with a HIDEOUS \\n PIERCING SCREAM, clawing at his seared face. \\n\",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \\n YORK quickly retrieves his rifle, we... \\n \\n CUT TO \\n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \\n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \\n giving us a muted X-ray-type VIEW of circulatory fluid pumping around \",\n \"BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \\n gets out of the path of the PREDATOR's tumbling mass. She looks up. \\n \\n The ALIEN stowaway on the roof of the chopper retracts it's \\n sledgehammer tongue, it's head following her movements. \\n \\n The PREDATOR's 'smart' weapon has dropped to the floor and is laying \",\n \"He's so pre-occupied with this task, he totally fails to notice the \\n skeletal ALIEN loom up behind him, emerging from the biomechanical \\n growth on the floor. A barbed tail skewers the PREDATOR straight \\n through the neck, splashing luminous blood across his chestplate. A \\n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \\n spinning around in time to see him being dragged below the ground. The \",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"follow. In one rapid movement a circular 'smart-weapon' is brought up, \\n slicing the front of the ALIEN skull away from it's head. In a feat of \\n strength, the PREDATOR lifts his opponent's corpse on the end of the \\n spear and hurls it over the catwalk railing... \\n \\n Not wasting a second, BROKEN TUSK performs an almost-vertical bound of \\n some twenty feet with astounding grace. He grips a pipe running down \",\n \"SNAPPING IN for a closer look at her. \\n \\n PREDATOR (CONT'D) \\n No! \\n \\n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \\n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \\n From the distinctive features, we see that it's BROKEN TUSK. The \\n PREDATOR's good hand flashes down to his thigh, almost too quick to \",\n \"pushing her out of the way. She hits the deck hard and gasps. BROKEN \\n TUSK is standing before her. He skillfully catches the frisbee-like \\n 'smart weapon', then \\n throws it again. \\n \\n HIROKO watches with awe as the PREDATOR joins battle against the \\n ALIENS. HISSING ALIEN jaws are silenced by BROKEN TUSK's formidable \",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\"\n ],\n [\n \"CASSIE's eyes widen in terror... \\n \\n CASSIE \\n Behind you! \\n \\n HIROKO turns to see the long, phallic head of an ALIEN emerge \\n momentarily from out of the foam. Something yanks at KAMEN and he \\n disappears beneath the surface with an expression of pained surprise... \\n \\n HIROKO \\n Kamen! \\n \\n HIROKO starts to thrash at the foam, but CASSIE reaches out and drags \",\n \"Traversing venturi duct en route to platform surface. \\n \\n WHAM! An ALIEN's head squeezes through the opening behind her. It's \\n claw snakes in, groping blindly just inches from her feet. She grits \\n her teeth and puts more effort into her ascent. \\n \\n WALLPO! It's hand closes around her leg, yanking her back. She tries \",\n \"stinger coming around. It leaps for her, and battle is joined. The \\n ALIEN lashes out, but HIROKO counters by swinging the weapon time and \\n time again. With each thrust, surgically thin wounds open up on the \\n biomechanoid's body. One of the ALIEN's attacks sends her reeling to \\n the floor, it's stinger arching towards her. She parries, slicing the \\n tail in half and struggling to her feet. \\n\",\n \"ALIEN's wound. Speckles of it dot KAMEN's leg, eating through the \\n material of his trousers and into the skin and muscle beneath. He \\n SCREAMS, a sound of pure intense pain... \\n \\n HIROKO hurls the axe aside. She begins pulling KAMEN out of the hole \\n as the caustic liquid seeps into the nearby electrical conduit. \",\n \"across the metal... \\n \\n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \\n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \\n got the jump on them. HIROKO's forward momentum won't allow her to \\n stop running...she's too close. Almost at the last moment, she jumps. \\n claws brush her trouser leg, but close on thin air. She hits the deck \",\n \"The leering face of an ALIEN comes up over the roof's edge. HIROKO \\n swings her pistol over and fires. It falls away...only to be replaced \\n seconds later by two others. \\n \\n Her gun goes dry. Quick as a flash, she ejects the spent magazine. \\n She slaps the spare in and continues firing. \\n \\n INT. BIG BERTHA - NIGHT \\n \\n Big Bertha's heading away from the base into the surrounding trees. \",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \",\n \"HIROKO reaches slowly up and reactivates her helmet readout. \\n \\n COMPUTER VOICE (O.S., on speakers) \\n ...Brrzzt. Traversing Central Reservoir en route to platform venturi \\n dust DS two-six. \\n \\n HIROKO's P.O.V. \\n She looks around and finds the exit point on the display. It's several \\n feet away. Under the surface. She wades swiftly through the water, \",\n \"She's practically on top of the bolts. The EXPLOSION is DEAFENING. \\n With the clamp on this side free, the conduit falls into the street \\n with a SCREECH of twisted metal. One of the ALIENS is pulverized by \\n the falling debris, but the others survive. All HIROKO's managed to do \\n is buy herself some breathing space... \\n \\n She races across the building's roof. Reaches the other \",\n \"blade-down in the mire. HIROKO scoops up, activating it and scrambling \\n away. She gets to her feet and holds the HUMMING disc before her. \\n \\n The ALIEN climbs warily down from the heli-jet, and the two opponents \\n face each other like sumo wrestlers. HIROKO assumes a defensive \\n stance, holding the disc ready to strike. The ALIEN hisses, it's tail \",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"concrete. ALIEN claws appear around the edge of one of the bike's \\n manta wings. She's parked the bike over a drainage exit! \\n \\n HIROKO SPINS the key and guns the engine. The white-hot downblast from \\n the turbine exhaust SPLASHES across the SCREECHING ALIENS. The vehicle \\n tilts and KICKS forward. \\n \\n EXT. RYUSHI STATION - PLATFORM - NIGHT \\n\",\n \"They exit the culvert through another smashed grate. HIROKO finds \\n herself back in the Central Reservoir again. She wades through the \\n water behind BROKEN TUSK, holding the spear above her head. The two of \\n them look very vulnerable in here. They pass beneath the PULSATING SAC \\n HIROKO saw earlier. It looks riper now, ready to burst. An INSIDIOUS \",\n \"He SHOUTS back into the crowded room. \\n \\n YORK (CONT'D) \\n They're inside, inside the corridor! \\n \\n INT. RYUSHI STATION - CORRIDOR \\n \\n HIROKO and KAMEN try to outrun the tidal wave of twisted and broken \\n steel that emerges in their wake. KAMEN YELLS with fright as an ALIEN \\n claw pinions his ankle. He trashes about, clutching at anything to \",\n \"throes. \\n \\n The group round the corner of a building. Across the street from them \\n is parked KAMEN's crawler. \\n \\n GUTTIEREZ (CONT'D) \\n Inside, inside! \\n \\n They scramble up into the cab. GUTTIEREZ throws himself into the \\n driver's seat. An ALIEN sprints at the crawler with bared teeth. \\n THOMAS looses a shot, blasting it backward into a Pepsi sign.\",\n \"HIROKO looks furiously around. Spying an emergency axe in it's wall \\n housing, she SMASHES the glass with her elbow, cutting herself in the \\n process. HIROKO hefts the heavy tool, swinging it down onto the \\n disappearing ALIEN's carapace with all her might... \\n \\n HIROKO (CONT'D) \\n Bastard! \\n \\n The blade bites deep, and yellow blood bursts from the threshing \",\n \"back toward her. It contracts on itself, preparing to leap. HIROKO \\n raises the power-tool, \\n reflexively squeezing the trigger again and again. Fat rivets RIP \\n through the FACEHUGGER's body. It writhes around on the water's \\n surface, a cloud ofyellow acid billowing outward from it. HIROKO dives \\n into the water again. She rams the power-tool at the final bolt. \\n\",\n \"nearby wall PEELS OPEN. Before the FACEHUGGER even has a chance to \\n spring, BROKEN TUSK swings his wrist-blades in a wide arc, cutting \\n through the EGG and it's writhing contents. \\n \\n The two of them reach the deep end and have to wade. HIROKO pushes \\n herself along the biomechanical outcropping. Ahead of them is the \",\n \"GUTTIEREZ stares through the narrow opening as the doors seal back up. \\n In the midst of the flames, the ALIENS are fighting a pitched battle \\n tooth-and-nail with their unseen opponents. It's like a scene out of \\n Hell. \\n \\n INT. RYUSHI STATION - CORRIDORS \\n \\n Clusters of rotating emergency lights wig-wag above HIROKO and KAMEN as \",\n \"across to the bike and rams the key into the ignition. The turbines \\n ROAR to life, and it lifts smoothly into the air. HIROKO pivots the \\n powerful machine around, avoiding the creature's questing grasp. \\n Losing it's balance, the ALIEN SMASHES into the deck. \\n \\n HIROKO's guns the bike away, speeding along the platform. The fire \"\n ],\n [\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"seasoned Green Berets perform - he plunges it downward into the fallen \\n hunter. This unpleasant task accomplished, \\n \\n BROKEN TUSK straightens up and activates his wrist-computer. A dark \\n shape blots out the light coming from the entrance; a small PREDATOR \\n shuttlecraft, sleek and elegant. It hovers in the air with little more \\n than a loud HUM, and extends a ramp. The surviving PREDATORS leap \",\n \"a spear. The PREDATOR looks at her, and his lip curls. It takes a \\n second for HIROKO to realise he's offering it to her. Bewildered, she \\n accepts it, pulling herself up. \\n \\n A bright orange ball of flame mushrooms up behind, getting both of \\n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \\n nervously... \\n \\n HIROKO\",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"There's a blinding flash, and most of the ALIEN's head vaporises. \\n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \\n fire suddenly occupy the killing ground between the HUMAN and ALIEN \\n antagonists. Intense bursts of light illuminate the platform as hi- \\n tech PREDATOR weaponry far in advance of the humans' sears the air... \\n\",\n \"INT. PREDATOR MOTHERSHIP - DOCKING BAY \\n \\n An airlock RUMBLES open and the PREDATORS file NOISILY into the \\n Mothership's docking bay. An OLD PREDATOR crouched against a strut \\n takes time out from carving something into a block of wood to briefly \\n look up at them. Like the PREDATORS themselves, the ship is a curious \\n mixture of old and new. An elaborate frieze written in alien script \",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \",\n \"What he finds causes him to react with \\n pity and disgust. His fallen comrade is only just alive; mandibles \\n clicking frailly, half his head burnt away. BROKEN TUSK watches the \\n ailing PREDATOR slide a steel blade from it's sheath and offer it to \\n him. He takes it, knowing what has to be done. Rolling the knife \\n quickly over the back of his hand - the sort of elaborate trick \",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"He nods toward the PREDATOR spear in HIROKO's hands. \\n \\n YORK (CONT'D) \\n The one I clipped with the hoverbike shoved that at me. Whatever it's \\n made of, it went straight through a double-layer of honeycomb polyalloy \\n composite like it was butter. \\n \\n YORK shakes his head in fear. \\n \\n YORK (CONT'D) \\n I don't wanna ever come up against those things again. Ever. \\n\"\n ],\n [\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"seasoned Green Berets perform - he plunges it downward into the fallen \\n hunter. This unpleasant task accomplished, \\n \\n BROKEN TUSK straightens up and activates his wrist-computer. A dark \\n shape blots out the light coming from the entrance; a small PREDATOR \\n shuttlecraft, sleek and elegant. It hovers in the air with little more \\n than a loud HUM, and extends a ramp. The surviving PREDATORS leap \",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"INT. PREDATOR MOTHERSHIP - DOCKING BAY \\n \\n An airlock RUMBLES open and the PREDATORS file NOISILY into the \\n Mothership's docking bay. An OLD PREDATOR crouched against a strut \\n takes time out from carving something into a block of wood to briefly \\n look up at them. Like the PREDATORS themselves, the ship is a curious \\n mixture of old and new. An elaborate frieze written in alien script \",\n \"up from a series of blue geodesic shapes. The damage registers as a \\n cold, black mass. \\n \\n The beam switches off and the hovering PREDATOR shuttle turns smoothly \\n on it's axis, thrusting towards the planet. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \\n \\n Shafts of torch-light fan out above the thick foliage in the darkness. \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"EXT. PLANET SURFACE - DAY \\n \\n A white-hot fireball erupts out of the fissure, the result of the \\n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \\n away, disappearing into the clouds. \\n \\n EXT. SPACE \\n \\n A large spacecraft is suspended in orbit around the planet; the \\n PREDATOR Mothership. The shuttle heads swiftly towards it. \\n \\n\",\n \"aboard, carrying their trophies with the reserved silence of men \\n returning from combat. \\n \\n One more thing need to be done. BROKEN TUSK bends down and flips a \\n sequence of keys on the dead PREDATOR's wrist. A countdown is \\n displayed in some unknown character-set, accompanied by a HIGH PITCHED \\n BEEPING. He then turns and swiftly boards the craft which takes \\n smoothly to the air, it's undergear retracting. \\n\",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"Aliens vs. Predator \\n \\n Dark Horse Prod. Presents \\n \\n ALIENS \\n \\n Vs. \\n \\n PREDATOR \\n \\n Screenplay by Peter Briggs \\n \\n EXT. DEEP SPACE \\n \\n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \\n depths of space. As the TITLES ROLL, we notice that three of these \\n specks seem to be moving; one of them picking up acceleration and \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \\n away across the rain-swept platform, a SHIMMERING FROM detaches itself \\n from the rear of the chopper and lowers itself to the heli-jet pad. \\n \\n PREDATOR-VISION. \\n A newly-arrived PREDATOR scans the towers and modules of the relay- \\n station with great interest. An oscillating red line appears to the \",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"HIROKO glances back at the hovering DROPSHIPS, then walks around the \\n waiting PREDATOR and into the shuttlecraft without looking back. \\n \\n The PREDATOR follows her. The ramp SLAMS closed, as we... \\n \\n CUT TO BLACK \\n THE END \\n\",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \"\n ],\n [\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"With superhuman strength, the ALIEN brutally back-hands DILLER, \\n splintering his skull and killing him instantly. His body caromes into \\n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \\n questing fingers closing around his throat and hauling him off the \\n ground. The space on the catwalk it limited; there's so many people \\n it's impossible to get a clean \\n shot... \\n\",\n \"Unseen by anybody, another ALIEN has escaped to the roof of the \\n platform-bound crawler. It wraps it's long, bony fingers around the \\n face of the MAN, stifling his CRIES and pulling him off the deck. The \\n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \\n THOMAS' attention. \\n \\n THOMAS \\n Mother-fucker! \\n\",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\",\n \"KAMEN nods and heads off that way, while HIROKO carefully inspects the \\n wreckage dotted around the perimeter. \\n \\n INT. TENT - DAWN \\n \\n KAMEN opens the tent flap and peers inside. ACKLAND's on the cot, \\n sweating heavily. There is no sign of the FACEHUGGER. \\n \\n EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \\n\",\n \"throes. \\n \\n The group round the corner of a building. Across the street from them \\n is parked KAMEN's crawler. \\n \\n GUTTIEREZ (CONT'D) \\n Inside, inside! \\n \\n They scramble up into the cab. GUTTIEREZ throws himself into the \\n driver's seat. An ALIEN sprints at the crawler with bared teeth. \\n THOMAS looses a shot, blasting it backward into a Pepsi sign.\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"INT. BIG BERTHA - NIGHT \\n \\n DE VRIES \\n That's it! We've got it! Get us out of here. \\n \\n GUTTIEREZ looses one last volley at the ALIENS. He pulls the cab door \\n shut, and throws himself into the driver's seat. \\n \\n GUTTIEREZ \\n C'mon sweetheart. Do your stuff... \\n \\n EXT. SWAMP - NIGHT \\n\",\n \"strikes like a snake. Once. Twice. The stinger punctures CALDWELL's \\n chest and throat. Nobody could survive something like that... \\n \\n The ALIEN flicks it's skull back around to KAMEN. The man's head is \\n inches away from it's eyeless face...a row of burnished metal teeth \\n open...the toothed inner tongue ready to strike... \\n\",\n \"He SHOUTS back into the crowded room. \\n \\n YORK (CONT'D) \\n They're inside, inside the corridor! \\n \\n INT. RYUSHI STATION - CORRIDOR \\n \\n HIROKO and KAMEN try to outrun the tidal wave of twisted and broken \\n steel that emerges in their wake. KAMEN YELLS with fright as an ALIEN \\n claw pinions his ankle. He trashes about, clutching at anything to \",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"As ACKLAND is turned over, BEAUVIAS gets her first look at a \\n FACEHUGGER. She shies away, repulsed. \\n \\n BEAUVAIS \\n What is that? \\n \\n YORK \\n Don't... uuh... don't know. Help me... uuh... help me get him inside. \\n Shit! \\n \\n YORK grits his teeth, but the leg injury is too painful. He slumps \\n slowly to the floor. \\n\",\n \"Half-way there he remembers his pulse-rifle and dives to the floor, \\n grasping it just as the ALIEN reaches the top. DILLER fumbles with the \\n safety and give the creature a full BLAST on rock-and-roll, BLASTING it \\n back into the pit. \\n \\n EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n GUTTIEREZ and DE VRIES hear the gunfire from below. \\n\",\n \"do. BREWSTER's legs are the last thing we see, thrashing helplessly as \\n she's dragged down into the splinter-edged gap. \\n \\n DE VRIES \\n Get out of there, man! \\n \\n THOMAS grabs CALDWELL's rifle from the deck. He races towards \\n GUTTIEREZ, with \\n DE VRIES close behind... \\n \\n THOMAS \\n Catch this! \\n\",\n \"the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \\n particularly loud BLEEP registers from a source immediately behind \\n them. He glances over his shoulder and sees an ALIEN crawling down the \\n outside of a module towards them. \\n \\n GUTTIEREZ \\n De Vries! \\n \\n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \\n burst. It falls onto the concrete nearby, writhing in it's death \",\n \"HIROKO \\n What's the story? \\n \\n PARSONS runs through each of the screens. \\n \\n PARSONS \\n Everything on this module is locked and sealed. We've lost 'B', 'C', \\n and 'E' wings, but 'E' was the only one we didn't manage to totally \\n evacuate. \\n \\n HIROKO \\n How many... how many people are missing? \\n \\n CASSIE\",\n \"into the cab's rear seat and promptly burning through that as well. Not \\n far away across the platform, the massive doors to the auto-shop hanger \\n are RUMBLING slowly closed... \\n \\n GUTTIEREZ (shouting) \\n Hold the doors, hold the doors! \\n \\n They don't hear him. The doors seal with a BOOM of finality. \\n \\n DE VRIES \\n Over there, on the right! \\n\",\n \"There's no way a rhino'd survive that drop. \\n \\n DE VRIES \\n Goldsmith's gonna be plenty pissed at losing one of her babies. \\n \\n GUTTIEREZ \\n That's a fact. \\n \\n GUTTIEREZ' tracker starts to BLEEP. He raises it excitedly. \\n \\n GUTTIEREZ (CONT'D) \\n Whoa, wait a minute... \\n \\n DE VRIES \\n What? \\n \\n GUTTIEREZ\",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \",\n \"THOMAS \\n Open the doors! Open the goddamned fucking doors! \\n \\n BLAM! BLAM! BLAM! CLICK. GUTTIEREZ' bullets are gone. \\n \\n DE VRIES \\n That's it! We're dead! \\n \\n The first of the ALIENS rushes at them. This is the end. DE VRIES \\n SCREAMS... \\n\"\n ],\n [\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\",\n \"a spear. The PREDATOR looks at her, and his lip curls. It takes a \\n second for HIROKO to realise he's offering it to her. Bewildered, she \\n accepts it, pulling herself up. \\n \\n A bright orange ball of flame mushrooms up behind, getting both of \\n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \\n nervously... \\n \\n HIROKO\",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"SNAPPING IN for a closer look at her. \\n \\n PREDATOR (CONT'D) \\n No! \\n \\n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \\n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \\n From the distinctive features, we see that it's BROKEN TUSK. The \\n PREDATOR's good hand flashes down to his thigh, almost too quick to \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"She SLAPS BROKEN TUSK on the arm. \\n \\n HIROKO (CONT'D) \\n Come on, Butch. Let's go. \\n \\n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \\n peering over the side... \\n \\n HIROKO (CONT'D) \\n Hey! I said come on! \\n \\n The PREDATOR turns a deaf ear to her. He gauges the distance below, \",\n \"What he finds causes him to react with \\n pity and disgust. His fallen comrade is only just alive; mandibles \\n clicking frailly, half his head burnt away. BROKEN TUSK watches the \\n ailing PREDATOR slide a steel blade from it's sheath and offer it to \\n him. He takes it, knowing what has to be done. Rolling the knife \\n quickly over the back of his hand - the sort of elaborate trick \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"DE VRIES glances around the rooftop, annoyed. \\n \\n DE VRIES \\n Hey, look; let's forget it. There's nothing up here. \\n \\n PREDATOR-VISION. \\n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \\n distorted. \\n \\n PREDATOR (O.S.) \\n Nothing up here. Nothing up here. \\n\",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"He nods toward the PREDATOR spear in HIROKO's hands. \\n \\n YORK (CONT'D) \\n The one I clipped with the hoverbike shoved that at me. Whatever it's \\n made of, it went straight through a double-layer of honeycomb polyalloy \\n composite like it was butter. \\n \\n YORK shakes his head in fear. \\n \\n YORK (CONT'D) \\n I don't wanna ever come up against those things again. Ever. \\n\",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \\n away across the rain-swept platform, a SHIMMERING FROM detaches itself \\n from the rear of the chopper and lowers itself to the heli-jet pad. \\n \\n PREDATOR-VISION. \\n A newly-arrived PREDATOR scans the towers and modules of the relay- \\n station with great interest. An oscillating red line appears to the \",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"disappears. In it's place is a PREDATOR, a luminous green patch \\n trickling from a wound on it's arm. It's head flicks around as it \\n zeroes-in on YORK, the three red dots of the PREDATOR's cannon \\n following suit. YORK's quick though, already up and running when the \\n plasma bolt EXPLODES into the tree despite the pain in his leg. \\n\"\n ],\n [\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"then throws himself off the platform's edge. \\n \\n HIROKO (CONT'D) \\n What...? \\n \\n She races across to the rail and gazes downward. \\n \\n HIROKO'S P.O.V. \\n The PREDATOR wades through the swamp towards something she cannot see. \\n HIROKO looks around the platform. She's suddenly very alone. \\n \\n HIROKO (CONT'D) \\n Shit! \\n\",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"She SLAPS BROKEN TUSK on the arm. \\n \\n HIROKO (CONT'D) \\n Come on, Butch. Let's go. \\n \\n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \\n peering over the side... \\n \\n HIROKO (CONT'D) \\n Hey! I said come on! \\n \\n The PREDATOR turns a deaf ear to her. He gauges the distance below, \",\n \"moment HIROKO sees what he's about to do... \\n \\n HIROKO \\n No! \\n \\n Reflexively, she knocks the barrel away as THOMAS looses a volley of \\n shots. \\n \\n PREDATOR-VISION. \\n The PREDATOR's speech analyser plays back her vocal patterns as white- \\n hot bullets sear the night. \\n \\n PREDATOR \\n No! \\n \\n PREDATOR-VISION. \",\n \"DE VRIES glances around the rooftop, annoyed. \\n \\n DE VRIES \\n Hey, look; let's forget it. There's nothing up here. \\n \\n PREDATOR-VISION. \\n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \\n distorted. \\n \\n PREDATOR (O.S.) \\n Nothing up here. Nothing up here. \\n\",\n \"EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n PREDATOR-VISION. \\n Gazing down at the platform, an unseen hunter watches the swift black \\n SHAPE of the ALIEN in amongst the group of humans... \\n \\n From the corner of her eye, DE VRIES sees something moving nearby. She \\n violently pulls GUTTIEREZ out of the path of the shimmering FORM that \",\n \"a spear. The PREDATOR looks at her, and his lip curls. It takes a \\n second for HIROKO to realise he's offering it to her. Bewildered, she \\n accepts it, pulling herself up. \\n \\n A bright orange ball of flame mushrooms up behind, getting both of \\n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \\n nervously... \\n \\n HIROKO\",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"seasoned Green Berets perform - he plunges it downward into the fallen \\n hunter. This unpleasant task accomplished, \\n \\n BROKEN TUSK straightens up and activates his wrist-computer. A dark \\n shape blots out the light coming from the entrance; a small PREDATOR \\n shuttlecraft, sleek and elegant. It hovers in the air with little more \\n than a loud HUM, and extends a ramp. The surviving PREDATORS leap \",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \"\n ],\n [\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\",\n \"He nods toward the PREDATOR spear in HIROKO's hands. \\n \\n YORK (CONT'D) \\n The one I clipped with the hoverbike shoved that at me. Whatever it's \\n made of, it went straight through a double-layer of honeycomb polyalloy \\n composite like it was butter. \\n \\n YORK shakes his head in fear. \\n \\n YORK (CONT'D) \\n I don't wanna ever come up against those things again. Ever. \\n\",\n \"a spear. The PREDATOR looks at her, and his lip curls. It takes a \\n second for HIROKO to realise he's offering it to her. Bewildered, she \\n accepts it, pulling herself up. \\n \\n A bright orange ball of flame mushrooms up behind, getting both of \\n their attentions. BROKEN TUSK regards her. His mandibles CLICK-CLACK \\n nervously... \\n \\n HIROKO\",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"SNAPPING IN for a closer look at her. \\n \\n PREDATOR (CONT'D) \\n No! \\n \\n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \\n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \\n From the distinctive features, we see that it's BROKEN TUSK. The \\n PREDATOR's good hand flashes down to his thigh, almost too quick to \",\n \"BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \\n gets out of the path of the PREDATOR's tumbling mass. She looks up. \\n \\n The ALIEN stowaway on the roof of the chopper retracts it's \\n sledgehammer tongue, it's head following her movements. \\n \\n The PREDATOR's 'smart' weapon has dropped to the floor and is laying \",\n \"moment HIROKO sees what he's about to do... \\n \\n HIROKO \\n No! \\n \\n Reflexively, she knocks the barrel away as THOMAS looses a volley of \\n shots. \\n \\n PREDATOR-VISION. \\n The PREDATOR's speech analyser plays back her vocal patterns as white- \\n hot bullets sear the night. \\n \\n PREDATOR \\n No! \\n \\n PREDATOR-VISION. \",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"There's a blinding flash, and most of the ALIEN's head vaporises. \\n GUTTIEREZ blinks is disbelief as hazy SHAPES comprised of refracted \\n fire suddenly occupy the killing ground between the HUMAN and ALIEN \\n antagonists. Intense bursts of light illuminate the platform as hi- \\n tech PREDATOR weaponry far in advance of the humans' sears the air... \\n\",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"DILLER \\n He looks in a bad way. Help me get him up to Infirmary. \\n \\n CASSIE \\n Wait a minute... \\n \\n Something else has caught CASSIE's eye. A \\\"something\\\" almost two \\n metres in length protruding from the rear of the wrecked hoverbike. \\n Grasping the haft firmly, she works it free. CASSIE examines the \\n PREDATOR spear, and slowly shakes her head. \\n\",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"pushing her out of the way. She hits the deck hard and gasps. BROKEN \\n TUSK is standing before her. He skillfully catches the frisbee-like \\n 'smart weapon', then \\n throws it again. \\n \\n HIROKO watches with awe as the PREDATOR joins battle against the \\n ALIENS. HISSING ALIEN jaws are silenced by BROKEN TUSK's formidable \",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"She SLAPS BROKEN TUSK on the arm. \\n \\n HIROKO (CONT'D) \\n Come on, Butch. Let's go. \\n \\n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \\n peering over the side... \\n \\n HIROKO (CONT'D) \\n Hey! I said come on! \\n \\n The PREDATOR turns a deaf ear to her. He gauges the distance below, \",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n PREDATOR-VISION. \\n Gazing down at the platform, an unseen hunter watches the swift black \\n SHAPE of the ALIEN in amongst the group of humans... \\n \\n From the corner of her eye, DE VRIES sees something moving nearby. She \\n violently pulls GUTTIEREZ out of the path of the shimmering FORM that \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \"\n ],\n [\n \"YORK and ACKLAND wade through the chin-high reeds, cursing. \\n \\n ACKLAND \\n Found anything? \\n \\n YORK looks down at his data-stick, a handheld torch with a multi- \\n purpose readout screen. \\n \\n YORK \\n Nada. No radiation... no movement... nothing. \\n \\n ACKLAND \\n Well, just keep looking. It's gotta be... whoa, Jesus! \\n \\n ACKLAND falls toward onto something, and YORK comes running.\",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"EXT. RYUSHI STATION - MIDDAY \\n \\n Imagine a world where every square mile is covered by a canopy of \\n treetop foliage, and you've just drawn yourself a picture of the planet \\n Ryushi. \\n \\n Nestled amongst this lush rainforest is the Yutani-Templin \\n Communications Relay Station. Several inverted-'U'-shaped suspension \\n cranes painted bright yellow look down over a collection of \",\n \"GUTTIEREZ (CONT'D) \\n Little bit further... \\n \\n The beam comes to rest on a protruding piece of apparatus. A short- \\n range antennae, about seven feet wide. \\n \\n GUTTIEREZ (CONT'D) \\n Yeah, yeah, yeah. Right there, right behind the antennae. I think \\n we're got it cornered... \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"safety off his rifle. ACKLAND wordlessly unshoulders his too. They \\n step around the crater and warily follow the ragged path to... \\n \\n YORK \\n Another one? \\n \\n ACKLAND prods this SECOND EGG with his gun. \\n \\n ACKLAND \\n Yeah. This's closed. \\n \\n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in \",\n \"KAMEN nods and heads off that way, while HIROKO carefully inspects the \\n wreckage dotted around the perimeter. \\n \\n INT. TENT - DAWN \\n \\n KAMEN opens the tent flap and peers inside. ACKLAND's on the cot, \\n sweating heavily. There is no sign of the FACEHUGGER. \\n \\n EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \\n\",\n \"He hands the bag over to REVNA. She peers at the contents curiously. \\n The FACEHUGGER is inside, stiff and shriveled. \\n \\n REVNA \\n Is this it? \\n \\n KAMEN \\n Yeah. Found it curled up in a corner of the tent. Any idea? \\n \\n REVNA shakes her head. \\n \\n REVNA \\n Never come across one of these before. Maybe the original survey team \",\n \"As ACKLAND is turned over, BEAUVIAS gets her first look at a \\n FACEHUGGER. She shies away, repulsed. \\n \\n BEAUVAIS \\n What is that? \\n \\n YORK \\n Don't... uuh... don't know. Help me... uuh... help me get him inside. \\n Shit! \\n \\n YORK grits his teeth, but the leg injury is too painful. He slumps \\n slowly to the floor. \\n\",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"cylindrical tube containing a substance similar to mercury which \\n constantly changes it's mass into shapes and alien text. He peers over \\n the protective railing. \\n \\n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \\n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \\n tethered by straining clamps preventing any movement. To the rear, \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"Unseen by anybody, another ALIEN has escaped to the roof of the \\n platform-bound crawler. It wraps it's long, bony fingers around the \\n face of the MAN, stifling his CRIES and pulling him off the deck. The \\n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \\n THOMAS' attention. \\n \\n THOMAS \\n Mother-fucker! \\n\",\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \\n \\n HIROKO runs towards the waiting heli-jet. The flicker of an \\n andrenalin-fueled smile plays on her face...the disappears. \\n \\n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \\n the grounded machine. It's head turn towards her. HIROKO starts to \",\n \"Let's get back and call this in. \\n \\n ACKLAND \\n Wait a minute. \\n \\n YORK reluctantly follows ACKLAND as he thrashes through the thinn ing \\n foliage, coming out at the rim of the impact crater. It's beginning to \\n partially collapse, water seeping in. YORK runs his beam over \\n something at the bottom of the shallow pit. \\n \\n YORK \\n What is that... is that metal fragments? \\n\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\"\n ],\n [\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"throes. \\n \\n The group round the corner of a building. Across the street from them \\n is parked KAMEN's crawler. \\n \\n GUTTIEREZ (CONT'D) \\n Inside, inside! \\n \\n They scramble up into the cab. GUTTIEREZ throws himself into the \\n driver's seat. An ALIEN sprints at the crawler with bared teeth. \\n THOMAS looses a shot, blasting it backward into a Pepsi sign.\",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"GUTTIEREZ (CONT'D) \\n Little bit further... \\n \\n The beam comes to rest on a protruding piece of apparatus. A short- \\n range antennae, about seven feet wide. \\n \\n GUTTIEREZ (CONT'D) \\n Yeah, yeah, yeah. Right there, right behind the antennae. I think \\n we're got it cornered... \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK \\n\",\n \"with a block-and-tackle arrangement. A hook dangles below this, it's \\n thick metal cabling going up through the block-and-tackle and \\n connecting to the drum of a small industrial winch attached securely to \\n the wall. DILLER hands the tripod over to URIOSTE. She splays the \\n legs apart and inserts their tips into matching holes around the open \\n pit. \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK\",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"making the platform lower. Several tons of machinery and crawler bring \\n about the demise of the ALIENS as they reach the lip of the opening, \\n CRUSHING their chitinous limbs to smithereens. \\n \\n An ALIEN rolls out of the pit in time, scrambling for the safety of the \\n nearby shadows. DE VRIES sights it. \\n \\n DE VRIES \\n Over there! \\n\",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"into the cab's rear seat and promptly burning through that as well. Not \\n far away across the platform, the massive doors to the auto-shop hanger \\n are RUMBLING slowly closed... \\n \\n GUTTIEREZ (shouting) \\n Hold the doors, hold the doors! \\n \\n They don't hear him. The doors seal with a BOOM of finality. \\n \\n DE VRIES \\n Over there, on the right! \\n\",\n \"THOMAS is laid-out in the back seat of the crawler's cab, with DE VRIES \\n and MATT trying to staunch the wounds from the chainsaw band's impact \\n to his chest. GUTTIEREZ speaks into his headset mike. \\n \\n GUTTIEREZ \\n Rob? We got problems. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - SUMP CHAMBER \\n\",\n \"DE VRIES races up to join them, SCREAMING as she fires. KAMEN glances \\n down at this tracker's tiny screen. It shows clusters of signals, lots \\n of them. \\n \\n KAMEN (hollering) \\n They're all around, they're in the drainage system! \\n \\n DE VRIES reacts swiftly, loosing a round of shots at the emerging \\n ALIENS. GUTTIEREZ yells across to KAMEN. \\n\",\n \"INT. BIG BERTHA - NIGHT \\n \\n DE VRIES \\n That's it! We've got it! Get us out of here. \\n \\n GUTTIEREZ looses one last volley at the ALIENS. He pulls the cab door \\n shut, and throws himself into the driver's seat. \\n \\n GUTTIEREZ \\n C'mon sweetheart. Do your stuff... \\n \\n EXT. SWAMP - NIGHT \\n\",\n \"fingers curl around the weapon, and she tugs it upwards. \\n \\n EXT. RYUSHI STATION - PLATFORM - NIGHT \\n \\n The two crawlers plunge into the curtain of flames spreading across the \\n platform. \\n \\n INT. FIRST CRAWLER CAB - NIGHT \\n \\n DE VRIES YELLS at GUTTIEREZ over the ROAR of the flames. \\n \\n DE VRIES \\n Hotter 'n hell out there! \\n\",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\"\n ],\n [\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"YORK \\n Yeah, it's fine. \\n \\n ACKLAND \\n God, I hope that thing didn't bring down a virus. \\n \\n YORK \\n I told you we... what's that? \\n \\n Their torch beams PAN ACROSS a three-foot high ovular shape. \\n \\n ACKLAND \\n Looks like a spore. Fungus of some kind, maybe? \\n \\n YORK \\n Bloody big if it is. Top's open. \\n\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"HIROKO (CONT'D) \\n I don't care how you kill this thing, just be careful not to get in \\n it's way when it bleeds. You all saw what happened to Doc Revna. \\n \\n There are nods of agreement and general enthusiasm all round. \\n \\n HIROKO (CONT'D) \\n Nobody wander off on their own until it's found. Keep in pairs. \\n Diller, once the first team's done their sweep I want you to go down \",\n \"YORK and ACKLAND wade through the chin-high reeds, cursing. \\n \\n ACKLAND \\n Found anything? \\n \\n YORK looks down at his data-stick, a handheld torch with a multi- \\n purpose readout screen. \\n \\n YORK \\n Nada. No radiation... no movement... nothing. \\n \\n ACKLAND \\n Well, just keep looking. It's gotta be... whoa, Jesus! \\n \\n ACKLAND falls toward onto something, and YORK comes running.\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"different to the others; in addition, one of the fangs of his mandibles \\n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \\n the hunting party. He reaches out a hand to caress the wall of the \\n tunnel. \\n \\n Several feet in from the rim, it changes from rock to a textured \\n biomechanical surface; a swirling mass of disturbing shapes. He \",\n \"GUTTIEREZ (CONT'D) \\n Little bit further... \\n \\n The beam comes to rest on a protruding piece of apparatus. A short- \\n range antennae, about seven feet wide. \\n \\n GUTTIEREZ (CONT'D) \\n Yeah, yeah, yeah. Right there, right behind the antennae. I think \\n we're got it cornered... \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK \\n\",\n \"GUTTIEREZ and DE VRIES exit the crawler in a big hurry. The moment \\n they're clear, the vehicle starts up and is gone. DE VRIES is alert, \\n the tip of her rifle probing their surroundings. \\n \\n DE VRIES \\n C'mon, man! Let's shag it! \\n \\n GUTTIEREZ begins climbing the tall ladder running up to the Bertha's \\n cab. \\n\",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"From behind the metal disc there comes a SHUFFLING SOUND, followed by a \\n METALLIC THUNK. This gets their attention. The two of them halt in \\n their tracks. \\n \\n DE VRIES \\n Oh, man. That's no glitch! \\n \\n GUTTIEREZ \\n It's alright, it's cool... \\n \\n DE VRIES \\n Is it still moving? \\n \\n GUTTIEREZ\",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"fuckin' sweep. We're been lookin' for this thing for three days now, \\n and found zip. \\n \\n DE VRIES \\n Ah, quit griping. Keeps you in shape doesn't it? \\n \\n GUTTIEREZ \\n Hey! I was in shape before we started doing this. \\n \\n DE VRIES pauses, listening to the sound from the surrounding forest. \\n \\n DE VRIES \\n Listen to that... \\n\",\n \"safety off his rifle. ACKLAND wordlessly unshoulders his too. They \\n step around the crater and warily follow the ragged path to... \\n \\n YORK \\n Another one? \\n \\n ACKLAND prods this SECOND EGG with his gun. \\n \\n ACKLAND \\n Yeah. This's closed. \\n \\n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in \"\n ],\n [\n \"PULSING NOISE - like a heartbeat - gains in volume the further they \\n travel. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n They come out in a chamber some forty feet in height and dominated by \\n an enormous pump. ALIEN gunk covers everything. \\n \\n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast \",\n \"INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n Columns of fire jet from fissures and openings inside the Pump Chamber, \\n rippling across the adult QUEEN ALIEN and her hapless victims. She \\n begins to SCREAM, flailing around atop her metal throne... \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \\n\",\n \"The grinning face of the young QUEEN gets suddenly closer as the heli- \\n jet is propelled towards the metal structure. \\n \\n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n CRUNCH! The chopper hits, knocking several ALIENS from their \\n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \\n the port engine mount. \\n \\n INT. CHOPPER - PRE-DAWN\",\n \"PULSING SAC. Before they're even passed beneath it, they hear \\n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \\n \\n The SAC ruptures, spattering thick gloopy matter. A form comprised of \\n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \\n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and \",\n \"The causes the QUEEN to go \\n berserk, straining at her bonds and SHRIEKING ferociously. She's \\n obviously been through this before and knows what's about to happen. \\n The protrusionsplits open, spilling out an intense white light: an \\n energy-filled blast furnace. The manipulator claw opens, the EGG drops \\n in, and is no more. \\n \\n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \\n\",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \\n around several trapped victims. A number of empty EGGS are scattered \\n here-and-there. \\n \\n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \\n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \\n bellows-like SOUND of her BREATHING is overwhelming. He reaches the \",\n \"the floor from below ACKLAND's corpse. REVNA shudders as the body \\n moves a little, then is rolled over by something underneath it. \\n \\n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \\n revealing a gaping cavity in his back. Bits of spine and ribcage are \\n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform \",\n \"cylindrical tube containing a substance similar to mercury which \\n constantly changes it's mass into shapes and alien text. He peers over \\n the protective railing. \\n \\n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \\n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \\n tethered by straining clamps preventing any movement. To the rear, \",\n \"INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \\n \\n The blue beam slides across one of the eggs, and suddenly changes to \\n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \\n from a rotating simulation of an ALIEN WARRIOR skull to a \\n representation of a QUEEN's head. The manipulator arm swiftly grasps \\n the EGG in question and moves it over to a protrusion on the floor. \",\n \"EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \\n \\n HIROKO runs towards the waiting heli-jet. The flicker of an \\n andrenalin-fueled smile plays on her face...the disappears. \\n \\n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \\n the grounded machine. It's head turn towards her. HIROKO starts to \",\n \"EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \\n tower is a gallery catwalk surrounding the flashing beacon array. \\n \\n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \\n almost upon him. The PREDATOR drives his wrist knives into the throat \",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \",\n \"it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \\n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \\n defying gravity. As each EGG is scanned by a blue triangular beam - \\n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \\n view of the pulsing FACEHUGGER inside. This done, a manipulator are \",\n \"of a grasping ALIEN, which falls downward, writhing. It CRASHES into \\n the QUEEN, who almost loses her grip on the skeletal metalwork. She \\n HISSES, lashing out at the creature. Sends it hurtling to the ground. \\n \\n EXT. RYUSHI STATION - TOWER CATWALK - PRE-DAWN \\n\",\n \"...And finds herself staring at an ALIEN EGG, it's top cracking open in \\n four neat sections. The FACEHUGGER leaps straight as her faceplate... \\n \\n ...And misses, it's fingers failing to gain purchase on the slippery \\n dome. HIROKO kicks away from the spindly creature as it orientates \\n itself on the water's surface, it's powerful tail propelling itself \",\n \"the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \\n particularly loud BLEEP registers from a source immediately behind \\n them. He glances over his shoulder and sees an ALIEN crawling down the \\n outside of a module towards them. \\n \\n GUTTIEREZ \\n De Vries! \\n \\n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \\n burst. It falls onto the concrete nearby, writhing in it's death \",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\",\n \"mechanism. It's EGG SAC drapes around the pump; spiraling down around \\n it. She seems to be asleep. \\n \\n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \\n forms - human and otherwise - cocooned into the walls. He finds what \\n he's looking for. Up on one wall is another PREDATOR. Dead. It's \\n stomach blown open. \\n\",\n \"takes flight. It strikes at HIROKO, who reflexively draws her head \\n back and escapes with nothing more than a light scratch to the cheek. \\n The ALIEN disappears down the corridor, leaving a trail of smeared \\n blood and a series of acidic pits which melt the grillework flooring. \\n GUTTIEREZ bends down and \\n helps HIROKO to her feet. Shocked, she MUTTERS something to herself in \"\n ],\n [\n \"In a second, it's all over; the FACEHUGGER struggles free of YORK's \\n grasp, and clamps itself firmly on ACKLAND's face with a faint SUCKING \\n SOUND. YORK shivers, then uses his good leg to propel himself a few \\n feet away. He watches the hapless Teamster go rigid, then stop moving \\n altogether. \\n \\n YORK \\n Oh, God; oh, shit; oh, God. \\n\",\n \"As ACKLAND is turned over, BEAUVIAS gets her first look at a \\n FACEHUGGER. She shies away, repulsed. \\n \\n BEAUVAIS \\n What is that? \\n \\n YORK \\n Don't... uuh... don't know. Help me... uuh... help me get him inside. \\n Shit! \\n \\n YORK grits his teeth, but the leg injury is too painful. He slumps \\n slowly to the floor. \\n\",\n \"FACEHUGGER. ACKLAND trips backwards, caught off-balance. His finger \\n involuntarily squeezes the trigger of his rifle as he falls. A volley \\n of shots describe and arc and light up the night with a PERCUSSIVE \\n BOOM, and we... \\n \\n CUT TO \\n ...A SHORT DISTANCE ACROSS THE CLEARING. SOMETHING is watching them \",\n \"he races forward to help his friend. The HUGGER's tail is already \\n around ACKLAND's throat, it's fingers scrabbling for purchase. YORK \\n pulls at one set of digits, and manages to raise them for just an \\n instant. What we see is horrific; the look of terror on ACKLAND's \\n face, and the questing tendril on \\n the HUGGER's underside trying to force it's way between ACKLAND's lips. \",\n \"back toward her. It contracts on itself, preparing to leap. HIROKO \\n raises the power-tool, \\n reflexively squeezing the trigger again and again. Fat rivets RIP \\n through the FACEHUGGER's body. It writhes around on the water's \\n surface, a cloud ofyellow acid billowing outward from it. HIROKO dives \\n into the water again. She rams the power-tool at the final bolt. \\n\",\n \"...And finds herself staring at an ALIEN EGG, it's top cracking open in \\n four neat sections. The FACEHUGGER leaps straight as her faceplate... \\n \\n ...And misses, it's fingers failing to gain purchase on the slippery \\n dome. HIROKO kicks away from the spindly creature as it orientates \\n itself on the water's surface, it's powerful tail propelling itself \",\n \"strikes like a snake. Once. Twice. The stinger punctures CALDWELL's \\n chest and throat. Nobody could survive something like that... \\n \\n The ALIEN flicks it's skull back around to KAMEN. The man's head is \\n inches away from it's eyeless face...a row of burnished metal teeth \\n open...the toothed inner tongue ready to strike... \\n\",\n \"The FACEHUGGER's tail slithers tighter around ACKLAND's neck; and as \\n YORK quickly retrieves his rifle, we... \\n \\n CUT TO \\n A PREDATOR-VISION SHOT, watching the color-bloom of YORK dragging \\n ACKLAND's body away from the crater. It CLOSES IN on the FACEHUGGER, \\n giving us a muted X-ray-type VIEW of circulatory fluid pumping around \",\n \"HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \\n around several trapped victims. A number of empty EGGS are scattered \\n here-and-there. \\n \\n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \\n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \\n bellows-like SOUND of her BREATHING is overwhelming. He reaches the \",\n \"the floor from below ACKLAND's corpse. REVNA shudders as the body \\n moves a little, then is rolled over by something underneath it. \\n \\n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \\n revealing a gaping cavity in his back. Bits of spine and ribcage are \\n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform \",\n \"BEAUVAIS (yelling) \\n Minh! Minh, get out here! \\n \\n INT. TENT - NIGHT \\n \\n A portable neon light in the tent flickers, casting staccato bluish \\n light over ACKLAND and the FACEHUGGER. MINH and BEAUVAIS stare at it \\n in horrified fascination, while YORK pulls a tourniquet around his \\n thigh. He winces. \\n \\n BEAUVAIS\",\n \"He hands the bag over to REVNA. She peers at the contents curiously. \\n The FACEHUGGER is inside, stiff and shriveled. \\n \\n REVNA \\n Is this it? \\n \\n KAMEN \\n Yeah. Found it curled up in a corner of the tent. Any idea? \\n \\n REVNA shakes her head. \\n \\n REVNA \\n Never come across one of these before. Maybe the original survey team \",\n \"it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \\n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \\n defying gravity. As each EGG is scanned by a blue triangular beam - \\n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \\n view of the pulsing FACEHUGGER inside. This done, a manipulator are \",\n \"PULSING SAC. Before they're even passed beneath it, they hear \\n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \\n \\n The SAC ruptures, spattering thick gloopy matter. A form comprised of \\n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \\n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and \",\n \"another FACEHUGGER, which dwarfs it's small furry body. The HUGGER's \\n fingers all ripple simultaneously as it strengthens it's hold; the \\n movement akin to somebody drumming their \\n fingers on a table-top. \\n \\n EXT. LINSON'S RANGE - RIVER BANK - NIGHT \\n \\n As YORK hauls ACKLAND onto one of the bikes, he hears a TICKING SOUND \",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"Traversing venturi duct en route to platform surface. \\n \\n WHAM! An ALIEN's head squeezes through the opening behind her. It's \\n claw snakes in, groping blindly just inches from her feet. She grits \\n her teeth and puts more effort into her ascent. \\n \\n WALLPO! It's hand closes around her leg, yanking her back. She tries \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"mechanism. It's EGG SAC drapes around the pump; spiraling down around \\n it. She seems to be asleep. \\n \\n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \\n forms - human and otherwise - cocooned into the walls. He finds what \\n he's looking for. Up on one wall is another PREDATOR. Dead. It's \\n stomach blown open. \\n\",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \"\n ],\n [\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"He pulls off his headset with weary resignation. \\n \\n PARSONS (CONT'D) \\n We've lost the downlink. It's gone. \\n \\n EXT. SPACE \\n \\n The mass of the satellite tumbles end-over-end. A gaping rent is torn \\n through it; something sparks and flashes within. The second pod \\n accelerates off curving into the atmosphere. \\n\",\n \"He's so pre-occupied with this task, he totally fails to notice the \\n skeletal ALIEN loom up behind him, emerging from the biomechanical \\n growth on the floor. A barbed tail skewers the PREDATOR straight \\n through the neck, splashing luminous blood across his chestplate. A \\n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \\n spinning around in time to see him being dragged below the ground. The \",\n \"it clips a fallen log and spins end-over-end. It's rider flies through \\n the air and hits the swamp face-first. DILLER and CASSIE race down the \\n ramp with BREWSTER YELPING excitedly in the lead. \\n \\n CASSIE \\n I don't believe it. \\n \\n DILLER splashes through the swamp and pulls the limp body out of the \\n mire. It's YORK. Blood has caked around his wounded leg.\",\n \"What he finds causes him to react with \\n pity and disgust. His fallen comrade is only just alive; mandibles \\n clicking frailly, half his head burnt away. BROKEN TUSK watches the \\n ailing PREDATOR slide a steel blade from it's sheath and offer it to \\n him. He takes it, knowing what has to be done. Rolling the knife \\n quickly over the back of his hand - the sort of elaborate trick \",\n \"SWISH of sliding metal, and a telescopic spear appears out of thin air. \\n It SLAMS through BEAUVAIS' body, lifting her off the ground and \\n impaling her against a tree. \\n \\n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \\n her struggles cease, and she'd dropped to the floor like a broken \\n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS \",\n \"In a second, it's all over; the FACEHUGGER struggles free of YORK's \\n grasp, and clamps itself firmly on ACKLAND's face with a faint SUCKING \\n SOUND. YORK shivers, then uses his good leg to propel himself a few \\n feet away. He watches the hapless Teamster go rigid, then stop moving \\n altogether. \\n \\n YORK \\n Oh, God; oh, shit; oh, God. \\n\",\n \"silt. YORK climbs off the bike and stumbles, then starts to unfasten \\n the straps holding ACKLAND's body. \\n \\n BEAUVAIS \\n Jesus Christ! What happened? \\n \\n YORK \\n Give me a hand with Ack. \\n \\n She races over to help YORK ease ACKLAND up. \\n \\n BEAUVAIS \\n How bad is... oh my God. \\n\",\n \"As ACKLAND is turned over, BEAUVIAS gets her first look at a \\n FACEHUGGER. She shies away, repulsed. \\n \\n BEAUVAIS \\n What is that? \\n \\n YORK \\n Don't... uuh... don't know. Help me... uuh... help me get him inside. \\n Shit! \\n \\n YORK grits his teeth, but the leg injury is too painful. He slumps \\n slowly to the floor. \\n\",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\",\n \"Unseen by anybody, another ALIEN has escaped to the roof of the \\n platform-bound crawler. It wraps it's long, bony fingers around the \\n face of the MAN, stifling his CRIES and pulling him off the deck. The \\n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \\n THOMAS' attention. \\n \\n THOMAS \\n Mother-fucker! \\n\",\n \"the floor, his hands clawing at the air. REVNA fumbles with the \\n injector control and gives him a blast in his upper arm. ACKLAND \\n convulses once then goes still, his eyes staring fixedly at the \\n ceiling. The Infirmary is deathly quiet once again. \\n \\n We hear a gentle CRACKING, like twigs being snapped. REVNA watches in \\n horrified fascination as a pool of blood spreads swiftly outward across \",\n \"One of the MEN has seen it. His head snaps up to a mammoth engine- \\n block suspended from a winch high above. He LEAPS for the release- \\n catch as the ALIEN passes underneath. Pulls hard on the grip. Chains \\n RATTLE noisily as the block THUNDERS down. The ALIEN begins to look \\n up, just a second too late. The heavy piece of machinery SMASHES into \\n the creature, flattening it instantly. \\n\",\n \"With superhuman strength, the ALIEN brutally back-hands DILLER, \\n splintering his skull and killing him instantly. His body caromes into \\n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \\n questing fingers closing around his throat and hauling him off the \\n ground. The space on the catwalk it limited; there's so many people \\n it's impossible to get a clean \\n shot... \\n\",\n \"revealing a circular mechanism beneath. BREWSTER scratches at the \\n bulkhead and WHINES. MUFFLED THUMPS come from within. \\n \\n HIROKO \\n What happened? \\n \\n DILLER \\n York just turned up outside. We're trying to get him into Infirmary. \\n \\n HIROKO (astonished) \\n York... \\n \\n HIROKO leans over to examine him, but a particularly loud CRASH from \",\n \"into the cab's rear seat and promptly burning through that as well. Not \\n far away across the platform, the massive doors to the auto-shop hanger \\n are RUMBLING slowly closed... \\n \\n GUTTIEREZ (shouting) \\n Hold the doors, hold the doors! \\n \\n They don't hear him. The doors seal with a BOOM of finality. \\n \\n DE VRIES \\n Over there, on the right! \\n\",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"aboard, carrying their trophies with the reserved silence of men \\n returning from combat. \\n \\n One more thing need to be done. BROKEN TUSK bends down and flips a \\n sequence of keys on the dead PREDATOR's wrist. A countdown is \\n displayed in some unknown character-set, accompanied by a HIGH PITCHED \\n BEEPING. He then turns and swiftly boards the craft which takes \\n smoothly to the air, it's undergear retracting. \\n\",\n \"he races forward to help his friend. The HUGGER's tail is already \\n around ACKLAND's throat, it's fingers scrabbling for purchase. YORK \\n pulls at one set of digits, and manages to raise them for just an \\n instant. What we see is horrific; the look of terror on ACKLAND's \\n face, and the questing tendril on \\n the HUGGER's underside trying to force it's way between ACKLAND's lips. \",\n \"WHOOMPH. Something lands heavily close-up, jarring the catwalk. The \\n ALIEN drops KAMEN and WHIRLS. A spear wielded by an INVISIBLE FORM \\n appears out of nowhere and PIERCES the ALIEN's midriff, spraying acidic \\n fluid. The creature emits a OUTRAGED SHRIEK and flails around, it's \"\n ],\n [\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"racing toward us. Our perspective changes, and we catch a quick \\n glimpse as it HURTLES past, and into the gravitational pull of a large \\n brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. \\n It seems to be manmade. Or at least artificial. \\n \\n EXT. PLANET SURFACE - DAY \\n \\n The planet is dead, barren. Death Valley on a grand scale. We watch \",\n \"cylindrical tube containing a substance similar to mercury which \\n constantly changes it's mass into shapes and alien text. He peers over \\n the protective railing. \\n \\n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \\n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \\n tethered by straining clamps preventing any movement. To the rear, \",\n \"...I mean, these... these mothers were... were huge. They look like \\n bushmen, but they had all this hi-tech shit strapped all over 'em. \\n They must've wasted Beauvais and Minh inside thirty seconds. Minh got \\n off a couple of shots from that cannon of his, but he might as well \\n have been using a B-B gun. I don't know how the hell I made it out of \\n there alive. \\n\",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"ground. A BOOMING ECHO resonates across the forest, followed by a few \\n plaintive SCREECHES from the planet's indigenous lifeforms, before \\n settling back into an eerie silence. \\n \\n ACKLAND \\n Meteor, I guess. \\n \\n He raises a set of compact field binoculars to his face. THROUGH THEM \\n he sees a thin haze of smoke rising from the treetops. \\n \\n ACKLAND\",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"shapes comprised of surreal creatures and protrusions are starting to \\n cover it's surface. ALIENS drop from dizzying heights, exuding streams \\n of gelatinous gunk from the four 'exhaust' pipes on their backs. \\n They're building a nest of staggering proportions. \\n \\n Unnoticed by the busy biomechanoids, faint sparks flicker from the \\n crane catwalk high above... \\n\",\n \"throes. \\n \\n The group round the corner of a building. Across the street from them \\n is parked KAMEN's crawler. \\n \\n GUTTIEREZ (CONT'D) \\n Inside, inside! \\n \\n They scramble up into the cab. GUTTIEREZ throws himself into the \\n driver's seat. An ALIEN sprints at the crawler with bared teeth. \\n THOMAS looses a shot, blasting it backward into a Pepsi sign.\",\n \"different to the others; in addition, one of the fangs of his mandibles \\n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \\n the hunting party. He reaches out a hand to caress the wall of the \\n tunnel. \\n \\n Several feet in from the rim, it changes from rock to a textured \\n biomechanical surface; a swirling mass of disturbing shapes. He \",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"God. \\n \\n MINH watches the helmeted PREDATOR fall face down into the water with a \\n SPLASH, then lie motionless. YORK and BEAUVAIS are out of the tent in \\n an instant. \\n \\n PREDATOR-VISION. \\n Three humans; in motion and 'hot'. The triangular mechanism of the \\n PREDATOR's gun locks onto MINH. \\n \\n A BLAST of plasma-energy rips a gaping hole through MINH's body, \",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"GUTTIEREZ' smoldering crawler pulls-up alongside Big Bertha's titanic \\n wheels. \\n \\n INT. FIRST CRAWLER - NIGHT \\n \\n GUTTIEREZ turns his head to one of the guys in the rear. \\n \\n GUTTIEREZ \\n Take the wheel, Roy! \\n \\n EXT. RYUSHI STATION - BIG BERTHA - NIGHT \\n\",\n \"ACKLAND thinks hard. \\n \\n ACKLAND \\n We... watched a meteor hit over Linson's. \\n \\n HIROKO and KAMEN exchange significant glances. \\n \\n HIROKO \\n A meteor? \\n \\n ACKLAND \\n Yeah, it impacted really off. We went out to the crash-site... and... \\n uh... that's... that's all. \\n \\n KAMEN \\n Nothing else? \\n\",\n \"In CENTER FRAME, the planet sits still and green, awash with nebulous \\n clouds. A hulking METAL FORM ROLLS RIGHT-TO-LEFT across our view, \\n sunlight glinting from it's surface. It's a rectangular satellite- \\n construction comprised of hundreds of communication dishes in a \\n latticework of steel tubing. We hear FILTERED HUMAN VOICES O.S. \\n Subspace chatter. \\n\"\n ],\n [\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"INT. PREDATOR MOTHERSHIP - DOCKING BAY \\n \\n An airlock RUMBLES open and the PREDATORS file NOISILY into the \\n Mothership's docking bay. An OLD PREDATOR crouched against a strut \\n takes time out from carving something into a block of wood to briefly \\n look up at them. Like the PREDATORS themselves, the ship is a curious \\n mixture of old and new. An elaborate frieze written in alien script \",\n \"seasoned Green Berets perform - he plunges it downward into the fallen \\n hunter. This unpleasant task accomplished, \\n \\n BROKEN TUSK straightens up and activates his wrist-computer. A dark \\n shape blots out the light coming from the entrance; a small PREDATOR \\n shuttlecraft, sleek and elegant. It hovers in the air with little more \\n than a loud HUM, and extends a ramp. The surviving PREDATORS leap \",\n \"up from a series of blue geodesic shapes. The damage registers as a \\n cold, black mass. \\n \\n The beam switches off and the hovering PREDATOR shuttle turns smoothly \\n on it's axis, thrusting towards the planet. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \\n \\n Shafts of torch-light fan out above the thick foliage in the darkness. \",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"EXT. PLANET SURFACE - DAY \\n \\n A white-hot fireball erupts out of the fissure, the result of the \\n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \\n away, disappearing into the clouds. \\n \\n EXT. SPACE \\n \\n A large spacecraft is suspended in orbit around the planet; the \\n PREDATOR Mothership. The shuttle heads swiftly towards it. \\n \\n\",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"aboard, carrying their trophies with the reserved silence of men \\n returning from combat. \\n \\n One more thing need to be done. BROKEN TUSK bends down and flips a \\n sequence of keys on the dead PREDATOR's wrist. A countdown is \\n displayed in some unknown character-set, accompanied by a HIGH PITCHED \\n BEEPING. He then turns and swiftly boards the craft which takes \\n smoothly to the air, it's undergear retracting. \\n\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"Aliens vs. Predator \\n \\n Dark Horse Prod. Presents \\n \\n ALIENS \\n \\n Vs. \\n \\n PREDATOR \\n \\n Screenplay by Peter Briggs \\n \\n EXT. DEEP SPACE \\n \\n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \\n depths of space. As the TITLES ROLL, we notice that three of these \\n specks seem to be moving; one of them picking up acceleration and \",\n \"ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \\n away across the rain-swept platform, a SHIMMERING FROM detaches itself \\n from the rear of the chopper and lowers itself to the heli-jet pad. \\n \\n PREDATOR-VISION. \\n A newly-arrived PREDATOR scans the towers and modules of the relay- \\n station with great interest. An oscillating red line appears to the \",\n \"PREDATOR-VISION. \\n We're looking at the site in colours: the cold blue of empty ALIEN \\n EGGS, and the warm reds of just-breathing ANIMALS rendered inert the \\n FACEHUGGER parasites. \\n \\n A group of PREDATORS appear in three-dimensional solidity, their \\n camouflage cloaks deactivated. The LEAD PREDATOR SPLASHES across to \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \",\n \"It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \\n flight; his companion is not as lucky. The other PREDATOR kicks an \\n ALIEN from him and over the roof's edge. The ALIEN lashes out with \\n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \\n hurtle downward and hit a nest of cabling stretched across from one of \"\n ],\n [\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"INT. PREDATOR MOTHERSHIP - DOCKING BAY \\n \\n An airlock RUMBLES open and the PREDATORS file NOISILY into the \\n Mothership's docking bay. An OLD PREDATOR crouched against a strut \\n takes time out from carving something into a block of wood to briefly \\n look up at them. Like the PREDATORS themselves, the ship is a curious \\n mixture of old and new. An elaborate frieze written in alien script \",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"band of extraterrestrial hunters have no time to come to his aid; they \\n themselves are set upon by a half-dozen ALIEN WARRIORS. The carnage is \\n swift and terrifying, a blur of motion. \\n \\n Steel blades and serrated biomechanical limbs scythe the air, alive \\n with the CRIES and HISSES of both adversaries. One PREDATOR is pinned \",\n \"EXT. PLANET SURFACE - DAY \\n \\n A white-hot fireball erupts out of the fissure, the result of the \\n PREDATOR's suicide-destruct mechanism. The shuttlecraft pulls quickly \\n away, disappearing into the clouds. \\n \\n EXT. SPACE \\n \\n A large spacecraft is suspended in orbit around the planet; the \\n PREDATOR Mothership. The shuttle heads swiftly towards it. \\n \\n\",\n \"Aliens vs. Predator \\n \\n Dark Horse Prod. Presents \\n \\n ALIENS \\n \\n Vs. \\n \\n PREDATOR \\n \\n Screenplay by Peter Briggs \\n \\n EXT. DEEP SPACE \\n \\n We OPEN on TOTAL BLACKNESS, a sea of stars spread across the infinite \\n depths of space. As the TITLES ROLL, we notice that three of these \\n specks seem to be moving; one of them picking up acceleration and \",\n \"of metal spikes have been driven into the earth. Four are topped with \\n still-smoking ALIEN skulls. Two and empty. \\n \\n PREDATOR-VISION. \\n A newly decapitated ALIEN head is turned around in another PREDATOR's \\n hands in admiration. This PREDATOR thrusts his trophy onto the next \\n spike, then stares at the vacant one for a long moment. His wrist \\n computer BLEEPS for attention... \\n\",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"aboard, carrying their trophies with the reserved silence of men \\n returning from combat. \\n \\n One more thing need to be done. BROKEN TUSK bends down and flips a \\n sequence of keys on the dead PREDATOR's wrist. A countdown is \\n displayed in some unknown character-set, accompanied by a HIGH PITCHED \\n BEEPING. He then turns and swiftly boards the craft which takes \\n smoothly to the air, it's undergear retracting. \\n\",\n \"seasoned Green Berets perform - he plunges it downward into the fallen \\n hunter. This unpleasant task accomplished, \\n \\n BROKEN TUSK straightens up and activates his wrist-computer. A dark \\n shape blots out the light coming from the entrance; a small PREDATOR \\n shuttlecraft, sleek and elegant. It hovers in the air with little more \\n than a loud HUM, and extends a ramp. The surviving PREDATORS leap \",\n \"up from a series of blue geodesic shapes. The damage registers as a \\n cold, black mass. \\n \\n The beam switches off and the hovering PREDATOR shuttle turns smoothly \\n on it's axis, thrusting towards the planet. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT \\n \\n Shafts of torch-light fan out above the thick foliage in the darkness. \",\n \"weapons arms unfurled like exotic armed insects. Searchlights probe the \\n ground far below. \\n \\n A shadow falls over HIROKO, blocking out the sun. A monstrous SHAPE \\n occupies the air above, delineated only by a telltale vibration. The \\n PREDATOR shuttlecraft lowers it's cloaking device, extending landing \\n gear and a ramp. It touches down in the bayou with scarcely a whisper. \\n\",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"PREDATOR-VISION. \\n We're looking at the site in colours: the cold blue of empty ALIEN \\n EGGS, and the warm reds of just-breathing ANIMALS rendered inert the \\n FACEHUGGER parasites. \\n \\n A group of PREDATORS appear in three-dimensional solidity, their \\n camouflage cloaks deactivated. The LEAD PREDATOR SPLASHES across to \",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"HIROKO glances back at the hovering DROPSHIPS, then walks around the \\n waiting PREDATOR and into the shuttlecraft without looking back. \\n \\n The PREDATOR follows her. The ramp SLAMS closed, as we... \\n \\n CUT TO BLACK \\n THE END \\n\",\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\"\n ],\n [\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"The causes the QUEEN to go \\n berserk, straining at her bonds and SHRIEKING ferociously. She's \\n obviously been through this before and knows what's about to happen. \\n The protrusionsplits open, spilling out an intense white light: an \\n energy-filled blast furnace. The manipulator claw opens, the EGG drops \\n in, and is no more. \\n \\n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \\n\",\n \"PREDATORS are being overrun by the ALIEN horde. \\n \\n BROKEN TUSK's shoulder cannon swivels automatically, blowing away \\n another attacker. Hearing a distinctive SCREAM, he looks across the \\n platform. One of the PREDATORS, it's camouflage cloak flickering \\n intermittently, is trying to resist being dragged down into a duct. \\n The two ALIENS in either side plunge their tail-stingers into the \",\n \"EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \\n tower is a gallery catwalk surrounding the flashing beacon array. \\n \\n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \\n almost upon him. The PREDATOR drives his wrist knives into the throat \",\n \"The tips lock into place. The PREDATOR offers it to HIROKO. She \\n accepts, a little confused. \\n \\n There's a long moment. The PREDATOR is still standing there. Waiting. \\n HIROKO's eyes narrow. Her mind is working furiously. What do they \\n want? \\n \\n She realises. It suddenly becomes clear. She smiles. \\n \\n HIROKO \\n Yeah. Why not. \\n\",\n \"SNAPPING IN for a closer look at her. \\n \\n PREDATOR (CONT'D) \\n No! \\n \\n One of the ALIEN's hands clamps firmly onto the PREDATOR's mask and \\n wrenches it off. HIROKO stares at the PREDATOR's face in fascination. \\n From the distinctive features, we see that it's BROKEN TUSK. The \\n PREDATOR's good hand flashes down to his thigh, almost too quick to \",\n \"DRIVES her spear into the ALIEN's chest. She grabs the injured \\n PREDATOR and pulls him away from the thrashing creature. \\n \\n HIROKO \\n Come on! Come on! \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n The alien numbers on the PREDATOR self-destruct readout inexorably \\n count down... \\n\",\n \"INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \\n \\n The blue beam slides across one of the eggs, and suddenly changes to \\n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \\n from a rotating simulation of an ALIEN WARRIOR skull to a \\n representation of a QUEEN's head. The manipulator arm swiftly grasps \\n the EGG in question and moves it over to a protrusion on the floor. \",\n \"closed. The two women collapse in a heap on the floor. \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK \\n \\n The battle outside is going badly for the PREDATORS. There's only \\n three of them left, and one is BROKEN TUSK. \\n \\n A projectile WHISTLES through the air towards an ALIEN, expanding in \\n flight into a wire capture net. Barbed tips on each corner bite into \",\n \"aboard, carrying their trophies with the reserved silence of men \\n returning from combat. \\n \\n One more thing need to be done. BROKEN TUSK bends down and flips a \\n sequence of keys on the dead PREDATOR's wrist. A countdown is \\n displayed in some unknown character-set, accompanied by a HIGH PITCHED \\n BEEPING. He then turns and swiftly boards the craft which takes \\n smoothly to the air, it's undergear retracting. \\n\",\n \"It's a vicious, fast, and bloody on both sides. BROKEN TUSK takes \\n flight; his companion is not as lucky. The other PREDATOR kicks an \\n ALIEN from him and over the roof's edge. The ALIEN lashes out with \\n lightning-fast reflexes, pulling the PREDATOR with it. Both creatures \\n hurtle downward and hit a nest of cabling stretched across from one of \",\n \"BROKEN TUSK's throat BURSTS, fountaining green blood. Shocked, HIROKO \\n gets out of the path of the PREDATOR's tumbling mass. She looks up. \\n \\n The ALIEN stowaway on the roof of the chopper retracts it's \\n sledgehammer tongue, it's head following her movements. \\n \\n The PREDATOR's 'smart' weapon has dropped to the floor and is laying \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"bid to escape their unstoppable opponents. Back-to-back, they take up \\n fighting positions. A few seconds later, the first of the ALIENS \\n arrives. \\n \\n Both the PREDATORS' shoulder cannons blaze, firing volley-after-volley. \\n Still the ALIENS keep on coming, finally reaching the point where it's \\n hand-to-hand...and nothing else. \\n\",\n \"it's throat. It gazes up at HIROKO. \\n \\n BROKEN TUSK \\n Not...a pretty...sight... \\n \\n And with that, the PREDATOR dies. \\n \\n HIROKO look around. The sun is rising above the treetops, and the \\n setting is serene. Somehow beautiful. \\n \\n The speakers in the heli-jet cabin CRACKLE to life, jarring her. \\n \\n VOICE (O.S., on speakers)\",\n \"The PREDATOR goes down, groping for the self-destruct system on his \\n wrist. He manages to stroke a fingernail across the activation bar, but \\n gets no further. An ALIEN pounces at him, it's tail descending. The \\n PREDATOR raises his arm in reflex, but the stinger SMASHES straight \\n through the buries it in his face-plate, taking out the wrist-computer \\n in the process. \\n\",\n \"entrapped PREDATOR. It's left arm is encased in a solidified mass of \\n secreted resin. BROKEN TUSK raises his 'smart weapon' and activates \\n it. \\n \\n The SPLINTERING NOISE makes HIROKO wince. She glances up at the QUEEN. \\n It's breathing start to change, and it's head moves... \\n \\n BROKEN TUSK sees it too. He hesitates for a moment. The QUEEN \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"mechanism. It's EGG SAC drapes around the pump; spiraling down around \\n it. She seems to be asleep. \\n \\n BROKEN TUSK ignores the QUEEN. His eyes are searching the multitude of \\n forms - human and otherwise - cocooned into the walls. He finds what \\n he's looking for. Up on one wall is another PREDATOR. Dead. It's \\n stomach blown open. \\n\",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \"\n ],\n [\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"a tough-looking Afrikaan woman with a think accent - looks uneasily \\n about them. Another GROUP of PEOPLE with trackers and guns are \\n searching around in the BACKGROUND. Nearby, the vertical yellow column \\n of a suspension-crane gantry towers high above. \\n \\n DE VRIES \\n C'mon, man. One more sweep. \\n \\n GUTTIEREZ \\n One more sweep... one more sweep. I'm getting tired of one more \",\n \"She brushes up at the miserable weather. She and KAMEN are standing on \\n one of the twelve-feet-in-diameter wheels of the gargantuan haulage \\n vehicle we saw outside the base earlier. Up on the side of the cab is \\n painted a Nordic Valkyrie with an impressive bustline, next to which is \\n the legend 'BIG BERTHA'. Two mechanics, JAN GUTTIEREZ and KEVIN \",\n \"Up on a mud-bank, at the base of a sturdy gantry tower with two \\n blinking blue lights atop it, stands the camp. It looks a little like \\n a Bedouin bivouac, but up-close we can see the techno-fitted details. \\n A hard-featured woman seated next to a solid-fuel burner sips from a \\n mug, while her Vietnamese counterpart is manually loading large-caliber \\n bullets into a belt-feed. They \",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"revealing a circular mechanism beneath. BREWSTER scratches at the \\n bulkhead and WHINES. MUFFLED THUMPS come from within. \\n \\n HIROKO \\n What happened? \\n \\n DILLER \\n York just turned up outside. We're trying to get him into Infirmary. \\n \\n HIROKO (astonished) \\n York... \\n \\n HIROKO leans over to examine him, but a particularly loud CRASH from \",\n \"OF ENERGY expands outward, vaporising the station and most of the \\n surrounding bayou for about a mile's radius. \\n \\n EXT. LINSON'S RANGE - ENCAMPMENT - PRE-DAWN \\n \\n Big Bertha's parked by the blinking blue beacon tower, site of the ill- \\n fated hunting expedition. About a dozen or so people are milling \\n around, smoking cigarettes or talking. \\n\",\n \"while somewhere off in the distance a dog BARKS. \\n \\n DON KAMEN, a lean man in his forties. climbs down from the cab mounted \\n five feet above the ground and squints up at the main relay antenna. He \\n adjusts the cowboy hat on his head against the drizzle and crosses the \\n street towards one of the buildings, ignoring a Pepsi sign CREAKING in \\n the gentle breeze. A glass-paneled door SWISHES automatically open \\n before him. \",\n \"GUTTIEREZ cocks his head and listens. He has no idea what she means. \\n \\n GUTTIEREZ \\n Listen to what? \\n \\n DE VRIES \\n That's what I mean. This is the quietest I've ever heard it. It's \\n unnatural. \\n \\n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \\n blackness beyond the confines of the base. \\n \\n GUTTIEREZ\",\n \"Down here in the swamp, the trunks of magnificent trees terminate in \\n gnarled roots and disappear into watery murk, much like a Louisiana \\n bayou. A group of attentive LEMUR-TYPE CREATURES suddenly bound for \\n cover as a line of bullets THUDS into the wood nearby. Seconds later, \\n a loud HUMMING NOISE intrudes O.S. and a pair of manta-ray-shaped \",\n \"Noguchi wouldn't let her go off on your hunting trip. \\n \\n KAMEN pours himself a cup of coffee from a BUBBLING percolator. \\n \\n KAMEN \\n Wasn't my trip, I just did the driving. 'Sides, freezing my butt off \\n out in the wet taking pot-shots at the local wildlife isn't my idea of \\n a good time, either. \\n \\n He sips gingerly from the cup of scalding liquid. \\n \\n PARSONS\",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"spraying blood across YORK. He topples dead to the ground, a look of \\n pained surprise on his face. BEAUVAIS is there immediately, racing \\n across and scrabbling for the 'howitzer'. She doesn't have time to \\n take the harness off - she just slides her finger through the trigger \\n guard and starts squeezing off random shots. The air shimmers as an \\n unseen shape races at her. There's a loud \\n\",\n \"YORK watches HIROKO's feet disappear into the shaft. \\n \\n PARSONS \\n Seal it. \\n \\n The heavy sealing-plug is dragged across the grating and positioned \\n over the hole. YORK shakes his head. \\n \\n YORK \\n Suicide run, man. Fuckin' suicide run. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - VENTURI DUCT \\n\",\n \"I've found Ackland! \\n \\n HIROKO \\n Hold on... \\n \\n She begins to cross the camp, and her foot catches on a taut length of \\n rope. SOMETHING swings down from the trees, hitting her squarely in the \\n face and knocking her off her feet. HIROKO CRIES OUT in fear and \\n surprise, then freezes at what she sees. \\n \\n Two bloodied bodies dangle head-first from the bough overhead; BEAUVAIS \",\n \"SWISH of sliding metal, and a telescopic spear appears out of thin air. \\n It SLAMS through BEAUVAIS' body, lifting her off the ground and \\n impaling her against a tree. \\n \\n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \\n her struggles cease, and she'd dropped to the floor like a broken \\n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS \",\n \"She climbs around GUTTIEREZ and begins to ascend the ladder. BREWSTER \\n WHIMPERS and plaintively BARKS after them. \\n \\n EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n The rooftop is dark, mysterious. Pieces of retrofitted junk can be \\n seen in silhouette, edged in light from way below. DE VRIES and \",\n \"GUTTIEREZ (CONT'D) \\n Little bit further... \\n \\n The beam comes to rest on a protruding piece of apparatus. A short- \\n range antennae, about seven feet wide. \\n \\n GUTTIEREZ (CONT'D) \\n Yeah, yeah, yeah. Right there, right behind the antennae. I think \\n we're got it cornered... \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK \\n\",\n \"HIROKO turns her recovered headset over in her hands. \\n \\n HIROKO (CONT'D) \\n Broken. Useless! \\n \\n She throws it aside. BROKEN TUSK stands beside her, keeping guard. \\n Another DETONATION goes off behind, even LOUDER. \\n \\n HIROKO (CONT'D) \\n Jesus. I.C.C.'re gonna have to close the book on this place. \\n\",\n \"EXT. RYUSHI STATION - MIDDAY \\n \\n Imagine a world where every square mile is covered by a canopy of \\n treetop foliage, and you've just drawn yourself a picture of the planet \\n Ryushi. \\n \\n Nestled amongst this lush rainforest is the Yutani-Templin \\n Communications Relay Station. Several inverted-'U'-shaped suspension \\n cranes painted bright yellow look down over a collection of \"\n ],\n [\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \\n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \\n defying gravity. As each EGG is scanned by a blue triangular beam - \\n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \\n view of the pulsing FACEHUGGER inside. This done, a manipulator are \",\n \"cannon-blasts blossom around him. \\n \\n The group of PREDATORS appear in the camp and cautiously survey the \\n area. The LEAD PREDATOR - the one with the distinctive armor - crosses \\n to the tent and opens the entry flap. \\n \\n INT. TENT - NIGHT \\n \\n PREDATOR-VISION. \\n The extraterrestrial hunter scrutinizes the pulsing FACEHUGGER on \\n ACKLAND for a long moment, but takes no further action.\",\n \"Unseen by anybody, another ALIEN has escaped to the roof of the \\n platform-bound crawler. It wraps it's long, bony fingers around the \\n face of the MAN, stifling his CRIES and pulling him off the deck. The \\n LOUD CLATTERING of his chainsaw bouncing off the floor-grating gets \\n THOMAS' attention. \\n \\n THOMAS \\n Mother-fucker! \\n\",\n \"throes. \\n \\n The group round the corner of a building. Across the street from them \\n is parked KAMEN's crawler. \\n \\n GUTTIEREZ (CONT'D) \\n Inside, inside! \\n \\n They scramble up into the cab. GUTTIEREZ throws himself into the \\n driver's seat. An ALIEN sprints at the crawler with bared teeth. \\n THOMAS looses a shot, blasting it backward into a Pepsi sign.\",\n \"spears and elaborately-shaped swords. Several shoulder-mounted plasma \\n cannons slide up to firing position, tracking with their owners' \\n helmets. Thus armed, they move cautiously ahead...taking no chances. \\n One helmeted PREDATOR pauses, scanning the area. \\n \\n PREDATOR-VISION. \\n \\n He switches through a variety of different views; infra-red, ultra- \\n violet, enhanced motion-tracking. Nothing. \\n\",\n \"ACKLAND is wheeled into a freight elevator. As KAMEN and HIROKO walk \\n away across the rain-swept platform, a SHIMMERING FROM detaches itself \\n from the rear of the chopper and lowers itself to the heli-jet pad. \\n \\n PREDATOR-VISION. \\n A newly-arrived PREDATOR scans the towers and modules of the relay- \\n station with great interest. An oscillating red line appears to the \",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"DE VRIES glances around the rooftop, annoyed. \\n \\n DE VRIES \\n Hey, look; let's forget it. There's nothing up here. \\n \\n PREDATOR-VISION. \\n DE VRIES in CLOSE-UP, glowing brightly. Her VOICE replayed and \\n distorted. \\n \\n PREDATOR (O.S.) \\n Nothing up here. Nothing up here. \\n\",\n \"from the trees; something with a heat-vision P.O.V. A PREDATOR. We \\n see the flare of ACKLAND's gunshots, then SNAP IN to see the multi- \\n colored from of his body toppling over, trailing a purplish FACEHUGGER, \\n before we... \\n \\n CUT BACK TO \\n ...One of ACKLAND's bullets taking a meaty chunk out of YORK's thigh as \",\n \"YORK and ACKLAND wade through the chin-high reeds, cursing. \\n \\n ACKLAND \\n Found anything? \\n \\n YORK looks down at his data-stick, a handheld torch with a multi- \\n purpose readout screen. \\n \\n YORK \\n Nada. No radiation... no movement... nothing. \\n \\n ACKLAND \\n Well, just keep looking. It's gotta be... whoa, Jesus! \\n \\n ACKLAND falls toward onto something, and YORK comes running.\",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"the exposed roots of a tree and kneels down to examine an ANIMAL CORPSE \\n curled up there. Most of it has been madly mutilated by something \\n erupting from inside it's body. The PREDATOR looks up and scans the \\n swamp, ignoring the swarm of FLIES buzzing in the air. \\n \\n PREDATOR-VISION. \\n This time, an oscillating line appears to the left of our view, and a \",\n \"BEAUVAIS (yelling) \\n Minh! Minh, get out here! \\n \\n INT. TENT - NIGHT \\n \\n A portable neon light in the tent flickers, casting staccato bluish \\n light over ACKLAND and the FACEHUGGER. MINH and BEAUVAIS stare at it \\n in horrified fascination, while YORK pulls a tourniquet around his \\n thigh. He winces. \\n \\n BEAUVAIS\",\n \"EXT. RYUSHI STATION - ROOFTOP LEVEL - DUSK \\n \\n PREDATOR-VISION. \\n Gazing down at the platform, an unseen hunter watches the swift black \\n SHAPE of the ALIEN in amongst the group of humans... \\n \\n From the corner of her eye, DE VRIES sees something moving nearby. She \\n violently pulls GUTTIEREZ out of the path of the shimmering FORM that \",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\",\n \"EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \\n \\n HIROKO runs towards the waiting heli-jet. The flicker of an \\n andrenalin-fueled smile plays on her face...the disappears. \\n \\n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \\n the grounded machine. It's head turn towards her. HIROKO starts to \",\n \"PULSING NOISE - like a heartbeat - gains in volume the further they \\n travel. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n They come out in a chamber some forty feet in height and dominated by \\n an enormous pump. ALIEN gunk covers everything. \\n \\n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast \",\n \"from the trees, like an engine cooling on a warm summer's day. YORK \\n clutches his rifle and stares upward. There seems to be a VAGUE \\n SHIMMERING FORM in the bough of a tree. Although it might be a trick \\n of the light, he isn't sticking around to find out. YORK guns the bike \\n to life and ROARS off above the swamp. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT\"\n ],\n [\n \"She brushes up at the miserable weather. She and KAMEN are standing on \\n one of the twelve-feet-in-diameter wheels of the gargantuan haulage \\n vehicle we saw outside the base earlier. Up on the side of the cab is \\n painted a Nordic Valkyrie with an impressive bustline, next to which is \\n the legend 'BIG BERTHA'. Two mechanics, JAN GUTTIEREZ and KEVIN \",\n \"a tough-looking Afrikaan woman with a think accent - looks uneasily \\n about them. Another GROUP of PEOPLE with trackers and guns are \\n searching around in the BACKGROUND. Nearby, the vertical yellow column \\n of a suspension-crane gantry towers high above. \\n \\n DE VRIES \\n C'mon, man. One more sweep. \\n \\n GUTTIEREZ \\n One more sweep... one more sweep. I'm getting tired of one more \",\n \"it clips a fallen log and spins end-over-end. It's rider flies through \\n the air and hits the swamp face-first. DILLER and CASSIE race down the \\n ramp with BREWSTER YELPING excitedly in the lead. \\n \\n CASSIE \\n I don't believe it. \\n \\n DILLER splashes through the swamp and pulls the limp body out of the \\n mire. It's YORK. Blood has caked around his wounded leg.\",\n \"while somewhere off in the distance a dog BARKS. \\n \\n DON KAMEN, a lean man in his forties. climbs down from the cab mounted \\n five feet above the ground and squints up at the main relay antenna. He \\n adjusts the cowboy hat on his head against the drizzle and crosses the \\n street towards one of the buildings, ignoring a Pepsi sign CREAKING in \\n the gentle breeze. A glass-paneled door SWISHES automatically open \\n before him. \",\n \"DE VRIES \\n What the hell are you doing? \\n \\n GUTTIEREZ \\n Hey, fair enough. If you won't come, I'll handle it myself. \\n \\n DE VRIES runs her fingers through her hair in frustration. Comes to a \\n decision counter to what she wants to do... \\n \\n DE VRIES \\n Wait a minute! \\n \\n GUTTIEREZ stops climbing. \\n \\n DE VRIES (CONT'D) \\n Alright, okay. Look...\",\n \"long; two NINJA SWORDSMEN drop to the floor in front of her, striking \\n without hesitation. \\n \\n She expertly avoid the blows, parrying relentlessly. A persistent TONE \\n begins to intrude O.S., like a telephone RINGING. She tries to ignore \\n it, but her concentration is clearly broken. A THIRD SWORDSMAN appears \\n from out of nowhere, his sword SWISHING towards her chest. The blade \",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"from the trees, like an engine cooling on a warm summer's day. YORK \\n clutches his rifle and stares upward. There seems to be a VAGUE \\n SHIMMERING FORM in the bough of a tree. Although it might be a trick \\n of the light, he isn't sticking around to find out. YORK guns the bike \\n to life and ROARS off above the swamp. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT\",\n \"The leering face of an ALIEN comes up over the roof's edge. HIROKO \\n swings her pistol over and fires. It falls away...only to be replaced \\n seconds later by two others. \\n \\n Her gun goes dry. Quick as a flash, she ejects the spent magazine. \\n She slaps the spare in and continues firing. \\n \\n INT. BIG BERTHA - NIGHT \\n \\n Big Bertha's heading away from the base into the surrounding trees. \",\n \"pulling the French-plaited hair of ANNIE URIOSTE, an Italian systems- \\n mechanic with her hands buried in a disassembled console. \\n \\n URIOSTE \\n You didn't wipe your feet coming in. \\n \\n KAMEN \\n Well, it's okay. You didn't tell me it was monsoon season going out. \\n \\n PARSONS looks up at KAMEN and grins. \\n \\n PARSONS\",\n \"REDHEADED GIRL \\n I have. \\n \\n HIROKO \\n Let me have the keys. \\n \\n The GIRL rummages in her pockets and throws the keys over. HIROKO puts \\n them in a pocket on the suit's sleeve. \\n \\n HIROKO (CONT'D) \\n Which one is it? \\n \\n REDHEADED GIRL \\n Uh... the Hyundai racer. Yellow and black stripes. \\n\",\n \"to look up from his magazine. \\n \\n KAMEN'S P.O.V. \\n From out of the window of the 'chopper', we see the twin blue lights of \\n the navigation beacon blinking on-and-off above the trees. \\n \\n KAMEN nudges HIROKO awake. \\n \\n KAMEN \\n Wake up. We're at the beacon. \\n \\n He switches the controls over to manual and takes the chopper down. \",\n \"GUTTIEREZ cocks his head and listens. He has no idea what she means. \\n \\n GUTTIEREZ \\n Listen to what? \\n \\n DE VRIES \\n That's what I mean. This is the quietest I've ever heard it. It's \\n unnatural. \\n \\n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \\n blackness beyond the confines of the base. \\n \\n GUTTIEREZ\",\n \"She shakes her head, and manages a smile. \\n \\n HIROKO \\n I've got a lot of thinking to do. 'Sides, the room was getting too \\n crowded for me. \\n \\n KAMEN \\n Not too much of the socializing type, then? \\n \\n HIROKO \\n No, not really. More sort of the 'claustrophobic' type. \\n \\n KAMEN LAUGHS. HIROKO is straight-faced. \\n\",\n \"EXT. LINSON'S RANGE - ENCAMPMENT - NIGHT \\n \\n We PAN SLOWLY ACROSS the deserted campsite. There isn't a soul there, \\n human or otherwise. The wind whistles eerily through the tree-boughs. \\n \\n EXT. RAINFOREST AIRSPACE - DAWN \\n \\n First light the next day, the sun rising on the horizon. A 'chopper' - \",\n \"fuckin' sweep. We're been lookin' for this thing for three days now, \\n and found zip. \\n \\n DE VRIES \\n Ah, quit griping. Keeps you in shape doesn't it? \\n \\n GUTTIEREZ \\n Hey! I was in shape before we started doing this. \\n \\n DE VRIES pauses, listening to the sound from the surrounding forest. \\n \\n DE VRIES \\n Listen to that... \\n\",\n \"SWISH of sliding metal, and a telescopic spear appears out of thin air. \\n It SLAMS through BEAUVAIS' body, lifting her off the ground and \\n impaling her against a tree. \\n \\n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \\n her struggles cease, and she'd dropped to the floor like a broken \\n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS \",\n \"against it down by the access ramp, smoking a cigarette and idly \\n blowing rings into the air. BREWSTER pricks up her years and begins to \\n quietly SNARL. DILLER glances down at her curiously. \\n \\n DILLER \\n What's the matter, girl? You smell something? \\n \\n Now the rhino are restless too. CASSIE walks across the concrete \\n roadway to join them. \\n \\n CASSIE \\n Rhinos look a little antsy, \\n\",\n \"HIROKO takes flight across the rooftops with the ALIENS in pursuit like \\n a pack of dogs. She vaults extractor intakes and retrofitted junk with \\n ease. So do the ALIENS. \\n \\n She cuts across a conduit overpass bridging two buildings across the \\n main street, trying not to lose her footing. Just before reaching the \\n other side, HIROKO slips and falls to her knees. Her headset drops \"\n ],\n [\n \"Across the clearing, HIROKO turns a piece of charred plating over in \\n her hands before discarding it. \\n \\n Her foot slips on an object sunk into the soft mud. It's MINH's \\n 'howitzer'. A dark slippery patch coats the metal. She crouches down \\n and rubs her fingers through it. Blood. KAMEN's VOICE intrudes, O.S. \\n \\n KAMEN (O.S.)\",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"ground. A BOOMING ECHO resonates across the forest, followed by a few \\n plaintive SCREECHES from the planet's indigenous lifeforms, before \\n settling back into an eerie silence. \\n \\n ACKLAND \\n Meteor, I guess. \\n \\n He raises a set of compact field binoculars to his face. THROUGH THEM \\n he sees a thin haze of smoke rising from the treetops. \\n \\n ACKLAND\",\n \"from the trees, like an engine cooling on a warm summer's day. YORK \\n clutches his rifle and stares upward. There seems to be a VAGUE \\n SHIMMERING FORM in the bough of a tree. Although it might be a trick \\n of the light, he isn't sticking around to find out. YORK guns the bike \\n to life and ROARS off above the swamp. \\n \\n EXT. LINSON'S RANGE - IMPACT SITE - NIGHT\",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"rear, shifting her attention to-and-fro from it and the antennae. \\n \\n DE VRIES \\n Can't see a thing. Are you sure? \\n \\n GUTTIEREZ \\n Yeah, I... \\n \\n The second blip on the small screen abruptly vanishes. \\n \\n GUTTIEREZ (CONT'D) \\n Wait. Lost it. \\n \\n DE VRIES \\n How? \\n \\n GUTTIEREZ \\n I dunno. Might be a glitch.\",\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"passing beneath something that gives her cause to pause. A large \\n PULSATING BAG, about ten feet long and roughly ovular in shape. It \\n might be translucent, but in this light it's hard to tell. \\n \\n HIROKO submerges. Sure enough, there's the grille. She raises the \\n power-tool and starts extracting the bolts. BZZZZ! There's the first \",\n \"YORK and ACKLAND wade through the chin-high reeds, cursing. \\n \\n ACKLAND \\n Found anything? \\n \\n YORK looks down at his data-stick, a handheld torch with a multi- \\n purpose readout screen. \\n \\n YORK \\n Nada. No radiation... no movement... nothing. \\n \\n ACKLAND \\n Well, just keep looking. It's gotta be... whoa, Jesus! \\n \\n ACKLAND falls toward onto something, and YORK comes running.\",\n \"revealing a circular mechanism beneath. BREWSTER scratches at the \\n bulkhead and WHINES. MUFFLED THUMPS come from within. \\n \\n HIROKO \\n What happened? \\n \\n DILLER \\n York just turned up outside. We're trying to get him into Infirmary. \\n \\n HIROKO (astonished) \\n York... \\n \\n HIROKO leans over to examine him, but a particularly loud CRASH from \",\n \"GUTTIEREZ cocks his head and listens. He has no idea what she means. \\n \\n GUTTIEREZ \\n Listen to what? \\n \\n DE VRIES \\n That's what I mean. This is the quietest I've ever heard it. It's \\n unnatural. \\n \\n GUTTIEREZ shivers in the wind as he looks out into the impenetrable \\n blackness beyond the confines of the base. \\n \\n GUTTIEREZ\",\n \"band sweeps quickly ACROSS the screen synchronous to us hearing \\n different levels of SOUND STATIC. This abruptly stops as the \\n oscillating line begins to moves in peaks and valleys. The PREDATOR is \\n picking up radio \\n waves. A HUMAN VOICE; albeit grossly-distorted. \\n \\n EXT. LINSON'S RANGE - ENCAMPMENT - NIGHT \\n\",\n \"fuckin' sweep. We're been lookin' for this thing for three days now, \\n and found zip. \\n \\n DE VRIES \\n Ah, quit griping. Keeps you in shape doesn't it? \\n \\n GUTTIEREZ \\n Hey! I was in shape before we started doing this. \\n \\n DE VRIES pauses, listening to the sound from the surrounding forest. \\n \\n DE VRIES \\n Listen to that... \\n\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"against it down by the access ramp, smoking a cigarette and idly \\n blowing rings into the air. BREWSTER pricks up her years and begins to \\n quietly SNARL. DILLER glances down at her curiously. \\n \\n DILLER \\n What's the matter, girl? You smell something? \\n \\n Now the rhino are restless too. CASSIE walks across the concrete \\n roadway to join them. \\n \\n CASSIE \\n Rhinos look a little antsy, \\n\",\n \"impenetrable. Behind and above, the lights of the cranes and the \\n communications array strobe on-and-off. Above the bar on the main \\n street is a flicking neon sign erected after-the-fact, emblazoned with \\n the words \\\"TORCHY'S\\\". The MUFFLED SOUNDS of MERRY-MAKING from within \\n become momentarily louder, and HIROKO glances over to see it's \",\n \"to look up from his magazine. \\n \\n KAMEN'S P.O.V. \\n From out of the window of the 'chopper', we see the twin blue lights of \\n the navigation beacon blinking on-and-off above the trees. \\n \\n KAMEN nudges HIROKO awake. \\n \\n KAMEN \\n Wake up. We're at the beacon. \\n \\n He switches the controls over to manual and takes the chopper down. \",\n \"HIROKO bends down to inspect a small plastic grating fitted flush with \\n the roadway. The broken grillework is melted outwards. KAMEN and two \\n other men - CALDWELL and THOMAS - stand behind. \\n \\n THOMAS \\n The door to the food storage locker was smashed open. It must have \\n come straight out of here. \\n \\n HIROKO yawns. \\n \\n HIROKO\"\n ],\n [\n \"URIOSTE pulls at a two-piece hexagonal grating set in the center of the \\n floor. It's heavy and thick with grease, but she doesn't seem to mind. \\n Below it is what looks like a round metal plug. Recessed into its \\n surface is a lever next to a central pressure valve, with handholds on \\n either side. She turns the lever. There's a loud CLUNK, and a plume \\n of steam JETS out of the valve. \\n\",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"at a fixed point on the ground. Two ONLOOKERS bend down to the \\n pressure-hatch beneath the floor-grating. It's identical to the one \\n DILLER and URIOSTE removed earlier. A plume of pressurised gas jets \\n into the air, and they pull the metal sealing-plug free. CASSIE \\n scrutinizes her tracker... \\n \\n CASSIE \\n All clear... \\n\",\n \"passing beneath something that gives her cause to pause. A large \\n PULSATING BAG, about ten feet long and roughly ovular in shape. It \\n might be translucent, but in this light it's hard to tell. \\n \\n HIROKO submerges. Sure enough, there's the grille. She raises the \\n power-tool and starts extracting the bolts. BZZZZ! There's the first \",\n \"We're in the dark womb of a split-level command center alive with \\n clusters of video readouts, somewhat reminiscent of a futuristic air- \\n traffic control tower. On the upper tier, a large circular holo- \\n display currently projects an image of the satellite we just saw. Thin \\n trailers of paper flutter gently in the current coming from the air \\n conditioning ducks, though beads of sweat still dot the foreheads of \",\n \"impenetrable. Behind and above, the lights of the cranes and the \\n communications array strobe on-and-off. Above the bar on the main \\n street is a flicking neon sign erected after-the-fact, emblazoned with \\n the words \\\"TORCHY'S\\\". The MUFFLED SOUNDS of MERRY-MAKING from within \\n become momentarily louder, and HIROKO glances over to see it's \",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"with a block-and-tackle arrangement. A hook dangles below this, it's \\n thick metal cabling going up through the block-and-tackle and \\n connecting to the drum of a small industrial winch attached securely to \\n the wall. DILLER hands the tripod over to URIOSTE. She splays the \\n legs apart and inserts their tips into matching holes around the open \\n pit. \\n \\n EXT. RYUSHI STATION - PLATFORM - DUSK\",\n \"and ceiling ought to be. Kicking up a swirl of particles. Pale blue \\n light filters down from above. \\n \\n COMPUTER VOICE (O.S., on speakers) \\n Caution! Entering secondary overflow sump DS oh-four slash eleven. \\n Grating must be removed to facilitate entry to Central Reservoir... \\n \\n HIROKO (annoyed) \\n Yeah, yeah, yeah... \\n\",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"the gloom of the Pump Shaft. In front of her is a machine-part we saw \\n her carry earlier. With the strap of a flashlight clenched in her \\n mouth, she's just finishing up bolting the part to the larger piece of \\n machinery in an alcove, with simultaneously doing her best not to touch \\n the walls which are covered by a thin layer of gunge. \\n \\n The REPORT of DE VRIES' weapon can be heard even down here, perhaps \",\n \"it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \\n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \\n defying gravity. As each EGG is scanned by a blue triangular beam - \\n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \\n view of the pulsing FACEHUGGER inside. This done, a manipulator are \",\n \"Across the clearing, HIROKO turns a piece of charred plating over in \\n her hands before discarding it. \\n \\n Her foot slips on an object sunk into the soft mud. It's MINH's \\n 'howitzer'. A dark slippery patch coats the metal. She crouches down \\n and rubs her fingers through it. Blood. KAMEN's VOICE intrudes, O.S. \\n \\n KAMEN (O.S.)\",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"revealing a circular mechanism beneath. BREWSTER scratches at the \\n bulkhead and WHINES. MUFFLED THUMPS come from within. \\n \\n HIROKO \\n What happened? \\n \\n DILLER \\n York just turned up outside. We're trying to get him into Infirmary. \\n \\n HIROKO (astonished) \\n York... \\n \\n HIROKO leans over to examine him, but a particularly loud CRASH from \",\n \"They exit the culvert through another smashed grate. HIROKO finds \\n herself back in the Central Reservoir again. She wades through the \\n water behind BROKEN TUSK, holding the spear above her head. The two of \\n them look very vulnerable in here. They pass beneath the PULSATING SAC \\n HIROKO saw earlier. It looks riper now, ready to burst. An INSIDIOUS \",\n \"URIOSTE (CONT'D) \\n Give me a hand with this. \\n \\n GRUNTING, the two of them pull the thick metal plug clear of the pit. \\n Murky water sloshes around below. URIOSTE pulls a second lever, and \\n hidden pumps make the water level drop rapidly. \\n \\n URIOSTE (CONT'D) \\n Pass me over that tripod, will you? \\n \\n Leaning against the wall behind DILLER is a sturdy metal tripod topped \",\n \"Up on a mud-bank, at the base of a sturdy gantry tower with two \\n blinking blue lights atop it, stands the camp. It looks a little like \\n a Bedouin bivouac, but up-close we can see the techno-fitted details. \\n A hard-featured woman seated next to a solid-fuel burner sips from a \\n mug, while her Vietnamese counterpart is manually loading large-caliber \\n bullets into a belt-feed. They \",\n \"PULSING NOISE - like a heartbeat - gains in volume the further they \\n travel. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n They come out in a chamber some forty feet in height and dominated by \\n an enormous pump. ALIEN gunk covers everything. \\n \\n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast \",\n \"THUMP. THUMP. SLAM! The grille in knocked out of it's housing and \\n floats lazily off into the water. HIROKO passes through the newly- \\n created hole. \\n \\n HIROKO'S P.O.V. \\n She finds herself in an upright cylindrical chamber, about five feet in \\n height. Massive extractor fans churn dangerously where both the floor \"\n ],\n [\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"YORK and ACKLAND wade through the chin-high reeds, cursing. \\n \\n ACKLAND \\n Found anything? \\n \\n YORK looks down at his data-stick, a handheld torch with a multi- \\n purpose readout screen. \\n \\n YORK \\n Nada. No radiation... no movement... nothing. \\n \\n ACKLAND \\n Well, just keep looking. It's gotta be... whoa, Jesus! \\n \\n ACKLAND falls toward onto something, and YORK comes running.\",\n \"hurries forward in response to the GURGLING-HISS of one of his team who \\n has found something. \\n \\n The other PREDATOR holds a telescopic spear up for scrutiny. Skewered \\n on the end is a shriveled FORM with eight spindly legs and a segmented \\n tail; it's a FACEHUGGER, the first stage of the deadly ALIEN lifeform. \\n BROKEN TUSK HISSES a caution to his party; they respond by pulling \",\n \"YORK \\n Yeah, it's fine. \\n \\n ACKLAND \\n God, I hope that thing didn't bring down a virus. \\n \\n YORK \\n I told you we... what's that? \\n \\n Their torch beams PAN ACROSS a three-foot high ovular shape. \\n \\n ACKLAND \\n Looks like a spore. Fungus of some kind, maybe? \\n \\n YORK \\n Bloody big if it is. Top's open. \\n\",\n \"Let's get back and call this in. \\n \\n ACKLAND \\n Wait a minute. \\n \\n YORK reluctantly follows ACKLAND as he thrashes through the thinn ing \\n foliage, coming out at the rim of the impact crater. It's beginning to \\n partially collapse, water seeping in. YORK runs his beam over \\n something at the bottom of the shallow pit. \\n \\n YORK \\n What is that... is that metal fragments? \\n\",\n \"safety off his rifle. ACKLAND wordlessly unshoulders his too. They \\n step around the crater and warily follow the ragged path to... \\n \\n YORK \\n Another one? \\n \\n ACKLAND prods this SECOND EGG with his gun. \\n \\n ACKLAND \\n Yeah. This's closed. \\n \\n There's a CRACKLING NOISE, and the top of the EGG peels neatly open in \",\n \"aborigine and ultra-hi-tech. In their hands are circular metal discs; \\n 'smart weapons' which cut into the stone and give them purchase. \\n \\n PREDATOR-VISION. \\n \\n From their P.O.V., we see the fissure reduced to THERMAL HEAT SOURCES. \\n The entrance registers as a black gaping void. \\n \\n INT. FISSURE NEST TUNNEL \\n\",\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"HIROKO (CONT'D) \\n I don't care how you kill this thing, just be careful not to get in \\n it's way when it bleeds. You all saw what happened to Doc Revna. \\n \\n There are nods of agreement and general enthusiasm all round. \\n \\n HIROKO (CONT'D) \\n Nobody wander off on their own until it's found. Keep in pairs. \\n Diller, once the first team's done their sweep I want you to go down \",\n \"He hands the bag over to REVNA. She peers at the contents curiously. \\n The FACEHUGGER is inside, stiff and shriveled. \\n \\n REVNA \\n Is this it? \\n \\n KAMEN \\n Yeah. Found it curled up in a corner of the tent. Any idea? \\n \\n REVNA shakes her head. \\n \\n REVNA \\n Never come across one of these before. Maybe the original survey team \",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"different to the others; in addition, one of the fangs of his mandibles \\n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \\n the hunting party. He reaches out a hand to caress the wall of the \\n tunnel. \\n \\n Several feet in from the rim, it changes from rock to a textured \\n biomechanical surface; a swirling mass of disturbing shapes. He \",\n \"at a fixed point on the ground. Two ONLOOKERS bend down to the \\n pressure-hatch beneath the floor-grating. It's identical to the one \\n DILLER and URIOSTE removed earlier. A plume of pressurised gas jets \\n into the air, and they pull the metal sealing-plug free. CASSIE \\n scrutinizes her tracker... \\n \\n CASSIE \\n All clear... \\n\",\n \"GUTTIEREZ \\n Hold it, hold it... \\n \\n DE VRIES \\n What's wrong? \\n \\n GUTTIEREZ \\n I'm picking up another signal. \\n \\n DE VRIES looks around, unnerved. \\n \\n DE VRIES \\n What? Where? \\n \\n GUTTIEREZ \\n Just behind us, over to the right. \\n \\n DE VRIES shines her beam over the surface of the yellow crane to their \",\n \"The five hunters climb inside the rim of the tunnel, out of the wind's \\n banshee wailing. The lead PREDATOR reaches up to his headgear, pulling \\n at the coupling pipes connecting it to a hidden breathing-apparatus. \\n He removes the helmet, clips it to his rear utility pack, and takes a \\n deep breath of the air. A curious speckled pattern runs across his \\n wide forehead, marking him \",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \",\n \"four sections. The two men jump back in alarm, and YORK LAUGHS \\n nervously. Something organic is pulsing inside. ACKLAND cranes his \\n neck forward for a better look... \\n \\n There's an EXPLOSION of MOVEMENT. A spindly shape with a long \\n segmented tail launches itself jack-in-a-box-style at ACKLAND. It's a \",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"revealing a circular mechanism beneath. BREWSTER scratches at the \\n bulkhead and WHINES. MUFFLED THUMPS come from within. \\n \\n HIROKO \\n What happened? \\n \\n DILLER \\n York just turned up outside. We're trying to get him into Infirmary. \\n \\n HIROKO (astonished) \\n York... \\n \\n HIROKO leans over to examine him, but a particularly loud CRASH from \"\n ],\n [\n \"The grinning face of the young QUEEN gets suddenly closer as the heli- \\n jet is propelled towards the metal structure. \\n \\n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n CRUNCH! The chopper hits, knocking several ALIENS from their \\n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \\n the port engine mount. \\n \\n INT. CHOPPER - PRE-DAWN\",\n \"PULSING NOISE - like a heartbeat - gains in volume the further they \\n travel. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n They come out in a chamber some forty feet in height and dominated by \\n an enormous pump. ALIEN gunk covers everything. \\n \\n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast \",\n \"The causes the QUEEN to go \\n berserk, straining at her bonds and SHRIEKING ferociously. She's \\n obviously been through this before and knows what's about to happen. \\n The protrusionsplits open, spilling out an intense white light: an \\n energy-filled blast furnace. The manipulator claw opens, the EGG drops \\n in, and is no more. \\n \\n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \\n\",\n \"PULSING SAC. Before they're even passed beneath it, they hear \\n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \\n \\n The SAC ruptures, spattering thick gloopy matter. A form comprised of \\n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \\n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and \",\n \"cylindrical tube containing a substance similar to mercury which \\n constantly changes it's mass into shapes and alien text. He peers over \\n the protective railing. \\n \\n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \\n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \\n tethered by straining clamps preventing any movement. To the rear, \",\n \"HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \\n around several trapped victims. A number of empty EGGS are scattered \\n here-and-there. \\n \\n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \\n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \\n bellows-like SOUND of her BREATHING is overwhelming. He reaches the \",\n \"INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n Columns of fire jet from fissures and openings inside the Pump Chamber, \\n rippling across the adult QUEEN ALIEN and her hapless victims. She \\n begins to SCREAM, flailing around atop her metal throne... \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \\n\",\n \"INT. PREDATOR MOTHERSHIP - VIEWING GALLERY \\n \\n The blue beam slides across one of the eggs, and suddenly changes to \\n red, BEEPING rapidly. BROKEN TUSK sees the flowing display-tank alter \\n from a rotating simulation of an ALIEN WARRIOR skull to a \\n representation of a QUEEN's head. The manipulator arm swiftly grasps \\n the EGG in question and moves it over to a protrusion on the floor. \",\n \"...And finds herself staring at an ALIEN EGG, it's top cracking open in \\n four neat sections. The FACEHUGGER leaps straight as her faceplate... \\n \\n ...And misses, it's fingers failing to gain purchase on the slippery \\n dome. HIROKO kicks away from the spindly creature as it orientates \\n itself on the water's surface, it's powerful tail propelling itself \",\n \"it's giant egg-sac glows and throbs, suspended by a jury-rigged sling. \\n A SCANNING MECHANISM hangs above the EGGS the QUEEN lays, seemingly \\n defying gravity. As each EGG is scanned by a blue triangular beam - \\n similar to a PREDATOR gun-sight - it becomes translucent, giving us a \\n view of the pulsing FACEHUGGER inside. This done, a manipulator are \",\n \"of a grasping ALIEN, which falls downward, writhing. It CRASHES into \\n the QUEEN, who almost loses her grip on the skeletal metalwork. She \\n HISSES, lashing out at the creature. Sends it hurtling to the ground. \\n \\n EXT. RYUSHI STATION - TOWER CATWALK - PRE-DAWN \\n\",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \",\n \"EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \\n \\n HIROKO runs towards the waiting heli-jet. The flicker of an \\n andrenalin-fueled smile plays on her face...the disappears. \\n \\n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \\n the grounded machine. It's head turn towards her. HIROKO starts to \",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"the floor from below ACKLAND's corpse. REVNA shudders as the body \\n moves a little, then is rolled over by something underneath it. \\n \\n WHAT SHE SEES. ACKLAND's body slumps forward onto it's front, \\n revealing a gaping cavity in his back. Bits of spine and ribcage are \\n just visible. A CHESTBURSTER - the second stage of the ALIEN lifeform \",\n \"takes flight. It strikes at HIROKO, who reflexively draws her head \\n back and escapes with nothing more than a light scratch to the cheek. \\n The ALIEN disappears down the corridor, leaving a trail of smeared \\n blood and a series of acidic pits which melt the grillework flooring. \\n GUTTIEREZ bends down and \\n helps HIROKO to her feet. Shocked, she MUTTERS something to herself in \",\n \"EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \\n tower is a gallery catwalk surrounding the flashing beacon array. \\n \\n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \\n almost upon him. The PREDATOR drives his wrist knives into the throat \",\n \"across the metal... \\n \\n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \\n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \\n got the jump on them. HIROKO's forward momentum won't allow her to \\n stop running...she's too close. Almost at the last moment, she jumps. \\n claws brush her trouser leg, but close on thin air. She hits the deck \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"the street, GUTTIEREZ tries hard to interpret his tracker's signals. A \\n particularly loud BLEEP registers from a source immediately behind \\n them. He glances over his shoulder and sees an ALIEN crawling down the \\n outside of a module towards them. \\n \\n GUTTIEREZ \\n De Vries! \\n \\n DE VRIES' head turns. She sees the ALIEN and nails it with a rapid \\n burst. It falls onto the concrete nearby, writhing in it's death \"\n ],\n [\n \"seventy feet down there's a hole in the rock-face that just might be a \\n cave entrance, and near is a peculiar SHIMMERING in the air. We hear a \\n mechanical BEEPING and the SHIMMERING disappears, replaced by FIVE \\n humanoid SHAPES clinging to the sheer rock - each well over seven feet \\n tall. They are PREDATORS, a race of intergalactic big-game hunters on \\n permanent safari; their clothing and weaponry a bizarre mix of \",\n \"carefully loads several eggs onto a pallet, which then sinks into a \\n hatchway in the floor. It's an assembly-line of almost frightening \\n mechanical efficiency. \\n \\n EXT. SPACE \\n \\n We see a pod ejected from the Mothership, rocketing away from the \\n planet into deep space. The inference is obvious; the PREDATORS are \\n seeding worlds with ALIENS to hunt. \\n\",\n \"preassembled buildings and roadways raised above the swamp on \\n platforms, much like a truncated oil-rig. A navigation beacon flashes \\n intermittently from a tall gantry tower above, while dominating the \\n view is the sloping face of a communications array several storeyes \\n high. Off to one side of the platform is a gigantic many-wheeled \\n haulage vehicle. A flock of bird-like creatures fly past. \\n \\n INT. RYUSHI STATION - COMMAND CENTER\",\n \"We hear a RAPID BEEPING; movement-sensors set up on tripods to warn \\n against intruding animals. The sound brings BEAUVAIS out of her tent, \\n bleary-eyed and fumbling with her pistol. She's suddenly wide awake \\n when she sees YORK's hover-bike, lit by the sensors' flashing red \\n strobe. It skids to a halt against a mud-bank, sending up a spray of \",\n \"racing toward us. Our perspective changes, and we catch a quick \\n glimpse as it HURTLES past, and into the gravitational pull of a large \\n brownish planet. Kicking up SPARKS of FRICTION as it hits atmosphere. \\n It seems to be manmade. Or at least artificial. \\n \\n EXT. PLANET SURFACE - DAY \\n \\n The planet is dead, barren. Death Valley on a grand scale. We watch \",\n \"ground. A BOOMING ECHO resonates across the forest, followed by a few \\n plaintive SCREECHES from the planet's indigenous lifeforms, before \\n settling back into an eerie silence. \\n \\n ACKLAND \\n Meteor, I guess. \\n \\n He raises a set of compact field binoculars to his face. THROUGH THEM \\n he sees a thin haze of smoke rising from the treetops. \\n \\n ACKLAND\",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"different to the others; in addition, one of the fangs of his mandibles \\n has been sheared away. We'll call him BROKEN TUSK, he's the leader of \\n the hunting party. He reaches out a hand to caress the wall of the \\n tunnel. \\n \\n Several feet in from the rim, it changes from rock to a textured \\n biomechanical surface; a swirling mass of disturbing shapes. He \",\n \"The adult QUEEN's SHRIEK echoes through the reservoir, accompanied by a \\n ball of fire that travels part of the way down. The IMMATURE QUEEN \\n turns her head in reply, answering with her own YOWL. \\n \\n BROKEN TUSK HISSES with hate, and brings his 'smart weapon' SLICING \\n down through her arm, severing it at the wrist. HIROKO simultanesouly \",\n \"DE VRIES \\n Take a look at this. \\n \\n GUTTIEREZ moves over for a closer look. There's a torn hole in the \\n meshwork, just big enough for a rhino to squeeze through. Blood and \\n fragments of skin coat the edge of the gap. \\n \\n GUTTIEREZ \\n One of 'em must have escaped. \\n \\n DE VRIES \\n That's impossible, man. This fence is high-tensile. The breaking \",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"shapes comprised of surreal creatures and protrusions are starting to \\n cover it's surface. ALIENS drop from dizzying heights, exuding streams \\n of gelatinous gunk from the four 'exhaust' pipes on their backs. \\n They're building a nest of staggering proportions. \\n \\n Unnoticed by the busy biomechanoids, faint sparks flicker from the \\n crane catwalk high above... \\n\",\n \"against it down by the access ramp, smoking a cigarette and idly \\n blowing rings into the air. BREWSTER pricks up her years and begins to \\n quietly SNARL. DILLER glances down at her curiously. \\n \\n DILLER \\n What's the matter, girl? You smell something? \\n \\n Now the rhino are restless too. CASSIE walks across the concrete \\n roadway to join them. \\n \\n CASSIE \\n Rhinos look a little antsy, \\n\",\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"GUTTIEREZ' smoldering crawler pulls-up alongside Big Bertha's titanic \\n wheels. \\n \\n INT. FIRST CRAWLER - NIGHT \\n \\n GUTTIEREZ turns his head to one of the guys in the rear. \\n \\n GUTTIEREZ \\n Take the wheel, Roy! \\n \\n EXT. RYUSHI STATION - BIG BERTHA - NIGHT \\n\",\n \"cylindrical tube containing a substance similar to mercury which \\n constantly changes it's mass into shapes and alien text. He peers over \\n the protective railing. \\n \\n WHAT HE SEES is magnificent: a captive QUEEN ALIEN, the nucleus of the \\n ALIEN society, fed by giant intravenous pipes. Each of it's limbs is \\n tethered by straining clamps preventing any movement. To the rear, \",\n \"fuckin' sweep. We're been lookin' for this thing for three days now, \\n and found zip. \\n \\n DE VRIES \\n Ah, quit griping. Keeps you in shape doesn't it? \\n \\n GUTTIEREZ \\n Hey! I was in shape before we started doing this. \\n \\n DE VRIES pauses, listening to the sound from the surrounding forest. \\n \\n DE VRIES \\n Listen to that... \\n\",\n \"EXT. LINSON'S RANGE - ENCAMPMENT - DAWN \\n \\n The two of them pick their way across mangled tripods and charred \\n canvas. Part of the bivouac has collapsed - one of the guide ropes has \\n burned through. \\n \\n HIROKO (quietly) \\n Somebody picked an argument. \\n \\n KAMEN \\n Yeah. Somebody won. \\n \\n HIROKO \\n Check out the tent. \\n\",\n \"Up on a mud-bank, at the base of a sturdy gantry tower with two \\n blinking blue lights atop it, stands the camp. It looks a little like \\n a Bedouin bivouac, but up-close we can see the techno-fitted details. \\n A hard-featured woman seated next to a solid-fuel burner sips from a \\n mug, while her Vietnamese counterpart is manually loading large-caliber \\n bullets into a belt-feed. They \",\n \"down, crushing it in an instant. A SECOND CLAW emerges, and a MACHINE \\n heaves itself out of the hole, it's surface smoking with heat. It \\n pauses for a BEAT like some giant tarantula seeking prey, them moves \\n purposely outwards about twenty yards before halting. A hatch on the \\n underside opens, and a complex delivery mechanism extends. After a \"\n ],\n [\n \"EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n BROKEN TUSK scales the ladder as quickly as he can. As the top of the \\n tower is a gallery catwalk surrounding the flashing beacon array. \\n \\n The IMMATURE QUEEN, accompanied by a phalanx of warrior ALIENS, is \\n almost upon him. The PREDATOR drives his wrist knives into the throat \",\n \"towards it, then remembers the keys are in the sleeve pocket of the \\n ruined pressure-suit. She drops to he knees and gingerly pokes through \\n the smoking pile of cloth. Finds the flap, RIPS it open, and withdraws \\n the keys. \\n \\n SLAP! A glistening wet claw emerges from the open hole. HIROKO \\n scrambles to her feet as the injured ALIEN pulls itself out. She tears \",\n \"PULSING SAC. Before they're even passed beneath it, they hear \\n SOMETHING. A SOUND like water-filled balloons hitting wet concrete. \\n \\n The SAC ruptures, spattering thick gloopy matter. A form comprised of \\n slender limbs emerges from within. An IMMATURE QUEEN ALIEN. Though \\n just-born, it's reflexes are razor-sharp. It lashes out at HIROKO and \",\n \"The grinning face of the young QUEEN gets suddenly closer as the heli- \\n jet is propelled towards the metal structure. \\n \\n EXT. RYUSHI STATION - NAVIGATION TOWER - PRE-DAWN \\n \\n CRUNCH! The chopper hits, knocking several ALIENS from their \\n handholds. One of the QUEEN's arms SHOOTS OUT, wrapping itself around \\n the port engine mount. \\n \\n INT. CHOPPER - PRE-DAWN\",\n \"The causes the QUEEN to go \\n berserk, straining at her bonds and SHRIEKING ferociously. She's \\n obviously been through this before and knows what's about to happen. \\n The protrusionsplits open, spilling out an intense white light: an \\n energy-filled blast furnace. The manipulator claw opens, the EGG drops \\n in, and is no more. \\n \\n INT. PREDATOR MOTHERSHIP - LIVING QUARTERS \\n\",\n \"INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n Columns of fire jet from fissures and openings inside the Pump Chamber, \\n rippling across the adult QUEEN ALIEN and her hapless victims. She \\n begins to SCREAM, flailing around atop her metal throne... \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - CENTRAL RESERVOIR \\n\",\n \"THOMAS retrieves the fallen tool and jams the 'on' switch hard. The \\n ALIEN's tongue shoots through the GREASE MONKEY's skull, showering \\n THOMAS with a faint speckling of blood. The ALIEN discards the body \\n and lunges at THOMAS, who counters bringing the chainsaw up. \\n \\n The blade slices into the creature's throat, and up through it's head. \",\n \"into a blazing inferno. The ALIEN's body twists end-over-end, \\n remaining immobile as it hits the deck. A curtain of fire ripples \\n across the platform... \\n \\n THOMAS \\n Yes! \\n \\n Their victory is short-lived. The other ALIENS crawl cautiously \\n forward, flames licking their faces but leaving them unharmed. We can \\n clearly hear the HISSING of their internal jaws. \\n\",\n \"HIROKO looks furiously around. Spying an emergency axe in it's wall \\n housing, she SMASHES the glass with her elbow, cutting herself in the \\n process. HIROKO hefts the heavy tool, swinging it down onto the \\n disappearing ALIEN's carapace with all her might... \\n \\n HIROKO (CONT'D) \\n Bastard! \\n \\n The blade bites deep, and yellow blood bursts from the threshing \",\n \"EXT. RYUSHI STATION - HELI-JET PAD - NIGHT \\n \\n HIROKO runs towards the waiting heli-jet. The flicker of an \\n andrenalin-fueled smile plays on her face...the disappears. \\n \\n Like a scorpion scuttling over a rock, the ALIEN climbs up on top of \\n the grounded machine. It's head turn towards her. HIROKO starts to \",\n \"She's found the main offshoot of the ALIENS' nest. Glued into the \\n curved walls by a secretive resin as BODIES. HUMANS, RHINOS, LEMURS. \\n Other ANIMALS. Most are dead, their innards blown open. The rest are \\n comatose, twitching occasionally. Every square inch not containing \\n bodies is filled with ALIEN EGGS. It's like Hell for real. \\n\",\n \"across the metal... \\n \\n KER-SMASH! The metal is SMASHED from beneath, right in front of her. \\n The IMMATURE ALIEN QUEEN has made is out of the sewer system and has \\n got the jump on them. HIROKO's forward momentum won't allow her to \\n stop running...she's too close. Almost at the last moment, she jumps. \\n claws brush her trouser leg, but close on thin air. She hits the deck \",\n \"DRIVES her spear into the ALIEN's chest. She grabs the injured \\n PREDATOR and pulls him away from the thrashing creature. \\n \\n HIROKO \\n Come on! Come on! \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n The alien numbers on the PREDATOR self-destruct readout inexorably \\n count down... \\n\",\n \"ALIEN's wound. Speckles of it dot KAMEN's leg, eating through the \\n material of his trousers and into the skin and muscle beneath. He \\n SCREAMS, a sound of pure intense pain... \\n \\n HIROKO hurls the axe aside. She begins pulling KAMEN out of the hole \\n as the caustic liquid seeps into the nearby electrical conduit. \",\n \"HIROKO holds her spear tightly. FACEHUGGERS pulse malignantly, wrapped \\n around several trapped victims. A number of empty EGGS are scattered \\n here-and-there. \\n \\n BROKEN TUSK looks around. No ALIENS. He begins climbing the organic \\n fresco, watching the QUEEN ALIEN carefully for signs of awareness. The \\n bellows-like SOUND of her BREATHING is overwhelming. He reaches the \",\n \"stinger coming around. It leaps for her, and battle is joined. The \\n ALIEN lashes out, but HIROKO counters by swinging the weapon time and \\n time again. With each thrust, surgically thin wounds open up on the \\n biomechanoid's body. One of the ALIEN's attacks sends her reeling to \\n the floor, it's stinger arching towards her. She parries, slicing the \\n tail in half and struggling to her feet. \\n\",\n \"PULSING NOISE - like a heartbeat - gains in volume the further they \\n travel. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n \\n They come out in a chamber some forty feet in height and dominated by \\n an enormous pump. ALIEN gunk covers everything. \\n \\n HIROKO gasps. High above it a QUEEN ALIEN, nesting on top of the vast \",\n \"One of the MEN has seen it. His head snaps up to a mammoth engine- \\n block suspended from a winch high above. He LEAPS for the release- \\n catch as the ALIEN passes underneath. Pulls hard on the grip. Chains \\n RATTLE noisily as the block THUNDERS down. The ALIEN begins to look \\n up, just a second too late. The heavy piece of machinery SMASHES into \\n the creature, flattening it instantly. \\n\",\n \"She's practically on top of the bolts. The EXPLOSION is DEAFENING. \\n With the clamp on this side free, the conduit falls into the street \\n with a SCREECH of twisted metal. One of the ALIENS is pulverized by \\n the falling debris, but the others survive. All HIROKO's managed to do \\n is buy herself some breathing space... \\n \\n She races across the building's roof. Reaches the other \",\n \"making the platform lower. Several tons of machinery and crawler bring \\n about the demise of the ALIENS as they reach the lip of the opening, \\n CRUSHING their chitinous limbs to smithereens. \\n \\n An ALIEN rolls out of the pit in time, scrambling for the safety of the \\n nearby shadows. DE VRIES sights it. \\n \\n DE VRIES \\n Over there! \\n\"\n ],\n [\n \"it clips a fallen log and spins end-over-end. It's rider flies through \\n the air and hits the swamp face-first. DILLER and CASSIE race down the \\n ramp with BREWSTER YELPING excitedly in the lead. \\n \\n CASSIE \\n I don't believe it. \\n \\n DILLER splashes through the swamp and pulls the limp body out of the \\n mire. It's YORK. Blood has caked around his wounded leg.\",\n \"What he finds causes him to react with \\n pity and disgust. His fallen comrade is only just alive; mandibles \\n clicking frailly, half his head burnt away. BROKEN TUSK watches the \\n ailing PREDATOR slide a steel blade from it's sheath and offer it to \\n him. He takes it, knowing what has to be done. Rolling the knife \\n quickly over the back of his hand - the sort of elaborate trick \",\n \"surrounding brush still aflame. A SCORPION scuttles inquisitively to \\n the edge of the pit and stops, it's stinger twitching hesitantly. We \\n HEAR a LOW HUM, and the SOUND of METAL-ON-METAL. Before the SCORPION \\n can decide what to do, it's fate is sealed. A large METAL CLAW comes \",\n \"SWISH of sliding metal, and a telescopic spear appears out of thin air. \\n It SLAMS through BEAUVAIS' body, lifting her off the ground and \\n impaling her against a tree. \\n \\n YORK watches in horror as BEAUVAIS' arms thrash around. A moment later \\n her struggles cease, and she'd dropped to the floor like a broken \\n marionette. There's a CRACKLING SOUND, and the hazy air around BEAUVAIS \",\n \"ACKLAND steps cautiously forward to shine his torch inside. \\n \\n YORK (CONT'D) \\n Careful... \\n \\n There's nothing inside. ACKLAND looks disappointed. \\n \\n ACKLAND \\n It's hollow. Think our rhino must've ate something that didn't agree \\n with him. \\n \\n A heavy gust of air blows unexpectedly across the clearing with a \\n BANSHEE HOWL, ruffling their hair. \\n \\n YORK\",\n \"It all seems to be over as quickly as it began; there can be no \\n question as to who were the victors. The PREDATORS stand amidst a sea \\n of biomechanical limbs strewn around like a charnel house. As his \\n companions begin to carefully decapitate the ALIEN skulls, BROKEN TUSK \\n steps over the corpses to examine his fallen comrades. The first \\n PREDATOR to be attacked was killed instantly; he crosses to the other. \",\n \"The adult QUEEN's SHRIEK echoes through the reservoir, accompanied by a \\n ball of fire that travels part of the way down. The IMMATURE QUEEN \\n turns her head in reply, answering with her own YOWL. \\n \\n BROKEN TUSK HISSES with hate, and brings his 'smart weapon' SLICING \\n down through her arm, severing it at the wrist. HIROKO simultanesouly \",\n \"the HUGGER and into ACKLAND. \\n \\n YORK's limping badly, a dark stain blossoming on his baggy fatigue \\n trousers. ACKLAND's not a small man, and the physical effort of hauling \\n him through the reeds makes him sweat profusely. There's movement on \\n the ground, and YORK sees why; one of the LEMURS has fallen victim to \",\n \"She SLAPS BROKEN TUSK on the arm. \\n \\n HIROKO (CONT'D) \\n Come on, Butch. Let's go. \\n \\n She begins to walk away. BROKEN TUSK crosses to the safety barrier, \\n peering over the side... \\n \\n HIROKO (CONT'D) \\n Hey! I said come on! \\n \\n The PREDATOR turns a deaf ear to her. He gauges the distance below, \",\n \"HIROKO watches the PREDATORS file slowly out. BROKEN TUSK's body is \\n borne aloft and carried back inside. The LEAD PREDATOR turns to \\n HIROKO. He crosses to her. HIROKO's face is reflected in the faceted \\n eyepieces of the PREDATOR's helmet. \\n \\n The extraterrestrial hunter pulls out his telescopic spear. KER-CHUNK! \",\n \"the rifle's barrel abruptly stops. \\n \\n HIROKO \\n What? \\n \\n KAMEN \\n I'm out of ammo. Get inside, get inside! \\n \\n HIROKO hears a HORRIBLE NOISE nearby. A field of cows being \\n slaughtered by machetes would sound like this. \\n \\n HIROKO \\n They're in with the rhino! \\n\",\n \"slightly. Skeletal fingers SLICE through, RIPPING at the metal like a \\n can-opener. \\n \\n DE VRIES \\n Jesus! \\n \\n THOMAS raises his rifle and looses a fusillade of shots through the \\n roof. One of them RICOCHETS off the interior, SHATTERING the \\n windscreen. There's a THUMP from outside... \\n \\n DE VRIES (CONT'D) \\n You got 'im! \\n\",\n \"With superhuman strength, the ALIEN brutally back-hands DILLER, \\n splintering his skull and killing him instantly. His body caromes into \\n THOMAS, knocking the man to the floor. The ALIEN turns to KAMEN, it's \\n questing fingers closing around his throat and hauling him off the \\n ground. The space on the catwalk it limited; there's so many people \\n it's impossible to get a clean \\n shot... \\n\",\n \"it's throat. It gazes up at HIROKO. \\n \\n BROKEN TUSK \\n Not...a pretty...sight... \\n \\n And with that, the PREDATOR dies. \\n \\n HIROKO look around. The sun is rising above the treetops, and the \\n setting is serene. Somehow beautiful. \\n \\n The speakers in the heli-jet cabin CRACKLE to life, jarring her. \\n \\n VOICE (O.S., on speakers)\",\n \"By way of an answer, a powerful ray cuts a swathe through the air. DE \\n VRIES takes the torch from him and shines it on the ground. Circular \\n extractor fans rotate quietly in the gloom. \\n \\n DE VRIES (CONT'D) \\n Still got him? \\n \\n GUTTIEREZ \\n It's moving slow. About... eleven metres. On the left. \\n \\n DE VRIES plays the flashlight across the rooftop. \\n\",\n \"DILLER sprints out of the building like a bat out of hell and collides \\n with him. \\n \\n KAMEN \\n Kev, wha...? \\n \\n DILLER breaks free of the other man's grasp. He looks as if he's about \\n to say something, but never gets the chance. \\n \\n There's a sound of TEARING METAL, and a HISSING seven-foot express \\n train of teeth and biomechanical limbs ERUPTS from the shadows.\",\n \"He's so pre-occupied with this task, he totally fails to notice the \\n skeletal ALIEN loom up behind him, emerging from the biomechanical \\n growth on the floor. A barbed tail skewers the PREDATOR straight \\n through the neck, splashing luminous blood across his chestplate. A \\n gargled DEATH-RATTLE issues from his throat, the band of PREDATORS \\n spinning around in time to see him being dragged below the ground. The \",\n \"The rifle goes skittering away out of reach, and he scrambles away as \\n an ALIEN half-pulls itself out of the sewer overflow, wet and \\n glistening... \\n \\n KAMEN \\n Jan! \\n \\n BREWSTER's a mass of fur, totally out of control. When the ALIEN \\n lashes out to grab the HOWLING animal, there's nothing GUTTIEREZ can \",\n \"against it down by the access ramp, smoking a cigarette and idly \\n blowing rings into the air. BREWSTER pricks up her years and begins to \\n quietly SNARL. DILLER glances down at her curiously. \\n \\n DILLER \\n What's the matter, girl? You smell something? \\n \\n Now the rhino are restless too. CASSIE walks across the concrete \\n roadway to join them. \\n \\n CASSIE \\n Rhinos look a little antsy, \\n\",\n \"BROKEN TUSK \\n Chew...on...this...! \\n \\n BLAM! A round open a nice, neat hole in the QUEEN's head. She YOWLS. \\n BLAM! A second round does the job. The QUEEN relinquishes her grip and \\n falls, SCREECHING all the way down into the raging inferno below. \\n \\n INT. RYUSHI STATION - SEWER SYSTEM - PUMP CHAMBER \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Why did the Predators use the heat bloom to attract humans? ","What kind of weapon did one of the Predators kill an Alien and facehugger with?","Who did Alexa and Scar battle with after reaching the surface?","What did the Predators teach early human civilizations?","How often did the Predators visit the Earth?","Which two people survived after Weyland was killed?","What does one of the Predators present to Alexa?","Why did Alexa and Sebastian decide that the Predators should hunt?","Why did the Predator give Alexa one of their weapons?","What does Charles Bishop Weyland discover on an island off the coast of Antarctica? ","How does Weyland's group reach the pyramid beneath the ice?","What does the team first discover about the pyramid?","What happens when the Alien Queen is awoken?","What happens when a human is attacked by a facehugger?","What happens as a result of Weyland's death?","Who taught the human civilization how to build the pyramids?","How often do the Predators visit Earth?","Why do the Predators visit Earth?","What do the Predators reward Alexa with for helping them defeat the Queen Alien?","Where is Bouvetoya geographically located?","What does Charles Bishop Weyland discover using thermal imaging?","Who is Alexa Woods?","How is the enigmatic heat bloom on the island initially detected?","What is located directly above the heat bloom?","What does the exploration team find in the buried pyramid?","What does the Alien Queen do immediately after she awakes from her cryogenic state?","Who taught early human civilizations to build pyramids?","How do Alexa and Scar kill the Alien Queen?","How is Scar killed?"],"string":"[\n \"Why did the Predators use the heat bloom to attract humans? \",\n \"What kind of weapon did one of the Predators kill an Alien and facehugger with?\",\n \"Who did Alexa and Scar battle with after reaching the surface?\",\n \"What did the Predators teach early human civilizations?\",\n \"How often did the Predators visit the Earth?\",\n \"Which two people survived after Weyland was killed?\",\n \"What does one of the Predators present to Alexa?\",\n \"Why did Alexa and Sebastian decide that the Predators should hunt?\",\n \"Why did the Predator give Alexa one of their weapons?\",\n \"What does Charles Bishop Weyland discover on an island off the coast of Antarctica? \",\n \"How does Weyland's group reach the pyramid beneath the ice?\",\n \"What does the team first discover about the pyramid?\",\n \"What happens when the Alien Queen is awoken?\",\n \"What happens when a human is attacked by a facehugger?\",\n \"What happens as a result of Weyland's death?\",\n \"Who taught the human civilization how to build the pyramids?\",\n \"How often do the Predators visit Earth?\",\n \"Why do the Predators visit Earth?\",\n \"What do the Predators reward Alexa with for helping them defeat the Queen Alien?\",\n \"Where is Bouvetoya geographically located?\",\n \"What does Charles Bishop Weyland discover using thermal imaging?\",\n \"Who is Alexa Woods?\",\n \"How is the enigmatic heat bloom on the island initially detected?\",\n \"What is located directly above the heat bloom?\",\n \"What does the exploration team find in the buried pyramid?\",\n \"What does the Alien Queen do immediately after she awakes from her cryogenic state?\",\n \"Who taught early human civilizations to build pyramids?\",\n \"How do Alexa and Scar kill the Alien Queen?\",\n \"How is Scar killed?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["to make new Aliens to hunt","To make new aliens to hunt"],["a shuriken","A spear weapon."],["the Alien Queen","the alien queen"],["how to build pyramids","How to build pyramids"],["every 100 years","Every 100 years."],["Alexa and Sebastian","Alexa and Sebastian"],["one of their spear weapons","One of their spears"],["so the Aliens don't reach the surface","so the Aliens do not reach the surface"],["to recognize her warrior skills","to recognize her skill as a warrior"],["A pyramid buried beneath 2,000 feet of ice.","Pyramid"],["By following a path that was created by a Predator ship.","Create a passage by firing a beam"],["It belonged to an ancient civilization that practiced human sacrifices. ","signs of ancient life"],["She begins to produce eggs.","She starts laying eggs"],["A chestburster leaves the humans body and becomes an alien.","The facehugger attaches itself to the human's face, and then a Chestburster emerges from the chest and becomes and adult Alien."],["Alexa and Sebastian have enough time to escape from the Predators and Aliens.","Alexa and Sebastian escape."],["The Predators.","The Predators"],["Every 100 years.","every 100 years"],["They were seen as Gods and expected humans to saciafice themselves for a hunting ritual.","To take part in a rite of passage."],["A spear weapon.","A spear weapon"],["About 1,000 miles off the coast of Antarctica.","About 1,000 miles off the coast of Antarctica"],["A pyramid about 2,000 feet under the ice.","a pyramid 2000 feet below the ice"],["The guide for the team of experts assembled by Weyland to investigate the buried pyramid.","She is a guide for the team of investigators hired by Weyland Corporation."],["By satellite.","By satellite"],["An deserted whaling station.","an abandoned whaling station"],["A chamber filled with human bones with burst rib cages.","human skeletons with ruptured chest"],["She starts to lay eggs.","she started producing eggs"],["The Predators.","The Predators"],["By attaching a chain to a water tower and throwing her over a cliff to be dragged to the ocean floor.","attached her chain to a water tower and pushed her over a cliff and she ended up at the bottom of the ocean"],["He is impaled by the Alien Queen's tail.","He is impaled through the chest by the Alien Queen's tail."]],"string":"[\n [\n \"to make new Aliens to hunt\",\n \"To make new aliens to hunt\"\n ],\n [\n \"a shuriken\",\n \"A spear weapon.\"\n ],\n [\n \"the Alien Queen\",\n \"the alien queen\"\n ],\n [\n \"how to build pyramids\",\n \"How to build pyramids\"\n ],\n [\n \"every 100 years\",\n \"Every 100 years.\"\n ],\n [\n \"Alexa and Sebastian\",\n \"Alexa and Sebastian\"\n ],\n [\n \"one of their spear weapons\",\n \"One of their spears\"\n ],\n [\n \"so the Aliens don't reach the surface\",\n \"so the Aliens do not reach the surface\"\n ],\n [\n \"to recognize her warrior skills\",\n \"to recognize her skill as a warrior\"\n ],\n [\n \"A pyramid buried beneath 2,000 feet of ice.\",\n \"Pyramid\"\n ],\n [\n \"By following a path that was created by a Predator ship.\",\n \"Create a passage by firing a beam\"\n ],\n [\n \"It belonged to an ancient civilization that practiced human sacrifices. \",\n \"signs of ancient life\"\n ],\n [\n \"She begins to produce eggs.\",\n \"She starts laying eggs\"\n ],\n [\n \"A chestburster leaves the humans body and becomes an alien.\",\n \"The facehugger attaches itself to the human's face, and then a Chestburster emerges from the chest and becomes and adult Alien.\"\n ],\n [\n \"Alexa and Sebastian have enough time to escape from the Predators and Aliens.\",\n \"Alexa and Sebastian escape.\"\n ],\n [\n \"The Predators.\",\n \"The Predators\"\n ],\n [\n \"Every 100 years.\",\n \"every 100 years\"\n ],\n [\n \"They were seen as Gods and expected humans to saciafice themselves for a hunting ritual.\",\n \"To take part in a rite of passage.\"\n ],\n [\n \"A spear weapon.\",\n \"A spear weapon\"\n ],\n [\n \"About 1,000 miles off the coast of Antarctica.\",\n \"About 1,000 miles off the coast of Antarctica\"\n ],\n [\n \"A pyramid about 2,000 feet under the ice.\",\n \"a pyramid 2000 feet below the ice\"\n ],\n [\n \"The guide for the team of experts assembled by Weyland to investigate the buried pyramid.\",\n \"She is a guide for the team of investigators hired by Weyland Corporation.\"\n ],\n [\n \"By satellite.\",\n \"By satellite\"\n ],\n [\n \"An deserted whaling station.\",\n \"an abandoned whaling station\"\n ],\n [\n \"A chamber filled with human bones with burst rib cages.\",\n \"human skeletons with ruptured chest\"\n ],\n [\n \"She starts to lay eggs.\",\n \"she started producing eggs\"\n ],\n [\n \"The Predators.\",\n \"The Predators\"\n ],\n [\n \"By attaching a chain to a water tower and throwing her over a cliff to be dragged to the ocean floor.\",\n \"attached her chain to a water tower and pushed her over a cliff and she ended up at the bottom of the ocean\"\n ],\n [\n \"He is impaled by the Alien Queen's tail.\",\n \"He is impaled through the chest by the Alien Queen's tail.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"fc2a7fbf6df700d88e47bfa3ec20842ab85d6252"},"split":{"kind":"string","value":"train"}}},{"rowIdx":44,"cells":{"text":{"kind":"list like","value":[[" RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," as she sees Vanessa get out of her MOTHER'S car with her \n violin. Roberta nears the front door and finds Isabel and \n some teachers huddled in conversation. A few students are \n crying. \n \n ROBERTA \n (to Isabel) \n What happened? \n \n INT. MUSIC ROOM - DAY \n \n The beginners sit on the floor and rosin their bows. A few "," Roberta stands there, sobered. \n \n ROBERTA \n I'm really sorry, Lucy. \n (tries to get her \n bearings) \n Just do the best you can. \n \n EXT. SCHOOL YARD - DAY \n \n A group of kids stand together with their violins and chat. \n Roberta exits the building and they greet her. She waves "," Roberta except for NAEEM and GUADALUPE, a petite Mexican \n girl with a long dark braid. [NOTE: We'll see other violin \n students from time to time, but this is the class we'll follow \n for Roberta's first year] \n \n ROBERTA \n And what am I doing now? \n \n NAEEM/GUADALUPE \n Rosining the bow. \n"," He kisses her forehead, then exits. HOLD ON ROBERTA, looking \n hurt and frightened. \n \n INT. MUSIC ROOM - DAY \n \n Roberta rosins her bow, standing in front of ten kids -- \n third through fifth-grade -- who sit on the floor next to \n their violin cases. The kids are Black and Latino, with a \n couple of white faces. They're all talking and ignoring "," Ernesto and we can't fix them now, \n but Ramon -- he works so hard. The \n violin makes him want to be good at \n everything. \n \n He shows no response, and she exits. Manuelo ponders what \n she said. \n \n EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) \n \n Roberta approaches the school on a winter morning. She smiles "," Kenny -- but RACHEL is absent) stand outside the locked school \n gate, waiting for Roberta. Some of the kids have their violins \n out of the cases, tuning them. \n \n CARLOS \n Teacher's late. I think she should \n be dropped, don't you? \n \n Kids laugh. \n \n RAMON \n Yeah. I don't think we should let "," attentively, then helping him lift the violin higher. \n \n 5. Vanessa practices in a crowded school hallway, frustrated \n as kids keep bumping into her. \n \n 6. Roberta, in her nightgown, practices in front of her \n refrigerator in the middle of the night. \n \n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \n"," EXT. SCHOOL YARD - DAY \n \n Roberta walks through a school yard filled with kids and \n parents picking them up. She sees Naeem and crosses to him. \n \n ROBERTA \n Where were you today, Naeem? \n \n NAEEM \n I can't be in violin class anymore. \n \n ROBERTA \n Why not? \n"," INT. SCHOOL AUDITORIUM - NIGHT \n \n ROBERTA \n \n Stands in the aisle, leading the students and playing violin. \n \n ON STAGE \n \n The fifty fifth-grade students play the \"Twinkle\" variations. \n Their playing is impeccable and they look terrific. \n \n As the CAMERA PANS the audience, we recognize: MRS. ADISA, "," ROBERTA \n You need violins? \n \n INT. MUSIC ROOM - DAY \n \n In a noisy music room with bad acoustics, Roberta tries to \n take control of fifty kids, third through fifth-graders, who \n are in a state of manic excitement over the FIFTY VIOLIN \n CASES on the floor. \n \n ROBERTA \n (gently)"," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "," INT. CPE 1 - MUSIC CLASSROOM - DAY \n \n Roberta addresses ten first-graders sitting in a circle on \n the floor. She points to the horsehair on her bow. \n \n ROBERTA \n And this? What's this? \n \n BOY \n The frog hair? \n \n Roberta and the kids laugh. \n \n ROBERTA"," ALICE \n They're having a lesson now. \n \n ROBERTA \n But this is when they have violin \n class! \n \n ALICE \n That's not my problem. \n \n Roberta's reluctant to argue in front of the kids; she exits. \n \n EXT. SCHOOL YARD - DAY \n"," ROBERTA \n Anyone else? \n \n Silence. \n \n INT. MUSIC ROOM - LATER \n \n In front of the class, Roberta helps NAEEM, a graceful Black \n boy, hold the violin. He has a serious expression and a scar \n on his left cheek. Roberta controls the bow and fingerboard, \n but it appears that the boy is playing music. He smiles. \n"," ROBERTA \n (to the boys) \n Did you hear what I just said? \n \n ANGLE - Three kids are using the violin cases as pretend \n machine guns -- and shooting each other. \n \n ROBERTA \n Put those down, please! \n \n ANGLE - A boy and a girl are having a \"sword fight\" with \n their bows. \n \n ROBERTA"," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," classroom. \n \n ROBERTA \n No. But I keep trying. And maybe \n someday the school will give me a \n parking space! \n \n She rushes towards the school and Dorothea follows her. \n \n DOROTHEA \n Wait -- \n \n She hands Roberta a thin box. Roberta puts down her violins, \n glances inside it and forgets about being late. \n"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"],[" She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," over to them. Janet looks at her, alarmed. \n \n ROBERTA \n Is it true? \n \n JANET \n Why don't you come in my office? \n \n ROBERTA \n It's true? You're firing me? \n \n JANET \n It's not me, Roberta. The Board of \n Ed. cut the budget, the District had "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," Roberta nods, defeated. \n \n JANET \n I'm very sorry. \n \n INT. CPE 1 - HALLWAY - DAY \n \n Roberta stands outside Janet's office, dejectedly watching \n the children noisily running through the hall. \n \n INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY \n"," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," Wake up, Ernie. \n \n He looks at her groggily. \n \n ROBERTA \n You're fired. \n \n She crosses to the brick workers. \n \n ROBERTA \n You're fired. \n \n She crosses to the painters. \n \n ROBERTA \n You're fired. \n \n Brian smiles at her, impressed. \n"," DENNIS \n You're disrupting school and I want \n them out of here -- now. \n \n ROBERTA \n You still don't get it, do you? I \n don't care if you hate me, Dennis -- \n that's your business. But think about \n the students for once. Every time \n you interfere, you're not hurting me -- "," to comply, and as of the end of this \n term, the violin program has been... \n excessed. \n \n Roberta takes this in, momentarily speechless. In the b.g., \n the beginners slip into the hall to watch. \n \n ROBERTA \n Excessed. \n (beat) \n They specifically said that my violin \n program has to go. \n"," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," I think what Mrs. Lamb is trying to \n say, Roberta, is that you're a little \n too harsh. I'm sure you might be \n able to soften some of your comments \n to the children? \n \n She gives Roberta a long hard look. Roberta nods. \n \n INT. MUSIC ROOM - DAY \n \n Roberta listens to the students play \"Go Tell Aunt Rhody\" -- "," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," I'd much rather get rid of. But as \n far as the Board's concerned, violin \n classes are not a priority. \n \n Roberta's fury starts to give way to grief. She looks terribly \n wounded. Janet looks at her helplessly. \n \n JANET \n I don't have the power here, Roberta. \n I'm so sorry. \n"," Things happened very quickly... I \n wanted to tell you myself -- \n \n ROBERTA \n (reeling) \n I just... I can't even believe this \n is happening! \n \n DENNIS \n Why not? You're a sub. Your position \n has never been permanent. \n \n JANET \n Shut up, Dennis! You're not helping!"," ROBERTA \n Mr. Klein? I'm gonna have to drop \n Vanessa from the class if she keeps \n forgetting her violin. \n \n MR. KLEIN \n (sotto) \n She's going back and forth between \n houses. My wife and I split up. \n \n ROBERTA \n (softening) \n Oh. I'm sorry. \n"," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "],[" Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," her play in Fiddlefest! \n \n A few kids start playing \"CAN-CAN.\" It catches on, and more \n of them join in. PASSERSBY stop to listen, and some drop \n change into the open cases. RAMON and a couple of other kids \n grin at this. \n \n CARLOS steps in front of the kids as he plays, and begins an \n uncanny imitation of Roberta: \n"," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," ROBERTA \n All right, Naeem -- tell them. \n \n NAEEM \n It's called the frog. \n \n Some kids giggle and joke about this. Roberta points to the \n scroll of the violin. \n \n ROBERTA \n Anyone remember what this is? \n \n LUCY, the fidgety girl, snaps her fingers. \n \n ROBERTA"," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," Rachel's gonna be my lieutenant and \n I expect you to listen to her. \n \n Ramon looks through his music sheets. \n \n RAMON \n Bach's \"Minuet One\"? \n \n ROBERTA \n People are gonna be paying good money \n for this concert -- we're not just \n gonna play \"Twinkle.\" \n (handing out papers)"," ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," You think the four hundred people \n who've bought tickets so far will \n think it's funny too? You think Itzhak \n Perlman will think it's funny that \n he's donating his time and you're \n all gonna stink? \n \n Vanessa yawns and Roberta sees her. Uh-oh. \n \n ROBERTA \n Am I boring you, Vanessa? \n"," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"],[" him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," The students finish MINUET ONE. There's an exquisite moment \n of silence, then APPLAUSE. \n \n INT. CARNEGIE HALL - THE STAGE - LATER \n \n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \n with the kids. He improvises, surprising them as his violin \n makes the sound of a TRAIN moving through a tunnel. \n"," her play in Fiddlefest! \n \n A few kids start playing \"CAN-CAN.\" It catches on, and more \n of them join in. PASSERSBY stop to listen, and some drop \n change into the open cases. RAMON and a couple of other kids \n grin at this. \n \n CARLOS steps in front of the kids as he plays, and begins an \n uncanny imitation of Roberta: \n"," Carlos... Itzhak Perlman... Diane Monroe... De Sean. \n \n The song finishes and the APPLAUSE begins. The OTHER \n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \n and join the rest. More applause. The CAMERA PULLS BACK TO \n INCLUDE the audience facing the stage, then REVERSES to show \n the audience standing in the orchestra and balconies. \n"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \n waits to hear if Itzhak Perlman will say yes. \n \n 2. Parents, Roberta, Nick and Lexi hang \"FIDDLEFEST CONCERT\" \n posters around their neighborhood, announcing a concert at \n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and "," TICKET ORDER FORMS and CHECKS. They stack the checks in a \n pile, address return envelopes and place FIDDLEFEST TICKETS \n inside them. \n \n INT. MUSIC ROOM - DAY \n \n Thirty-three excited kids from Roberta's different classes \n chat, tune their violins, rosin their bows. The students \n include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, "," DAN \n Besides, no one's gonna be paying \n attention to your playing anyway. \n \n Roberta laughs. Dan smiles, glad he got her to lighten up. \n \n EXT. CPE 1 - DAY (EARLY MORNING) \n \n The Fiddlefest kids (including Ramon, Shandra, Vanessa, De \n Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and "," Ramon, Vanessa, and Shandra. Roberta enters the room, full \n of energy, and addresses them as she heads to the front. \n \n ROBERTA \n Listen up, everyone! Quiet down! \n \n The students give her their attention. \n \n ROBERTA \n You are my very best beginner and \n advanced violin students and I've \n chosen you to play in Fiddlefest "," Steinhardt, Diane Monroe, Michael \n Tree, Mark O'Connor and Karen Briggs. \n \n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \n \n CRANE SHOT of the six guest violinists on stage for the Grand \n Finale, each one sharing a music stand with a student. Roberta \n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to "," calling other theaters. Nothing's \n available. \n \n They both sink into the couch, completely undone by this. \n \n ROBERTA \n Just keep looking. \n \n INT. ROBERTA'S BROWNSTONE - NIGHT \n \n The Fiddlefest kids are crammed into Roberta's house, \n (including De Sean, Guadalupe, Ramon, Vanessa, Shandra, "," The kids and their parents are practically boiling over with \n excitement. Last minute kisses, violin tunings, and clothing \n adjustments take place throughout the room. \n \n The boys are in suits or tuxes, the girls in velvet or \n flowered dresses, some with bows in their hair, some with \n their hair up in buns. Roberta tries to take a head count, "," STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \n \n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \n to \"FIDDLEFEST\" and accompanying LETTERS and TICKET ORDER \n FORMS. Roberta and Dorothea open envelopes with filled-out "," INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \n \n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \n chatting and listening to the kids. \n \n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \n"," attentively, then helping him lift the violin higher. \n \n 5. Vanessa practices in a crowded school hallway, frustrated \n as kids keep bumping into her. \n \n 6. Roberta, in her nightgown, practices in front of her \n refrigerator in the middle of the night. \n \n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \n"," That's the one Lucy wrote! \n \n The CAMERA returns to the children and captures their own \n pride in their playing, including LUCY, who smiles as she \n hears her song played by fifty. \n \n THE CONCERT - TIME DISSOLVE \n \n The students are now playing \"Allegro,\" and they reach the \n fermata. They hold their positions in silence and the audience "," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," INT. SCHOOL AUDITORIUM - NIGHT \n \n ROBERTA \n \n Stands in the aisle, leading the students and playing violin. \n \n ON STAGE \n \n The fifty fifth-grade students play the \"Twinkle\" variations. \n Their playing is impeccable and they look terrific. \n \n As the CAMERA PANS the audience, we recognize: MRS. ADISA, "," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," right. \n \n INT. MUSIC ROOM - DAY \n \n The kids play \"Allegro,\" Roberta leading them. \n \n ROBERTA \n Get ready, now -- we're coming up to \n the fermata... \n \n They reach a certain note, then pause. \n \n ROBERTA \n Hold... Hold... Don't anybody move. \n Now at the Spring Concert, the "],[" Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," over to them. Janet looks at her, alarmed. \n \n ROBERTA \n Is it true? \n \n JANET \n Why don't you come in my office? \n \n ROBERTA \n It's true? You're firing me? \n \n JANET \n It's not me, Roberta. The Board of \n Ed. cut the budget, the District had "," ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," JANET \n They've slashed the budget -- music \n and art programs got hit the worst. \n \n ROBERTA \n What about Dennis' classes? \n \n DENNIS \n I'm tenured, Roberta. \n \n Roberta looks at him, then back to Janet. \n \n ROBERTA \n When was this decided? \n \n JANET"," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Ten years ago, Roberta Guaspari walked \n into my office because she needed a \n job, and because she had a vision \n that any child could learn the violin. \n We put our dreams together and created \n the East Harlem Violin Program which \n has helped more than a thousand \n students expand their vision of what's \n possible in their lives. When a \n program like this is cut, our "," to comply, and as of the end of this \n term, the violin program has been... \n excessed. \n \n Roberta takes this in, momentarily speechless. In the b.g., \n the beginners slip into the hall to watch. \n \n ROBERTA \n Excessed. \n (beat) \n They specifically said that my violin \n program has to go. \n"," other extra programs to give them \n instead. \n \n ROBERTA \n Oh, I see. So after ten years, after \n fourteen hundred children have learned \n to play the violin, this is just an \n \"extra program.\" \n \n JANET \n You know I don't feel that way and \n you know damn well I've been standing \n by you all these years! You think I "," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," I'd much rather get rid of. But as \n far as the Board's concerned, violin \n classes are not a priority. \n \n Roberta's fury starts to give way to grief. She looks terribly \n wounded. Janet looks at her helplessly. \n \n JANET \n I don't have the power here, Roberta. \n I'm so sorry. \n"," I think what Mrs. Lamb is trying to \n say, Roberta, is that you're a little \n too harsh. I'm sure you might be \n able to soften some of your comments \n to the children? \n \n She gives Roberta a long hard look. Roberta nods. \n \n INT. MUSIC ROOM - DAY \n \n Roberta listens to the students play \"Go Tell Aunt Rhody\" -- "," school -- in Greece -- and a year \n teaching chorus in Hawaii -- ten \n years ago -- it doesn't look like \n you've had any other teaching \n experience. \n \n ROBERTA \n Well, not traditional teaching \n experience. I've been doing private \n lessons... \n \n Janet looks for this on the resume. \n \n ROBERTA"," They clink glasses and drink. \n \n ROBERTA \n I don't know, Brian. I'm hanging on \n by a thread there. Out of fifty kids, \n maybe six are listening to me. \n \n BRIAN \n Look at the progress. Didn't you say \n no one was listening to you on Monday? \n \n Roberta laughs. \n \n ROBERTA"," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "," I'm from a blue collar family, and \n if it weren't for the lessons I got \n in public school, I never would have \n learned the violin. \n \n It CUTS TO Roberta's beginners speaking to the interviewer. \n \n INTERVIEWER (O.S.) \n How does it make you feel to lose \n your violin program? \n \n SHANDRA"," Things happened very quickly... I \n wanted to tell you myself -- \n \n ROBERTA \n (reeling) \n I just... I can't even believe this \n is happening! \n \n DENNIS \n Why not? You're a sub. Your position \n has never been permanent. \n \n JANET \n Shut up, Dennis! You're not helping!"],[" Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," This is making her nervous. She looks at him, afraid of what \n he might be saying. \n \n ROBERTA \n (carefully) \n What are you saying? If there's some \n need you have that I don't meet, \n you'd go and get it \"met\" by someone \n else? \n \n He heaves a sigh of frustration, not wanting to answer the \n question. \n"," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "," The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \n photo album from the floor, looks at a photo and removes it. \n She's a beautiful woman with large, expressive eyes, but \n right now she looks like hell. She stares at the photo -- \n it's the two couples dancing. A quick glimpse of hurt on her "," BRIAN \n Because? \n \n ROBERTA \n The boys -- \n \n BRIAN \n They're sleeping. \n \n ROBERTA \n I know, but... I'm still married. \n \n BRIAN \n And what's your husband doing right \n now? \n \n A few beats, and she moves towards him. \n"," Tell me. \n \n ROBERTA \n (hesitates, then) \n I don't know. Charles filled out my \n absentee ballot. \n \n BRIAN \n Oh my God -- it's even worse than I \n thought! \n (touching her hair) \n Is this the same Roberta who got the \n orchestra to strike until they gave \n us new uniforms?"," He places items into a carry-on bag, packing at a rapid clip. \n In contrast, Roberta seems to be moving in slow motion. \n \n BRIAN \n I've got a few families lined up \n there, some in California -- \n \n ROBERTA \n How long will you be gone? \n \n BRIAN \n Two, three months. \n \n ROBERTA \n What?"," She turns, relieved, until she sees that Brian's packing a \n suitcase. \n \n ROBERTA \n Where are you going? \n \n BRIAN \n Texas. \n \n He dashes out. Roberta sits up, rattled by this news. \n \n INT. BRIAN'S OFFICE - DAY \n \n Brian excitedly gathers papers and files scattered around \n his electric typewriter."," Roberta's thrilled and relieved to see him. She embraces \n him, and they kiss passionately. \n \n INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) \n \n CLOSE ON plaster walls being knocked down with sledgehammers. \n REVEAL Brian, Roberta, and a couple of workmen knocking down \n the walls in an old brownstone. \n"," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," Roberta attempts to read Brian's book, To Hell and Back: \n Interviews with Vietnam Vets, but she's distracted. She \n glances at her purse, then back to the book. She puts the \n book down and dials the phone. \n \n ROBERTA \n Brian Turner's room, please. \n \n While she waits, she looks at Brian's picture on the book "," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," knew Charles when you married him. \n \n ROBERTA \n (defensive) \n I don't get it -- you're ragging on \n me about buying the house -- I would \n think you'd want Brian to live with \n me. \n \n ASSUNTA \n Not if he's the wrong person. \n \n Roberta locks her jaw, not wanting to believe that she's "," ROBERTA \n O.K., enough goofing off -- back to \n work. \n \n BRIAN \n You trying to kill me? \n \n She laughs and they kiss. \n \n ASSUNTA comes up the street with a bag of take-out food. She \n casts a dubious glance at the lovers. \n \n ASSUNTA \n I was the only person in the whole "," BRIAN \n It didn't mean I had the one I wanted. \n \n He gives her a flirtatious smile, then takes out one of her \n rollers. \n \n BRIAN \n You're not a navy wife anymore... \n \n He moves to takes out another roller and Roberta stops him. \n \n ROBERTA \n Yes I am... legally. \n \n BRIAN"," with ribbons, bows and stickers. At one point she even unties \n a ribbon and redoes it because it's not perfect. She looks \n pretty, but she's dressed conservatively, like a navy \n housewife. There's only one other clerk wrapping gifts and a \n long line of impatient customers. A male SUPERVISOR appears \n behind Roberta. \n \n SUPERVISOR"," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "],[" Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "," with ribbons, bows and stickers. At one point she even unties \n a ribbon and redoes it because it's not perfect. She looks \n pretty, but she's dressed conservatively, like a navy \n housewife. There's only one other clerk wrapping gifts and a \n long line of impatient customers. A male SUPERVISOR appears \n behind Roberta. \n \n SUPERVISOR"," Roberta climbs the dimly-lit stairs of a dilapidated, scary \n building. O.S. a BABY CRIES, a couple of TV's BLARE. \n \n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \n \n At the top of the stairs, Roberta turns down the hall, passing \n a door riddled with bullet holes. She finds the apartment "," INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta enters her apartment, back from the airport, and \n double-locks the door behind her. You can see on her face \n that she's dreading the emptiness. She crosses to a small \n Christmas tree, obviously decorated by her and the boys, and \n plugs in the tiny blinking lights. It's not exactly "," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"," She sits down beside Roberta, takes out her lunch. \n \n ROBERTA \n Is it my imagination, or does everyone \n hate me? \n \n ISABEL \n It's hard to fit in when you're doing \n a special program. People figure \n you're not gonna be here very long, \n so why make the effort? \n (beat) \n It may take a while for folks to "," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \n photo album from the floor, looks at a photo and removes it. \n She's a beautiful woman with large, expressive eyes, but \n right now she looks like hell. She stares at the photo -- \n it's the two couples dancing. A quick glimpse of hurt on her "," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," Roberta's explaining that. Just \n listen. \n \n ROBERTA \n After your parents sign your \n permission slips, I'm gonna put them \n in a sack, and I'll pick fifty names \n from each school. \n \n ANGLE - Ramon listens intently with his fingers crossed. \n \n ROBERTA \n So everyone bring in your slips by "," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," She tosses one aside, then opens another. \n \n INSERT \n \n The letter is designed like a newspaper with a headline that \n reads: JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD; \n HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE! \n \n BACK TO SCENE \n \n Roberta can't help but be charmed."," other extra programs to give them \n instead. \n \n ROBERTA \n Oh, I see. So after ten years, after \n fourteen hundred children have learned \n to play the violin, this is just an \n \"extra program.\" \n \n JANET \n You know I don't feel that way and \n you know damn well I've been standing \n by you all these years! You think I "," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "],[" Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," Ten years ago, Roberta Guaspari walked \n into my office because she needed a \n job, and because she had a vision \n that any child could learn the violin. \n We put our dreams together and created \n the East Harlem Violin Program which \n has helped more than a thousand \n students expand their vision of what's \n possible in their lives. When a \n program like this is cut, our "," to comply, and as of the end of this \n term, the violin program has been... \n excessed. \n \n Roberta takes this in, momentarily speechless. In the b.g., \n the beginners slip into the hall to watch. \n \n ROBERTA \n Excessed. \n (beat) \n They specifically said that my violin \n program has to go. \n"," I'm from a blue collar family, and \n if it weren't for the lessons I got \n in public school, I never would have \n learned the violin. \n \n It CUTS TO Roberta's beginners speaking to the interviewer. \n \n INTERVIEWER (O.S.) \n How does it make you feel to lose \n your violin program? \n \n SHANDRA"," other extra programs to give them \n instead. \n \n ROBERTA \n Oh, I see. So after ten years, after \n fourteen hundred children have learned \n to play the violin, this is just an \n \"extra program.\" \n \n JANET \n You know I don't feel that way and \n you know damn well I've been standing \n by you all these years! You think I "," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," I'd much rather get rid of. But as \n far as the Board's concerned, violin \n classes are not a priority. \n \n Roberta's fury starts to give way to grief. She looks terribly \n wounded. Janet looks at her helplessly. \n \n JANET \n I don't have the power here, Roberta. \n I'm so sorry. \n"," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," JANET \n They've slashed the budget -- music \n and art programs got hit the worst. \n \n ROBERTA \n What about Dennis' classes? \n \n DENNIS \n I'm tenured, Roberta. \n \n Roberta looks at him, then back to Janet. \n \n ROBERTA \n When was this decided? \n \n JANET"," Roberta stands there, sobered. \n \n ROBERTA \n I'm really sorry, Lucy. \n (tries to get her \n bearings) \n Just do the best you can. \n \n EXT. SCHOOL YARD - DAY \n \n A group of kids stand together with their violins and chat. \n Roberta exits the building and they greet her. She waves "," as she sees Vanessa get out of her MOTHER'S car with her \n violin. Roberta nears the front door and finds Isabel and \n some teachers huddled in conversation. A few students are \n crying. \n \n ROBERTA \n (to Isabel) \n What happened? \n \n INT. MUSIC ROOM - DAY \n \n The beginners sit on the floor and rosin their bows. A few "," over to them. Janet looks at her, alarmed. \n \n ROBERTA \n Is it true? \n \n JANET \n Why don't you come in my office? \n \n ROBERTA \n It's true? You're firing me? \n \n JANET \n It's not me, Roberta. The Board of \n Ed. cut the budget, the District had "," stick around. I finally decided I'd \n start my own program -- Charles gave \n me the money and I bought fifty \n violins from this little Greek shop -- \n got started at a private school and \n then... \n \n BRIAN \n Your husband ran off with your best \n friend. \n \n A beat. \n \n ROBERTA"," and giving direction. They're playing badly. \n \n Rachel plays as well, but walks around the room making \n corrections. It's early morning, and the kids look half- \n asleep. \n \n ROBERTA \n Frog! Frog! I need more accents on \n the down beat! More bow! More! \n \n They play a few more bars and still sound pretty bad. \n \n ROBERTA"," BRIAN \n A little of both. \n \n Roberta smiles, blushing a bit. Brian looks at her, getting \n an idea. \n \n BRIAN \n You know, I know this really cool \n lady who runs this elementary school -- \n I wrote a piece on her. It's a public \n school, but it's alternative -- she \n might be able to create some kind of "," The kids say \"the world's greatest violinists\" along with \n her -- they've obviously been hearing this a lot. Roberta \n glares at them. \n \n ROBERTA \n I think we should forget the Bach \n Double. \n (to the other kids) \n And you guys are never gonna get \n Minuet One. I think we should drop \n that too. \n"," Kenny -- but RACHEL is absent) stand outside the locked school \n gate, waiting for Roberta. Some of the kids have their violins \n out of the cases, tuning them. \n \n CARLOS \n Teacher's late. I think she should \n be dropped, don't you? \n \n Kids laugh. \n \n RAMON \n Yeah. I don't think we should let "],[" him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," The students finish MINUET ONE. There's an exquisite moment \n of silence, then APPLAUSE. \n \n INT. CARNEGIE HALL - THE STAGE - LATER \n \n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \n with the kids. He improvises, surprising them as his violin \n makes the sound of a TRAIN moving through a tunnel. \n"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," her play in Fiddlefest! \n \n A few kids start playing \"CAN-CAN.\" It catches on, and more \n of them join in. PASSERSBY stop to listen, and some drop \n change into the open cases. RAMON and a couple of other kids \n grin at this. \n \n CARLOS steps in front of the kids as he plays, and begins an \n uncanny imitation of Roberta: \n"," Ramon, Vanessa, and Shandra. Roberta enters the room, full \n of energy, and addresses them as she heads to the front. \n \n ROBERTA \n Listen up, everyone! Quiet down! \n \n The students give her their attention. \n \n ROBERTA \n You are my very best beginner and \n advanced violin students and I've \n chosen you to play in Fiddlefest "," open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \n waits to hear if Itzhak Perlman will say yes. \n \n 2. Parents, Roberta, Nick and Lexi hang \"FIDDLEFEST CONCERT\" \n posters around their neighborhood, announcing a concert at \n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and "," STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \n \n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \n to \"FIDDLEFEST\" and accompanying LETTERS and TICKET ORDER \n FORMS. Roberta and Dorothea open envelopes with filled-out "," DAN \n Besides, no one's gonna be paying \n attention to your playing anyway. \n \n Roberta laughs. Dan smiles, glad he got her to lighten up. \n \n EXT. CPE 1 - DAY (EARLY MORNING) \n \n The Fiddlefest kids (including Ramon, Shandra, Vanessa, De \n Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and "," Carlos... Itzhak Perlman... Diane Monroe... De Sean. \n \n The song finishes and the APPLAUSE begins. The OTHER \n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \n and join the rest. More applause. The CAMERA PULLS BACK TO \n INCLUDE the audience facing the stage, then REVERSES to show \n the audience standing in the orchestra and balconies. \n"," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," (to the fencers) \n Don't do that! Put the bows back in \n the cases -- right now! \n \n There's the SOUND of violin strings being plucked. \n \n ROBERTA \n Who's plucking? \n \n Roberta wheels around to find a girl plucking her violin \n like a banjo, and doing a little dance. This is LUCY, a skinny "," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," TICKET ORDER FORMS and CHECKS. They stack the checks in a \n pile, address return envelopes and place FIDDLEFEST TICKETS \n inside them. \n \n INT. MUSIC ROOM - DAY \n \n Thirty-three excited kids from Roberta's different classes \n chat, tune their violins, rosin their bows. The students \n include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, "," That's the one Lucy wrote! \n \n The CAMERA returns to the children and captures their own \n pride in their playing, including LUCY, who smiles as she \n hears her song played by fifty. \n \n THE CONCERT - TIME DISSOLVE \n \n The students are now playing \"Allegro,\" and they reach the \n fermata. They hold their positions in silence and the audience "," This is to inform you that your child, \n Ramon Olivas, has been chosen by \n lottery to be in the violin program. \n \n CONCEPCION \n You happy? \n \n Ramon spins round and round with the letter in his hand. \n \n CONCEPCION \n I think you're happy. \n \n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \n"," Steinhardt, Diane Monroe, Michael \n Tree, Mark O'Connor and Karen Briggs. \n \n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \n \n CRANE SHOT of the six guest violinists on stage for the Grand \n Finale, each one sharing a music stand with a student. Roberta \n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to "," They begin again, and we see Naeem take out a violin and \n join in. As they play, Roberta's ears perk up at something \n she's hearing. She crosses to Lucy. \n \n ROBERTA \n What are you playing? \n \n LUCY \n Twinkle. \n \n ROBERTA \n (to class) \n Everyone stop! \n (to Lucy)"," The kids and their parents are practically boiling over with \n excitement. Last minute kisses, violin tunings, and clothing \n adjustments take place throughout the room. \n \n The boys are in suits or tuxes, the girls in velvet or \n flowered dresses, some with bows in their hair, some with \n their hair up in buns. Roberta tries to take a head count, "," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "],[" We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," INT. CARNEGIE HALL - NIGHT \n \n The hall is filling to capacity as people take their seats, \n the room buzzing with voices. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n The CARNEGIE HALL staff person enters. \n \n STAFF PERSON \n FIVE MINUTE CALL. WE NOW HAVE FIVE \n MINUTES. \n"," What about in the Bronx? \n \n NICK \n There's nothing. \n (beat) \n Why don't you just do it in one of \n the schools? It'll be a lot smaller \n but -- \n \n ROBERTA \n We won't make enough money. \n \n LEXI \n What about postponing it? \n \n ROBERTA"," have a bigger mission: to take the \n magical spirit of tonight's concert \n with us out into the world, and to \n fight for music and art to be a part \n of every child's education. Thank \n you. \n \n The APPLAUSE is DEAFENING, then slowly diminishes as we: \n \n DISSOLVE TO: \n"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," Disappointed grumblings. \n \n ISABEL \n What if we raise the money ourselves? \n \n JANET \n I can't see how they'd object to \n that. \n \n A beat as people take this in. \n \n CONCEPCION \n Well once that newspaper article \n comes out, that should help bring in \n money. \n \n BEVERLY"," The kids and their parents are practically boiling over with \n excitement. Last minute kisses, violin tunings, and clothing \n adjustments take place throughout the room. \n \n The boys are in suits or tuxes, the girls in velvet or \n flowered dresses, some with bows in their hair, some with \n their hair up in buns. Roberta tries to take a head count, "," ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," attentively, then helping him lift the violin higher. \n \n 5. Vanessa practices in a crowded school hallway, frustrated \n as kids keep bumping into her. \n \n 6. Roberta, in her nightgown, practices in front of her \n refrigerator in the middle of the night. \n \n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \n"," be afraid. It's gonna be really \n wonderful. So play -- play from here. \n \n She pats her heart. \n \n INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT \n \n The kids head out towards the stage, the APPLAUSE getting \n louder as they get closer. \n \n INT. CARNEGIE HALL - STAGE - NIGHT \n"," and they've cancelled all events. \n \n ROBERTA \n Until when? \n \n DOROTHEA \n \"Until further notice.\" \n \n ROBERTA \n This can't happen! We've sold tickets! \n We've done publicity! The concert's \n in three weeks! \n \n DOROTHEA \n I've been on the phone all morning "," INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \n \n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \n chatting and listening to the kids. \n \n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \n"," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"],[" She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," over to them. Janet looks at her, alarmed. \n \n ROBERTA \n Is it true? \n \n JANET \n Why don't you come in my office? \n \n ROBERTA \n It's true? You're firing me? \n \n JANET \n It's not me, Roberta. The Board of \n Ed. cut the budget, the District had "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," Roberta nods, defeated. \n \n JANET \n I'm very sorry. \n \n INT. CPE 1 - HALLWAY - DAY \n \n Roberta stands outside Janet's office, dejectedly watching \n the children noisily running through the hall. \n \n INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY \n"," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," Wake up, Ernie. \n \n He looks at her groggily. \n \n ROBERTA \n You're fired. \n \n She crosses to the brick workers. \n \n ROBERTA \n You're fired. \n \n She crosses to the painters. \n \n ROBERTA \n You're fired. \n \n Brian smiles at her, impressed. \n"," DENNIS \n You're disrupting school and I want \n them out of here -- now. \n \n ROBERTA \n You still don't get it, do you? I \n don't care if you hate me, Dennis -- \n that's your business. But think about \n the students for once. Every time \n you interfere, you're not hurting me -- "," to comply, and as of the end of this \n term, the violin program has been... \n excessed. \n \n Roberta takes this in, momentarily speechless. In the b.g., \n the beginners slip into the hall to watch. \n \n ROBERTA \n Excessed. \n (beat) \n They specifically said that my violin \n program has to go. \n"," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," I think what Mrs. Lamb is trying to \n say, Roberta, is that you're a little \n too harsh. I'm sure you might be \n able to soften some of your comments \n to the children? \n \n She gives Roberta a long hard look. Roberta nods. \n \n INT. MUSIC ROOM - DAY \n \n Roberta listens to the students play \"Go Tell Aunt Rhody\" -- "," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," I'd much rather get rid of. But as \n far as the Board's concerned, violin \n classes are not a priority. \n \n Roberta's fury starts to give way to grief. She looks terribly \n wounded. Janet looks at her helplessly. \n \n JANET \n I don't have the power here, Roberta. \n I'm so sorry. \n"," Things happened very quickly... I \n wanted to tell you myself -- \n \n ROBERTA \n (reeling) \n I just... I can't even believe this \n is happening! \n \n DENNIS \n Why not? You're a sub. Your position \n has never been permanent. \n \n JANET \n Shut up, Dennis! You're not helping!"," ROBERTA \n Mr. Klein? I'm gonna have to drop \n Vanessa from the class if she keeps \n forgetting her violin. \n \n MR. KLEIN \n (sotto) \n She's going back and forth between \n houses. My wife and I split up. \n \n ROBERTA \n (softening) \n Oh. I'm sorry. \n"," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "],[" Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," Roberta attempts to read Brian's book, To Hell and Back: \n Interviews with Vietnam Vets, but she's distracted. She \n glances at her purse, then back to the book. She puts the \n book down and dials the phone. \n \n ROBERTA \n Brian Turner's room, please. \n \n While she waits, she looks at Brian's picture on the book "," BRIAN \n It didn't mean I had the one I wanted. \n \n He gives her a flirtatious smile, then takes out one of her \n rollers. \n \n BRIAN \n You're not a navy wife anymore... \n \n He moves to takes out another roller and Roberta stops him. \n \n ROBERTA \n Yes I am... legally. \n \n BRIAN"," The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \n photo album from the floor, looks at a photo and removes it. \n She's a beautiful woman with large, expressive eyes, but \n right now she looks like hell. She stares at the photo -- \n it's the two couples dancing. A quick glimpse of hurt on her "," INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta enters her apartment, back from the airport, and \n double-locks the door behind her. You can see on her face \n that she's dreading the emptiness. She crosses to a small \n Christmas tree, obviously decorated by her and the boys, and \n plugs in the tiny blinking lights. It's not exactly "," Tell me. \n \n ROBERTA \n (hesitates, then) \n I don't know. Charles filled out my \n absentee ballot. \n \n BRIAN \n Oh my God -- it's even worse than I \n thought! \n (touching her hair) \n Is this the same Roberta who got the \n orchestra to strike until they gave \n us new uniforms?"," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," And is it a navy requirement that \n you dress like it's the 1950's? \n \n ROBERTA \n I do not! \n \n BRIAN \n (goading her) \n Who did you vote for in the last \n election? \n \n ROBERTA \n What does that have to do with \n anything? \n \n BRIAN"," BRIAN \n Because? \n \n ROBERTA \n The boys -- \n \n BRIAN \n They're sleeping. \n \n ROBERTA \n I know, but... I'm still married. \n \n BRIAN \n And what's your husband doing right \n now? \n \n A few beats, and she moves towards him. \n"," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," with ribbons, bows and stickers. At one point she even unties \n a ribbon and redoes it because it's not perfect. She looks \n pretty, but she's dressed conservatively, like a navy \n housewife. There's only one other clerk wrapping gifts and a \n long line of impatient customers. A male SUPERVISOR appears \n behind Roberta. \n \n SUPERVISOR"," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "," He places items into a carry-on bag, packing at a rapid clip. \n In contrast, Roberta seems to be moving in slow motion. \n \n BRIAN \n I've got a few families lined up \n there, some in California -- \n \n ROBERTA \n How long will you be gone? \n \n BRIAN \n Two, three months. \n \n ROBERTA \n What?"," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," She turns, relieved, until she sees that Brian's packing a \n suitcase. \n \n ROBERTA \n Where are you going? \n \n BRIAN \n Texas. \n \n He dashes out. Roberta sits up, rattled by this news. \n \n INT. BRIAN'S OFFICE - DAY \n \n Brian excitedly gathers papers and files scattered around \n his electric typewriter."," Roberta hesitates, but knows she has to tell them the truth. \n She addresses both boys. \n \n ROBERTA \n Your father met someone he liked \n more than Mommy, and then -- \n \n NICK \n Who? \n \n Roberta swallows, shocked to hear him ask this. She can hardly \n answer him. \n \n ROBERTA"," BRIAN \n (hesitates, then) \n Roberta -- \n \n His tone and expression tell her the words are not \n forthcoming. \n \n ROBERTA \n Get out. \n \n He looks at her, shocked by her toughness, but knows he can't \n give her what she wants. He exits. Roberta stands in the \n middle of the room, a determined look on her face. \n"," This is making her nervous. She looks at him, afraid of what \n he might be saying. \n \n ROBERTA \n (carefully) \n What are you saying? If there's some \n need you have that I don't meet, \n you'd go and get it \"met\" by someone \n else? \n \n He heaves a sigh of frustration, not wanting to answer the \n question. \n"," in his arms. \n \n BRIAN \n You're gonna be fine. You have a \n job, a place to stay, your kids have \n a school to go to -- and there's a \n D'Agostino's around the corner. \n \n She attempts a smile. \n \n ROBERTA \n Congratulations. \n"],[" ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," ROBERTA \n You called Vanessa's father and \n mother? \n \n JANET \n No answer at either. \n \n A Carnegie Hall staff person in a suit enters. \n \n STAFF PERSON \n Half hour call! It's now half hour \n call! So pace yourself accordingly. \n Don't get more than thirty minutes \n worth of nervous! \n"," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"," this. It's huge. It's gigantic! It's \n Carnegie Hall! And listen to this: \n now Isaac Stern wants to play with \n us -- Diane Monroe, Michael Tree -- \n there's other people calling -- \n \n DAN \n That's fantastic! \n \n ROBERTA \n Fantastic? I'll never get the kids "," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," Roberta nods, and addresses the kids as she unlocks the gate. \n \n ROBERTA \n He's right, by the way. You do sound \n terrible, and you are gonna make \n everyone in Carnegie Hall sick to \n their stomachs. \n \n The kids start filing in. Rachel comes up the street and \n catches up to Roberta. \n \n RACHEL"," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," Would you believe in 1960, they tried \n to tear this place down? They wanted \n to replace it with a bright red \n skyscraper -- we called it \"the red \n terror.\" \n \n ROBERTA \n You're kidding. \n \n ISAAC STERN \n We had to fight like hell, but with \n a lot of help, we saved Carnegie "," violinists bow... and MOVE IN CLOSER on ROBERTA in her moment \n of triumph. \n \n INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER \n \n Roberta addresses the audience. Her voice is strong but softer \n around the edges; she is a woman in a state of grace. \n \n ROBERTA \n We're all here tonight because we "," INT. CARNEGIE HALL - DAY \n \n CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly. \n \n PULL BACK TO REVEAL THIS IS ROBERTA'S POV \n \n She stands on the empty stage, gazing at the ceiling as she \n slowly turns around. She's holding her violin case. She looks "," DOROTHEA \n Don't be silly. Besides -- you'll \n need your money for parking tickets. \n \n They smile at each other. \n \n DOROTHEA \n What you're doing for these children \n is wonderful. My husband's a violinist -- \n he was quite impressed when I told \n him about you. \n \n ROBERTA"," INT. CARNEGIE HALL - NIGHT \n \n The hall is filling to capacity as people take their seats, \n the room buzzing with voices. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n The CARNEGIE HALL staff person enters. \n \n STAFF PERSON \n FIVE MINUTE CALL. WE NOW HAVE FIVE \n MINUTES. \n"," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," around to make sure she's alone. She takes out her violin, \n takes a deep breath as she looks out towards her \"audience,\" \n then starts to play the second violin part of the Bach Double \n Concerto. Suddenly, there's the SOUND of a stage door opening. \n Roberta stops. \n \n MALE VOICE (O.S.) \n Incredible sound in this room, no? \n"," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," ROBERTA \n (half to herself) \n It better be a good concert. \n \n The DOORBELL RINGS and Roberta crosses to get it. DAN enters, \n holding copies of the NY POST, the DAILY NEWS, and a couple \n of other papers. Each paper has been opened to a specific \n page. \n \n DAN \n Take your pick. \n"," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"],[" Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," and giving direction. They're playing badly. \n \n Rachel plays as well, but walks around the room making \n corrections. It's early morning, and the kids look half- \n asleep. \n \n ROBERTA \n Frog! Frog! I need more accents on \n the down beat! More bow! More! \n \n They play a few more bars and still sound pretty bad. \n \n ROBERTA"," INT. SCHOOL AUDITORIUM - NIGHT \n \n ROBERTA \n \n Stands in the aisle, leading the students and playing violin. \n \n ON STAGE \n \n The fifty fifth-grade students play the \"Twinkle\" variations. \n Their playing is impeccable and they look terrific. \n \n As the CAMERA PANS the audience, we recognize: MRS. ADISA, "," Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), \n rehearsing \"Orange Blossom Special.\" They play badly. Rachel \n helps Roberta correct students. \n \n ROBERTA \n Stop! Someone's playing the wrong \n notes! And you shouldn't need your \n music anymore! Except for the Bach \n Double, everything has to be memorized \n by next rehearsal! \n"," What's his name? \n \n DOROTHEA \n Arnold Steinhardt. \n \n ROBERTA \n Of the Guarneri String Quartet? \n \n Dorothea nods, and hands Roberta a card. \n \n DOROTHEA \n Stay in touch. Let us know when the \n kids have a concert. \n"," Roberta knocks on Janet's door. \n \n JANET (O.S.) \n Yes? \n \n As Roberta opens the door, we see that Nick and Lexi are \n with her. All three have violins. INSIDE, Janet's in \n conversation with DENNIS RAUSCH (38), an uptight man with a \n tie that doesn't match his suit jacket. He's showing Janet a "," INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT \n \n Roberta, Nick and Lexi play Haydn's \"Trio #13\" together on \n their respective instruments. We sense that this is a special \n family ritual. They play throughout their conversation: \n \n ROBERTA \n I think you're flat, Nick. \n \n NICK \n I'm not flat. \n"," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS \n plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. \n NICK plays cello; LEXI plays the piano behind them; and, \n playing with her own solo music stand, ROBERTA. \n \n Their expressions are serious and passionate, broken by \n occasional smiles lighting on faces: Isaac Stern... Lucy... "," He kisses her forehead, then exits. HOLD ON ROBERTA, looking \n hurt and frightened. \n \n INT. MUSIC ROOM - DAY \n \n Roberta rosins her bow, standing in front of ten kids -- \n third through fifth-grade -- who sit on the floor next to \n their violin cases. The kids are Black and Latino, with a \n couple of white faces. They're all talking and ignoring "," this. It's huge. It's gigantic! It's \n Carnegie Hall! And listen to this: \n now Isaac Stern wants to play with \n us -- Diane Monroe, Michael Tree -- \n there's other people calling -- \n \n DAN \n That's fantastic! \n \n ROBERTA \n Fantastic? I'll never get the kids "," The kids say \"the world's greatest violinists\" along with \n her -- they've obviously been hearing this a lot. Roberta \n glares at them. \n \n ROBERTA \n I think we should forget the Bach \n Double. \n (to the other kids) \n And you guys are never gonna get \n Minuet One. I think we should drop \n that too. \n"," ROBERTA \n (to the boys) \n Did you hear what I just said? \n \n ANGLE - Three kids are using the violin cases as pretend \n machine guns -- and shooting each other. \n \n ROBERTA \n Put those down, please! \n \n ANGLE - A boy and a girl are having a \"sword fight\" with \n their bows. \n \n ROBERTA"," DOROTHEA \n Don't be silly. Besides -- you'll \n need your money for parking tickets. \n \n They smile at each other. \n \n DOROTHEA \n What you're doing for these children \n is wonderful. My husband's a violinist -- \n he was quite impressed when I told \n him about you. \n \n ROBERTA"," her play in Fiddlefest! \n \n A few kids start playing \"CAN-CAN.\" It catches on, and more \n of them join in. PASSERSBY stop to listen, and some drop \n change into the open cases. RAMON and a couple of other kids \n grin at this. \n \n CARLOS steps in front of the kids as he plays, and begins an \n uncanny imitation of Roberta: \n"," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"," around to make sure she's alone. She takes out her violin, \n takes a deep breath as she looks out towards her \"audience,\" \n then starts to play the second violin part of the Bach Double \n Concerto. Suddenly, there's the SOUND of a stage door opening. \n Roberta stops. \n \n MALE VOICE (O.S.) \n Incredible sound in this room, no? \n"," ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," Roberta nods, and addresses the kids as she unlocks the gate. \n \n ROBERTA \n He's right, by the way. You do sound \n terrible, and you are gonna make \n everyone in Carnegie Hall sick to \n their stomachs. \n \n The kids start filing in. Rachel comes up the street and \n catches up to Roberta. \n \n RACHEL"],[" Roberta except for NAEEM and GUADALUPE, a petite Mexican \n girl with a long dark braid. [NOTE: We'll see other violin \n students from time to time, but this is the class we'll follow \n for Roberta's first year] \n \n ROBERTA \n And what am I doing now? \n \n NAEEM/GUADALUPE \n Rosining the bow. \n"," ROBERTA \n You need violins? \n \n INT. MUSIC ROOM - DAY \n \n In a noisy music room with bad acoustics, Roberta tries to \n take control of fifty kids, third through fifth-graders, who \n are in a state of manic excitement over the FIFTY VIOLIN \n CASES on the floor. \n \n ROBERTA \n (gently)"," school -- in Greece -- and a year \n teaching chorus in Hawaii -- ten \n years ago -- it doesn't look like \n you've had any other teaching \n experience. \n \n ROBERTA \n Well, not traditional teaching \n experience. I've been doing private \n lessons... \n \n Janet looks for this on the resume. \n \n ROBERTA"," as she sees Vanessa get out of her MOTHER'S car with her \n violin. Roberta nears the front door and finds Isabel and \n some teachers huddled in conversation. A few students are \n crying. \n \n ROBERTA \n (to Isabel) \n What happened? \n \n INT. MUSIC ROOM - DAY \n \n The beginners sit on the floor and rosin their bows. A few "," and giving direction. They're playing badly. \n \n Rachel plays as well, but walks around the room making \n corrections. It's early morning, and the kids look half- \n asleep. \n \n ROBERTA \n Frog! Frog! I need more accents on \n the down beat! More bow! More! \n \n They play a few more bars and still sound pretty bad. \n \n ROBERTA"," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"," (to Naeem) \n Why don't you go grab one of my spare \n violins? \n \n Naeem happily runs to the extra violins at the front of the \n room; Mrs. Adisa nods to Roberta with a look of gratitude, \n then exits. Roberta crosses back to the front of the room. \n \n ROBERTA \n (to class) \n Let's try it again. \n"," Roberta stands there, sobered. \n \n ROBERTA \n I'm really sorry, Lucy. \n (tries to get her \n bearings) \n Just do the best you can. \n \n EXT. SCHOOL YARD - DAY \n \n A group of kids stand together with their violins and chat. \n Roberta exits the building and they greet her. She waves "," They begin again, and we see Naeem take out a violin and \n join in. As they play, Roberta's ears perk up at something \n she's hearing. She crosses to Lucy. \n \n ROBERTA \n What are you playing? \n \n LUCY \n Twinkle. \n \n ROBERTA \n (to class) \n Everyone stop! \n (to Lucy)"," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," Roberta grabs the top one -- the POST -- opened to page 5. \n \n INSERT \n \n The page has a photo of Roberta at the Spring Concert, and a \n large article headlined A VIOLIN TEACHER FIGHTS BACK. \n \n INT. MUSIC ROOM - DAY \n \n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta "," INT. CPE 1 - MUSIC CLASSROOM - DAY \n \n Roberta addresses ten first-graders sitting in a circle on \n the floor. She points to the horsehair on her bow. \n \n ROBERTA \n And this? What's this? \n \n BOY \n The frog hair? \n \n Roberta and the kids laugh. \n \n ROBERTA"," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," ROBERTA \n Anyone else? \n \n Silence. \n \n INT. MUSIC ROOM - LATER \n \n In front of the class, Roberta helps NAEEM, a graceful Black \n boy, hold the violin. He has a serious expression and a scar \n on his left cheek. Roberta controls the bow and fingerboard, \n but it appears that the boy is playing music. He smiles. \n"," ROBERTA \n (to the boys) \n Did you hear what I just said? \n \n ANGLE - Three kids are using the violin cases as pretend \n machine guns -- and shooting each other. \n \n ROBERTA \n Put those down, please! \n \n ANGLE - A boy and a girl are having a \"sword fight\" with \n their bows. \n \n ROBERTA"," NICK \n (shrugs) \n She's O.K. \n \n Roberta gives Nick a look, but Janet smiles. \n \n JANET \n (to Roberta) \n If you could teach our students to \n play like that, I'd be thrilled, but -- \n \n ROBERTA \n I can. Any child can learn the violin. \n \n DENNIS"," I think what Mrs. Lamb is trying to \n say, Roberta, is that you're a little \n too harsh. I'm sure you might be \n able to soften some of your comments \n to the children? \n \n She gives Roberta a long hard look. Roberta nods. \n \n INT. MUSIC ROOM - DAY \n \n Roberta listens to the students play \"Go Tell Aunt Rhody\" -- "," INT. COFFEE SHOP - ROME, N.Y. - DAY \n \n Roberta sits opposite Brian. Her lunch is untouched. \n \n ROBERTA \n My college professors said it was \n too late -- I hadn't had enough \n training to be a concert violinist. \n So I got a teaching degree instead. \n \n BRIAN \n I'll bet you're a great teacher."," He kisses her forehead, then exits. HOLD ON ROBERTA, looking \n hurt and frightened. \n \n INT. MUSIC ROOM - DAY \n \n Roberta rosins her bow, standing in front of ten kids -- \n third through fifth-grade -- who sit on the floor next to \n their violin cases. The kids are Black and Latino, with a \n couple of white faces. They're all talking and ignoring "," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "],[" Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," and fifty kids at three East Harlem \n schools and there's so many children \n who want to take violin classes that \n we have to have a lottery. \n \n VANESSA raises her hand, a white girl whose clothes and \n accessories are always adorned with cats. \n \n VANESSA \n Can I be in the class? \n \n ISABEL"," Ten years ago, Roberta Guaspari walked \n into my office because she needed a \n job, and because she had a vision \n that any child could learn the violin. \n We put our dreams together and created \n the East Harlem Violin Program which \n has helped more than a thousand \n students expand their vision of what's \n possible in their lives. When a \n program like this is cut, our "," STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \n \n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \n to \"FIDDLEFEST\" and accompanying LETTERS and TICKET ORDER \n FORMS. Roberta and Dorothea open envelopes with filled-out "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY \n \n A SALSA SONG PLAYS OVER as we see stores with Spanish names \n and signs; Black and Latino elementary school children walking \n home from school; some burned-out buildings; Black and Latino \n teens playing basketball on a cement court; Spanish graffiti \n on walls; elderly women buying fruit at a produce stand. \n"," This is to inform you that your child, \n Ramon Olivas, has been chosen by \n lottery to be in the violin program. \n \n CONCEPCION \n You happy? \n \n Ramon spins round and round with the letter in his hand. \n \n CONCEPCION \n I think you're happy. \n \n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \n"," (with some Spanish) \n Well, I'm his parent and I don't \n give permission! He should be playing \n baseball, not the violin! \n \n CONCEPCION \n It makes him happy. \n \n ON RAMON, looking far from happy at the moment. \n \n EXT. RIVER EAST SCHOOL - DAY \n \n Rachel steps off a city bus, carrying her violin. She passes "," looks pretty much the same. The classroom teacher is ISABEL, \n a little older, a little tougher. \n \n ISABEL \n C'mon everybody, settle down -- Janet \n wants to talk to you. \n \n JANET \n Today's a very special day because \n we're starting the tenth year of the \n East Harlem Violin Program. This is "," INT. ROBERTA'S BROWNSTONE - NIGHT \n \n There's a crowd of PARENTS assembled in Roberta's front room, \n talking at once, yelling out ideas, including CONCEPCION, \n BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. \n ADAMS (Puerto Rican), the parents of James (from Roberta's "," He kisses her forehead, then exits. HOLD ON ROBERTA, looking \n hurt and frightened. \n \n INT. MUSIC ROOM - DAY \n \n Roberta rosins her bow, standing in front of ten kids -- \n third through fifth-grade -- who sit on the floor next to \n their violin cases. The kids are Black and Latino, with a \n couple of white faces. They're all talking and ignoring "," as she sees Vanessa get out of her MOTHER'S car with her \n violin. Roberta nears the front door and finds Isabel and \n some teachers huddled in conversation. A few students are \n crying. \n \n ROBERTA \n (to Isabel) \n What happened? \n \n INT. MUSIC ROOM - DAY \n \n The beginners sit on the floor and rosin their bows. A few "," and gives it to her. \n \n ROBERTA \n Now you have two, O.K.? One for each \n house. \n \n Vanessa nods, clutching the piece of music. Roberta and Mr. \n Klein exchange a look. She touches his arm, then walks off. \n \n INT. RAMON'S HOUSE - NIGHT \n \n Ramon, holding his bow and violin, crosses to his father "," him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," Welcome to East Harlem. \n \n EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST \n HARLEM - ESTABLISHING - DAY \n \n INT. JANET WILLIAMS' OFFICE - DAY \n \n JANET WILLIAMS, a Black woman (40's) with a kind face, sits "," Naeem plays music, his whole face \n lights up. You should see him. \n \n Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks \n for Naeem and sees him watching the violin students, longing \n to be among them. She watches her son with compassion. \n \n EXT. OUTDOOR MARKET - DAY \n \n Roberta and the boys shop in a colorful outdoor produce market "," because we knew how much you kids \n could benefit from it. \n \n CUTAWAY to Roberta and Janet exchanging glances over Dennis \n taking credit for the program. \n \n DENNIS \n You should know, however, that the \n violin is a difficult instrument. \n \n JUSTIN, a Black boy with attitude, raises his hand. He always "," this. It's huge. It's gigantic! It's \n Carnegie Hall! And listen to this: \n now Isaac Stern wants to play with \n us -- Diane Monroe, Michael Tree -- \n there's other people calling -- \n \n DAN \n That's fantastic! \n \n ROBERTA \n Fantastic? I'll never get the kids "," Assuming they had the discipline. \n \n ROBERTA \n I'll teach them to have discipline. \n \n JANET \n A lot of our parents are struggling \n to feed their kids and pay the rent -- \n they don't have time to help them \n learn violin. \n \n ROBERTA \n They don't have to. If they can help, "," Ernesto and we can't fix them now, \n but Ramon -- he works so hard. The \n violin makes him want to be good at \n everything. \n \n He shows no response, and she exits. Manuelo ponders what \n she said. \n \n EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) \n \n Roberta approaches the school on a winter morning. She smiles "],[" Ten years ago, Roberta Guaspari walked \n into my office because she needed a \n job, and because she had a vision \n that any child could learn the violin. \n We put our dreams together and created \n the East Harlem Violin Program which \n has helped more than a thousand \n students expand their vision of what's \n possible in their lives. When a \n program like this is cut, our "," to comply, and as of the end of this \n term, the violin program has been... \n excessed. \n \n Roberta takes this in, momentarily speechless. In the b.g., \n the beginners slip into the hall to watch. \n \n ROBERTA \n Excessed. \n (beat) \n They specifically said that my violin \n program has to go. \n"," I'm from a blue collar family, and \n if it weren't for the lessons I got \n in public school, I never would have \n learned the violin. \n \n It CUTS TO Roberta's beginners speaking to the interviewer. \n \n INTERVIEWER (O.S.) \n How does it make you feel to lose \n your violin program? \n \n SHANDRA"," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," JANET \n They've slashed the budget -- music \n and art programs got hit the worst. \n \n ROBERTA \n What about Dennis' classes? \n \n DENNIS \n I'm tenured, Roberta. \n \n Roberta looks at him, then back to Janet. \n \n ROBERTA \n When was this decided? \n \n JANET"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," Training. \n \n ANOTHER ANGLE - Two young men and two young women walk in, \n carrying violins. We realize from the scar that one is NAEEM \n (20), now a strikingly handsome man, over six feet tall. \n With him is DE SEAN (19), a short guy with dreadlocks, looking \n more like a rapper than a violinist. GUADALUPE (19), walking "," other extra programs to give them \n instead. \n \n ROBERTA \n Oh, I see. So after ten years, after \n fourteen hundred children have learned \n to play the violin, this is just an \n \"extra program.\" \n \n JANET \n You know I don't feel that way and \n you know damn well I've been standing \n by you all these years! You think I "," This is to inform you that your child, \n Ramon Olivas, has been chosen by \n lottery to be in the violin program. \n \n CONCEPCION \n You happy? \n \n Ramon spins round and round with the letter in his hand. \n \n CONCEPCION \n I think you're happy. \n \n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \n"," because we knew how much you kids \n could benefit from it. \n \n CUTAWAY to Roberta and Janet exchanging glances over Dennis \n taking credit for the program. \n \n DENNIS \n You should know, however, that the \n violin is a difficult instrument. \n \n JUSTIN, a Black boy with attitude, raises his hand. He always "," I'd much rather get rid of. But as \n far as the Board's concerned, violin \n classes are not a priority. \n \n Roberta's fury starts to give way to grief. She looks terribly \n wounded. Janet looks at her helplessly. \n \n JANET \n I don't have the power here, Roberta. \n I'm so sorry. \n"," him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," He kisses her forehead, then exits. HOLD ON ROBERTA, looking \n hurt and frightened. \n \n INT. MUSIC ROOM - DAY \n \n Roberta rosins her bow, standing in front of ten kids -- \n third through fifth-grade -- who sit on the floor next to \n their violin cases. The kids are Black and Latino, with a \n couple of white faces. They're all talking and ignoring "," stick around. I finally decided I'd \n start my own program -- Charles gave \n me the money and I bought fifty \n violins from this little Greek shop -- \n got started at a private school and \n then... \n \n BRIAN \n Your husband ran off with your best \n friend. \n \n A beat. \n \n ROBERTA"," They begin again, and we see Naeem take out a violin and \n join in. As they play, Roberta's ears perk up at something \n she's hearing. She crosses to Lucy. \n \n ROBERTA \n What are you playing? \n \n LUCY \n Twinkle. \n \n ROBERTA \n (to class) \n Everyone stop! \n (to Lucy)"," INT. CPE 1 - MUSIC CLASSROOM - DAY \n \n Roberta addresses ten first-graders sitting in a circle on \n the floor. She points to the horsehair on her bow. \n \n ROBERTA \n And this? What's this? \n \n BOY \n The frog hair? \n \n Roberta and the kids laugh. \n \n ROBERTA"," (yelling) \n Ramon! How many cats you killing in \n there? \n \n INTERCUT RAMON - He plays with pride, eyes on the music taped \n to the wall. \n \n INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER) \n \n ON RAMON, his improved playing showing that time has passed. "," INT. MUSIC ROOM - DAY \n \n Roberta's SCREAMING at the kids as they play \"Twinkle Twinkle \n Little Star.\" \n \n ROBERTA \n First finger on the E! Three -- two -- \n one -- open! \n (to a white girl with \n pigtails) \n Wrong string, Becky! We've done this \n fourteen times! And look at your "," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "],[" could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," because I trust that you can handle \n the pressure. It's gonna be a lot of \n work -- a lot. Right now, we've sold \n some tickets, but I'm not gonna be \n back here in the fall if the audience \n storms out of their seats, demanding \n a refund! \n \n She nods to Rachel who starts handing out sheets of music. \n \n ROBERTA"," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," I'm sorry about Julliard... and the \n concert. \n \n She hands Roberta her violin. \n \n ROBERTA \n Keep it. Take it with you. \n \n RACHEL \n No... I don't want to play anymore. \n \n ROBERTA \n What?! You can't give up violin, \n Rachel -- it's a part of you. A very "," Roberta nods, and addresses the kids as she unlocks the gate. \n \n ROBERTA \n He's right, by the way. You do sound \n terrible, and you are gonna make \n everyone in Carnegie Hall sick to \n their stomachs. \n \n The kids start filing in. Rachel comes up the street and \n catches up to Roberta. \n \n RACHEL"," and giving direction. They're playing badly. \n \n Rachel plays as well, but walks around the room making \n corrections. It's early morning, and the kids look half- \n asleep. \n \n ROBERTA \n Frog! Frog! I need more accents on \n the down beat! More bow! More! \n \n They play a few more bars and still sound pretty bad. \n \n ROBERTA"," There's a KNOCK on the door. Concepcion answers it, revealing \n Roberta. \n \n CONCEPCION \n Roberta! Come in. \n \n Roberta enters. \n \n ROBERTA \n I came by to check on Ramon. \n \n CONCEPCION \n (confused) \n Why? \n \n ROBERTA"," Rachel's gonna be my lieutenant and \n I expect you to listen to her. \n \n Ramon looks through his music sheets. \n \n RAMON \n Bach's \"Minuet One\"? \n \n ROBERTA \n People are gonna be paying good money \n for this concert -- we're not just \n gonna play \"Twinkle.\" \n (handing out papers)"," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"],[" City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," Disappointed grumblings. \n \n ISABEL \n What if we raise the money ourselves? \n \n JANET \n I can't see how they'd object to \n that. \n \n A beat as people take this in. \n \n CONCEPCION \n Well once that newspaper article \n comes out, that should help bring in \n money. \n \n BEVERLY"," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \n waits to hear if Itzhak Perlman will say yes. \n \n 2. Parents, Roberta, Nick and Lexi hang \"FIDDLEFEST CONCERT\" \n posters around their neighborhood, announcing a concert at \n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and "," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," have a bigger mission: to take the \n magical spirit of tonight's concert \n with us out into the world, and to \n fight for music and art to be a part \n of every child's education. Thank \n you. \n \n The APPLAUSE is DEAFENING, then slowly diminishes as we: \n \n DISSOLVE TO: \n"," STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \n \n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \n to \"FIDDLEFEST\" and accompanying LETTERS and TICKET ORDER \n FORMS. Roberta and Dorothea open envelopes with filled-out "," and they've cancelled all events. \n \n ROBERTA \n Until when? \n \n DOROTHEA \n \"Until further notice.\" \n \n ROBERTA \n This can't happen! We've sold tickets! \n We've done publicity! The concert's \n in three weeks! \n \n DOROTHEA \n I've been on the phone all morning "," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," That's the one Lucy wrote! \n \n The CAMERA returns to the children and captures their own \n pride in their playing, including LUCY, who smiles as she \n hears her song played by fifty. \n \n THE CONCERT - TIME DISSOLVE \n \n The students are now playing \"Allegro,\" and they reach the \n fermata. They hold their positions in silence and the audience "," INT. CARNEGIE HALL - NIGHT \n \n The hall is filling to capacity as people take their seats, \n the room buzzing with voices. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n The CARNEGIE HALL staff person enters. \n \n STAFF PERSON \n FIVE MINUTE CALL. WE NOW HAVE FIVE \n MINUTES. \n"," RAMON smiles, awed by this -- but he remains calm and \n professional. \n \n INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER \n \n As the guest violinists head for the stage, we hear their \n names over a mike, mixed with APPLAUSE: \n \n MALE VOICE (V.O.) \n Isaac Stern, Itzhak Perlman, Arnold "," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," ROBERTA \n All right, Naeem -- tell them. \n \n NAEEM \n It's called the frog. \n \n Some kids giggle and joke about this. Roberta points to the \n scroll of the violin. \n \n ROBERTA \n Anyone remember what this is? \n \n LUCY, the fidgety girl, snaps her fingers. \n \n ROBERTA"," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"," Would you believe in 1960, they tried \n to tear this place down? They wanted \n to replace it with a bright red \n skyscraper -- we called it \"the red \n terror.\" \n \n ROBERTA \n You're kidding. \n \n ISAAC STERN \n We had to fight like hell, but with \n a lot of help, we saved Carnegie "],[" No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," back, but she's clearly still upset by her interaction with \n Lucy. She sees Naeem and his mother and approaches them. \n \n NAEEM \n Hi, Roberta. \n \n ROBERTA \n Hi, Naeem. Can I talk to your mom \n for a minute? \n \n Naeem nods and moves off. \n \n ROBERTA"," Roberta closes the oven and gathers her courage. \n \n ROBERTA \n Are you still with her? \n \n A beat. \n \n CHARLES (O.S.) \n No. \n \n We watch Roberta's body collapse into a sense of overwhelming \n relief. FOLLOW HER as she steps into THE HALLWAY, then \n stretches the phone into: \n"," ROBERTA \n Standing strong doesn't only mean \n using your legs. You can stand strong \n on the inside too. \n (beat) \n Know what I mean? \n \n Guadalupe nods. Roberta holds out the violin case. Guadalupe \n lunges forward and hugs her around the waist. Roberta \n awkwardly accepts the hug, startled and touched by it, and "," INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta enters her apartment, back from the airport, and \n double-locks the door behind her. You can see on her face \n that she's dreading the emptiness. She crosses to a small \n Christmas tree, obviously decorated by her and the boys, and \n plugs in the tiny blinking lights. It's not exactly "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," in his arms. \n \n BRIAN \n You're gonna be fine. You have a \n job, a place to stay, your kids have \n a school to go to -- and there's a \n D'Agostino's around the corner. \n \n She attempts a smile. \n \n ROBERTA \n Congratulations. \n"," thought you'd moved on. \n \n ROBERTA \n I never said that. \n \n BRIAN \n No? Maybe not with words. \n \n This embarrasses her, then pisses her off. \n \n ROBERTA \n You know what? I shouldn't have called \n you. This was a mistake. \n \n BRIAN"," important part. \n \n Rachel looks anguished. Roberta moves closer and touches her \n arm. \n \n ROBERTA \n Please honey. Just take it. \n \n RACHEL \n I don't want to. \n \n Roberta looks at her, pained, then hugs her. Rachel quickly \n kisses Roberta goodbye and exits. Roberta watches her. \n"," he takes her hand, and then kisses her on the cheek. \n \n BRIAN \n Congratulations. \n \n ROBERTA \n Thank you... \n \n BRIAN \n I knew you'd get here sooner or later. \n I'm glad I'm here to see it. \n \n A beat. \n \n ROBERTA \n I am too. \n"," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," She laughs wistfully, then looks a little sad. \n \n ROBERTA \n That Roberta's not around anymore. \n \n He pulls her towards him by the belt to her robe. \n \n BRIAN \n I don't believe that. \n \n They kiss and it heats up quickly. Roberta pulls back. \n \n ROBERTA \n I shouldn't. \n"," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," RACHEL \n (looking downward) \n It's a secret... My father... he's \n been hurting my mom... We have to \n leave. \n \n ROBERTA \n (gently) \n Has he been hurting you too? \n \n Rachel shakes her head no, then starts to cry a little. \n \n RACHEL"," ROBERTA \n I'll take care of you, Nick. You \n too, Lexi. I promise. I'm not going \n anywhere. We're still a family. \n \n Nick starts crying. Roberta takes him in her arms. Lexi starts \n to cry and Roberta holds him too. \n \n ROBERTA \n (softly, to both) \n I promise. \n"," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," bed, gets into fetal position, and stares at a point beyond \n the wall, ignoring the O.S. voices. \n \n WOMAN'S VOICE (O.S.) \n Hear that? Your boys need you. \n \n EXT. GUASPARI HOUSE - DOORWAY - DAY \n \n ASSUNTA GUASPARI (58), Roberta's slender, tired Italian-"," striving for when I was their age. \n Not to mention the other ten years' \n worth of students whose lives were \n changed because of you. That's your \n talent, Roberta. \n \n She takes this in, looks at him gratefully and puts her hand \n over his. He strokes her hand. \n \n ROBERTA \n I'm scared. \n \n DAN"],[" ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," with ribbons, bows and stickers. At one point she even unties \n a ribbon and redoes it because it's not perfect. She looks \n pretty, but she's dressed conservatively, like a navy \n housewife. There's only one other clerk wrapping gifts and a \n long line of impatient customers. A male SUPERVISOR appears \n behind Roberta. \n \n SUPERVISOR"," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," school -- in Greece -- and a year \n teaching chorus in Hawaii -- ten \n years ago -- it doesn't look like \n you've had any other teaching \n experience. \n \n ROBERTA \n Well, not traditional teaching \n experience. I've been doing private \n lessons... \n \n Janet looks for this on the resume. \n \n ROBERTA"," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," Mama, he's gonna get tired of her -- \n you'll see. \n \n Assunta's face shows she's doubtful about this. \n \n ASSUNTA \n Well in the meantime, get a job. \n \n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \n \n Roberta is behind the counter, meticulously wrapping a present "," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta enters her apartment, back from the airport, and \n double-locks the door behind her. You can see on her face \n that she's dreading the emptiness. She crosses to a small \n Christmas tree, obviously decorated by her and the boys, and \n plugs in the tiny blinking lights. It's not exactly "," done much with her hair. It's a start. \n \n ROBERTA \n You really think Charles is a jerk? \n \n ASSUNTA \n From the day you married him. \n \n ROBERTA \n Why didn't you say something? \n \n ASSUNTA \n Since when do you listen to me? \n \n Roberta half-smiles, pours herself some coffee, then sits "," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," Janet looks at her curiously, then exits. \n \n INT. EMPTY APARTMENT - EAST HARLEM - DAY \n \n Roberta walks around an empty, rundown apartment, her \n expression somber. Crayon markings on the walls, cigarette \n burns on the floors, a filthy bathroom and kitchen. An older \n Puerto Rican woman stands back as Roberta inspects the place. "," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," Roberta climbs the dimly-lit stairs of a dilapidated, scary \n building. O.S. a BABY CRIES, a couple of TV's BLARE. \n \n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \n \n At the top of the stairs, Roberta turns down the hall, passing \n a door riddled with bullet holes. She finds the apartment "," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," No, no -- I'm sorry. Look, I know it \n hurts, but you're gonna get through \n this, Roberta -- you will. \n \n ROBERTA \n I'm moving back to my Mom's. \n \n BRIAN \n What? You're gonna quit teaching in \n the middle of the term? \n \n ROBERTA"," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "],[" Janet looks at her curiously, then exits. \n \n INT. EMPTY APARTMENT - EAST HARLEM - DAY \n \n Roberta walks around an empty, rundown apartment, her \n expression somber. Crayon markings on the walls, cigarette \n burns on the floors, a filthy bathroom and kitchen. An older \n Puerto Rican woman stands back as Roberta inspects the place. "," EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY \n \n A mild winter day. Roberta, covered with plaster dust and \n overheated from working, leans against a car and drinks a \n beer. The three-story brick building has some graffiti on it \n and is badly in need of a paint job; there are a few broken \n windows, and the front stairs need repairing. WORKMEN file "," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," A funky apartment on the Upper West Side. Nick and Lexi are \n both asleep in sleeping bags on top of a futon on the floor, \n their suitcases nearby. Brian tiptoes past them, carrying \n two glasses of champagne. He knocks on his office door. \n \n ROBERTA (O.S.) \n Come in. \n \n INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS \n"," Roberta climbs the dimly-lit stairs of a dilapidated, scary \n building. O.S. a BABY CRIES, a couple of TV's BLARE. \n \n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \n \n At the top of the stairs, Roberta turns down the hall, passing \n a door riddled with bullet holes. She finds the apartment "," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," in his arms. \n \n BRIAN \n You're gonna be fine. You have a \n job, a place to stay, your kids have \n a school to go to -- and there's a \n D'Agostino's around the corner. \n \n She attempts a smile. \n \n ROBERTA \n Congratulations. \n"," ROBERTA \n (half to herself) \n It better be a good concert. \n \n The DOORBELL RINGS and Roberta crosses to get it. DAN enters, \n holding copies of the NY POST, the DAILY NEWS, and a couple \n of other papers. Each paper has been opened to a specific \n page. \n \n DAN \n Take your pick. \n"," ROBERTA \n Where? \n \n DOROTHEA \n Carnegie Hall. \n \n Dorothea grins from ear to ear, Nick and Lexi whoop and \n holler, and all wait for Roberta to jump up and down for joy -- \n but she looks stricken. \n \n ROBERTA \n (panicked) \n Carnegie Hall? \n"," Graffiti's been removed, the stairs have been repaired, the \n windows have security bars, and there are flowers blooming \n in pots in front of the building. Roberta steps INTO FRAME, \n walking Allegra, now a 10-year-old dog. \n \n INT. BROWNSTONE - DAY \n \n The house is transformed: the first floor is one long open "," Mama, he's gonna get tired of her -- \n you'll see. \n \n Assunta's face shows she's doubtful about this. \n \n ASSUNTA \n Well in the meantime, get a job. \n \n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \n \n Roberta is behind the counter, meticulously wrapping a present "," A beat, and Roberta exits. \n \n EXT. SCHOOL YARD - DAY \n \n Roberta's dazed and in pain as she walks through the crowds \n of children, oblivious to kids calling her name and waving. \n \n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \n \n Nick and Lexi enter the darkened house, chatting as Nick "," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Roberta's thrilled and relieved to see him. She embraces \n him, and they kiss passionately. \n \n INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) \n \n CLOSE ON plaster walls being knocked down with sledgehammers. \n REVEAL Brian, Roberta, and a couple of workmen knocking down \n the walls in an old brownstone. \n"," (beat) \n You look real pretty today, honey. \n \n Brian overhears, rolls his eyes and pulls her aside. \n \n BRIAN \n You're crazy. Why did you hire him? \n \n ROBERTA \n He needed a job. Besides, he's wired \n all of East Harlem. \n \n BRIAN \n When? Fifty years ago? \n"," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta enters her apartment, back from the airport, and \n double-locks the door behind her. You can see on her face \n that she's dreading the emptiness. She crosses to a small \n Christmas tree, obviously decorated by her and the boys, and \n plugs in the tiny blinking lights. It's not exactly "," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," She turns, relieved, until she sees that Brian's packing a \n suitcase. \n \n ROBERTA \n Where are you going? \n \n BRIAN \n Texas. \n \n He dashes out. Roberta sits up, rattled by this news. \n \n INT. BRIAN'S OFFICE - DAY \n \n Brian excitedly gathers papers and files scattered around \n his electric typewriter."," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "],[" ROBERTA \n I think I am. It's just that... \n (sighs) \n See, every time I'd get started \n somewhere, Charles would be \n transferred... then I had my kids \n and took time off to raise them... \n and then when I decided to teach \n again, no one would hire me 'cause \n you can't count on a navy wife to "," over to them. Janet looks at her, alarmed. \n \n ROBERTA \n Is it true? \n \n JANET \n Why don't you come in my office? \n \n ROBERTA \n It's true? You're firing me? \n \n JANET \n It's not me, Roberta. The Board of \n Ed. cut the budget, the District had "," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "," Things happened very quickly... I \n wanted to tell you myself -- \n \n ROBERTA \n (reeling) \n I just... I can't even believe this \n is happening! \n \n DENNIS \n Why not? You're a sub. Your position \n has never been permanent. \n \n JANET \n Shut up, Dennis! You're not helping!"," behind her desk and looks at Roberta's resume. A sign on her \n desk indicates that she's the DIRECTOR. Also on the desk is \n a FRAMED PICTURE of Janet, her husband, daughter (14), and \n son (12). Roberta sits nervously in the chair opposite her. \n \n JANET \n (looking at resume) \n Aside from half a term in a private "," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," Wake up, Ernie. \n \n He looks at her groggily. \n \n ROBERTA \n You're fired. \n \n She crosses to the brick workers. \n \n ROBERTA \n You're fired. \n \n She crosses to the painters. \n \n ROBERTA \n You're fired. \n \n Brian smiles at her, impressed. \n"," with ribbons, bows and stickers. At one point she even unties \n a ribbon and redoes it because it's not perfect. She looks \n pretty, but she's dressed conservatively, like a navy \n housewife. There's only one other clerk wrapping gifts and a \n long line of impatient customers. A male SUPERVISOR appears \n behind Roberta. \n \n SUPERVISOR"," ROBERTA \n Look, Dan -- I went along with this \n 'cause it's been a while. Quite a \n while... And I had a very nice time... \n but I'm not sure if I'm ready to get \n involved with anyone right now. \n \n A beat. Roberta feels badly about rejecting him. \n \n DAN \n (deadpan)"," She exits, leaving Roberta to mull over her words. \n \n INT. GUASPARI KITCHEN - DAY \n \n Coffee is brewing and homemade cinnamon rolls are cooling on \n a rack. We recognize the kitchen from the home movie footage. \n As Assunta clears the boys' breakfast dishes from the table, \n Roberta enters. She's dressed, but hasn't put on makeup or "," instantly cools when she sees her. In the b.g. Roberta sees \n Janet and turns off the vacuum cleaner. \n \n JANET \n Hello, Assunta. How are you? \n \n ASSUNTA \n I'd be a lot better if my daughter \n had a job next year. \n \n ROBERTA \n Ma! \n \n JANET"," Wake up, Roberta! \n \n We hear the sound of KNOCKING as the CAMERA PANS a small, \n darkened guest room. A few streaks of daylight filter through \n Venetian blinds. \n \n WOMAN'S VOICE (O.S.) \n Come on, Bert -- get out of bed! \n \n The CAMERA finds a WOMAN lying face down on a twin bed, thick "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," A beat as she realizes what she's just said. The boys look \n at her and the three of them stop walking. \n \n ROBERTA \n Guys -- you need to think about this. \n If I try to fight this -- with no \n salary coming in -- I could lose the \n house, screw up your college plans... \n It would be a lot safer to just go \n out tomorrow and get a job in a "," A beat. Janet observes the tension, then turns to Roberta. \n \n JANET \n (to Roberta) \n For now I'll put you down as a sub, \n but I have to warn you -- even if it \n works out, the Board may not let me \n create a permanent position for you. \n \n ROBERTA \n That's O.K. I'll worry about that "," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," Mama, he's gonna get tired of her -- \n you'll see. \n \n Assunta's face shows she's doubtful about this. \n \n ASSUNTA \n Well in the meantime, get a job. \n \n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \n \n Roberta is behind the counter, meticulously wrapping a present "," ROBERTA \n (covering her \n discomfort) \n That is so beautiful! \n \n He runs off. Roberta exhales, sits down alone on a bench and \n takes out her lunch. She smiles at ALICE CROWLEY and another \n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \n approaches, a lively Puerto Rican woman with a strong New \n York accent."," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," down at the table. \n \n ROBERTA \n (sighs, then) \n What am I gonna do? \n \n ASSUNTA \n First, you eat breakfast. Second, \n you go out and get a job -- any job. \n Your boys, god-bless-em, are good \n eaters -- but I can't afford it. \n \n ROBERTA"],[" Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," Disappointed grumblings. \n \n ISABEL \n What if we raise the money ourselves? \n \n JANET \n I can't see how they'd object to \n that. \n \n A beat as people take this in. \n \n CONCEPCION \n Well once that newspaper article \n comes out, that should help bring in \n money. \n \n BEVERLY"," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," You think the four hundred people \n who've bought tickets so far will \n think it's funny too? You think Itzhak \n Perlman will think it's funny that \n he's donating his time and you're \n all gonna stink? \n \n Vanessa yawns and Roberta sees her. Uh-oh. \n \n ROBERTA \n Am I boring you, Vanessa? \n"," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"," have a bigger mission: to take the \n magical spirit of tonight's concert \n with us out into the world, and to \n fight for music and art to be a part \n of every child's education. Thank \n you. \n \n The APPLAUSE is DEAFENING, then slowly diminishes as we: \n \n DISSOLVE TO: \n"," because we knew how much you kids \n could benefit from it. \n \n CUTAWAY to Roberta and Janet exchanging glances over Dennis \n taking credit for the program. \n \n DENNIS \n You should know, however, that the \n violin is a difficult instrument. \n \n JUSTIN, a Black boy with attitude, raises his hand. He always "," and they've cancelled all events. \n \n ROBERTA \n Until when? \n \n DOROTHEA \n \"Until further notice.\" \n \n ROBERTA \n This can't happen! We've sold tickets! \n We've done publicity! The concert's \n in three weeks! \n \n DOROTHEA \n I've been on the phone all morning "," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," INT. CARNEGIE HALL - NIGHT \n \n The hall is filling to capacity as people take their seats, \n the room buzzing with voices. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n The CARNEGIE HALL staff person enters. \n \n STAFF PERSON \n FIVE MINUTE CALL. WE NOW HAVE FIVE \n MINUTES. \n"," because I trust that you can handle \n the pressure. It's gonna be a lot of \n work -- a lot. Right now, we've sold \n some tickets, but I'm not gonna be \n back here in the fall if the audience \n storms out of their seats, demanding \n a refund! \n \n She nods to Rachel who starts handing out sheets of music. \n \n ROBERTA"," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," They begin again, and we see Naeem take out a violin and \n join in. As they play, Roberta's ears perk up at something \n she's hearing. She crosses to Lucy. \n \n ROBERTA \n What are you playing? \n \n LUCY \n Twinkle. \n \n ROBERTA \n (to class) \n Everyone stop! \n (to Lucy)"," Roberta's explaining that. Just \n listen. \n \n ROBERTA \n After your parents sign your \n permission slips, I'm gonna put them \n in a sack, and I'll pick fifty names \n from each school. \n \n ANGLE - Ramon listens intently with his fingers crossed. \n \n ROBERTA \n So everyone bring in your slips by "," This is to inform you that your child, \n Ramon Olivas, has been chosen by \n lottery to be in the violin program. \n \n CONCEPCION \n You happy? \n \n Ramon spins round and round with the letter in his hand. \n \n CONCEPCION \n I think you're happy. \n \n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \n"," open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \n waits to hear if Itzhak Perlman will say yes. \n \n 2. Parents, Roberta, Nick and Lexi hang \"FIDDLEFEST CONCERT\" \n posters around their neighborhood, announcing a concert at \n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and "],[" City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," BACK TO ROBERTA \n \n She's really depressed herself now. \n \n INT. CLASSROOM - DAY \n \n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \n fifth-graders a globe. She doesn't turn as Roberta enters \n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \n waiting in THE HALL."," Roberta stands in front of a classroom of twenty cute first- \n graders -- mostly Black and Latino, a few white -- sitting \n on the floor, chatting excitedly. Even though Roberta's ten \n years older, she seems more youthful; her wavy hair is loose \n over her shoulders, her clothing's casual and artistic. Beside \n her is Janet, her hair flecked with gray, and Dennis, who "," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," The song ends and the audience APPLAUDS, rising from their \n seats, including ASSUNTA (now 65), next to ISABEL and DAN. \n Someone remains seated: a REPORTER (40's), sitting beside \n Dan and taking notes. \n \n The STUDENTS bow, then point to Roberta who bows and takes \n the stage. She gestures for people to sit. A beginner student "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," INT. SCHOOL AUDITORIUM - NIGHT \n \n ROBERTA \n \n Stands in the aisle, leading the students and playing violin. \n \n ON STAGE \n \n The fifty fifth-grade students play the \"Twinkle\" variations. \n Their playing is impeccable and they look terrific. \n \n As the CAMERA PANS the audience, we recognize: MRS. ADISA, "," Roberta's in a bathrobe and nightgown, some rollers in her \n hair. She's tidying up her suitcase, etc., next to an old \n couch that's been made up as a bed. Leftist political books \n line a shelf above Brian's desk, including copies of his \n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN "," Roberta looks worn out. \n \n ROBERTA \n I'm a good teacher. I've worked so \n hard to give these kids something to \n be proud of. \n \n Lexi moves to comfort her. \n \n LEXI \n I'm so sorry, Mom. I can't believe \n they did this to you. \n \n ROBERTA"," Roberta's explaining that. Just \n listen. \n \n ROBERTA \n After your parents sign your \n permission slips, I'm gonna put them \n in a sack, and I'll pick fifty names \n from each school. \n \n ANGLE - Ramon listens intently with his fingers crossed. \n \n ROBERTA \n So everyone bring in your slips by "," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," striving for when I was their age. \n Not to mention the other ten years' \n worth of students whose lives were \n changed because of you. That's your \n talent, Roberta. \n \n She takes this in, looks at him gratefully and puts her hand \n over his. He strokes her hand. \n \n ROBERTA \n I'm scared. \n \n DAN"," Roberta takes this in, upset. \n \n INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \n \n Roberta plays \"Go Tell Aunt Rhody\" with Guadalupe, De Sean, \n Naeem, Benjamin, and two kids from the other classes. Lexi \n plays along with them. Nick enters from the kitchen, eating \n a cookie, ignoring the students. He turns on the T.V. \n"," RACHEL, heading for school, calls out to Roberta. \n \n RACHEL \n Don't be late for violin class! I \n hear the teacher's really mean. \n \n Roberta smiles, slips the card in her pocket, nods to Dorothea \n and follows Rachel. \n \n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \n"," They clink glasses and drink. \n \n ROBERTA \n I don't know, Brian. I'm hanging on \n by a thread there. Out of fifty kids, \n maybe six are listening to me. \n \n BRIAN \n Look at the progress. Didn't you say \n no one was listening to you on Monday? \n \n Roberta laughs. \n \n ROBERTA"," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," ROBERTA \n Well, O.K. then. I'll pick someone \n else. \n (she picks a name) \n Ramon Olivas. \n \n Ramon's face lights up. \n \n EXT. SCHOOL YARD - DAY \n \n As Roberta walks through the yard, she sees kids excitedly \n showing acceptance letters to their moms. \n"," INT. ROBERTA'S BROWNSTONE - NIGHT \n \n There's a crowd of PARENTS assembled in Roberta's front room, \n talking at once, yelling out ideas, including CONCEPCION, \n BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. \n ADAMS (Puerto Rican), the parents of James (from Roberta's "," Roberta stands there, sobered. \n \n ROBERTA \n I'm really sorry, Lucy. \n (tries to get her \n bearings) \n Just do the best you can. \n \n EXT. SCHOOL YARD - DAY \n \n A group of kids stand together with their violins and chat. \n Roberta exits the building and they greet her. She waves "," She puts her stuff down, then looks at the kids. \n \n ROBERTA \n What's going on? Where are all your \n violins? \n \n RAMON \n We heard you got fired. \n \n ROBERTA \n What?! \n \n EXT. HALLWAY - DAY \n \n Janet and Dennis talk outside Janet's office. Roberta storms "],[" INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \n \n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \n chatting and listening to the kids. \n \n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \n"," beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS \n plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. \n NICK plays cello; LEXI plays the piano behind them; and, \n playing with her own solo music stand, ROBERTA. \n \n Their expressions are serious and passionate, broken by \n occasional smiles lighting on faces: Isaac Stern... Lucy... "," Steinhardt, Diane Monroe, Michael \n Tree, Mark O'Connor and Karen Briggs. \n \n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \n \n CRANE SHOT of the six guest violinists on stage for the Grand \n Finale, each one sharing a music stand with a student. Roberta \n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to "," The students finish MINUET ONE. There's an exquisite moment \n of silence, then APPLAUSE. \n \n INT. CARNEGIE HALL - THE STAGE - LATER \n \n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \n with the kids. He improvises, surprising them as his violin \n makes the sound of a TRAIN moving through a tunnel. \n"," face the audience as she joins them. \n \n MOVE IN AND PAN the performers and students: NAAEM shares a \n stand with ARNOLD STEINHARDT; ISAAC STERN stands and plays \n with GUADALUPE, sitting beside him; ITZHAK PERLMAN sits and \n plays next to CARLOS, standing beside him; MICHAEL TREE plays "," RAMON smiles, awed by this -- but he remains calm and \n professional. \n \n INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER \n \n As the guest violinists head for the stage, we hear their \n names over a mike, mixed with APPLAUSE: \n \n MALE VOICE (V.O.) \n Isaac Stern, Itzhak Perlman, Arnold "," Training. \n \n ANOTHER ANGLE - Two young men and two young women walk in, \n carrying violins. We realize from the scar that one is NAEEM \n (20), now a strikingly handsome man, over six feet tall. \n With him is DE SEAN (19), a short guy with dreadlocks, looking \n more like a rapper than a violinist. GUADALUPE (19), walking "," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \n waits to hear if Itzhak Perlman will say yes. \n \n 2. Parents, Roberta, Nick and Lexi hang \"FIDDLEFEST CONCERT\" \n posters around their neighborhood, announcing a concert at \n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and "," this. It's huge. It's gigantic! It's \n Carnegie Hall! And listen to this: \n now Isaac Stern wants to play with \n us -- Diane Monroe, Michael Tree -- \n there's other people calling -- \n \n DAN \n That's fantastic! \n \n ROBERTA \n Fantastic? I'll never get the kids "," him, and crosses to his sister, waiting for him DOWN THE \n STREET. He takes the violin from her and carries it himself. \n \n INT. CPE MUSIC ROOM - DAY \n \n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \n Guadalupe practice Bach's \"Minuet One,\" Roberta leading them "," The woman snaps her fingers and smiles. Roberta laughs and \n embraces her, then turns to the students. \n \n ROBERTA \n Kids, these are four of my very first \n violin students and I've asked them \n to play in the concert with us. \n (to the alumni) \n I was just telling them how hard \n they're gonna have to work. \n \n DE SEAN"," Roberta knocks on Janet's door. \n \n JANET (O.S.) \n Yes? \n \n As Roberta opens the door, we see that Nick and Lexi are \n with her. All three have violins. INSIDE, Janet's in \n conversation with DENNIS RAUSCH (38), an uptight man with a \n tie that doesn't match his suit jacket. He's showing Janet a "," NICK \n (shrugs) \n She's O.K. \n \n Roberta gives Nick a look, but Janet smiles. \n \n JANET \n (to Roberta) \n If you could teach our students to \n play like that, I'd be thrilled, but -- \n \n ROBERTA \n I can. Any child can learn the violin. \n \n DENNIS"," (to the fencers) \n Don't do that! Put the bows back in \n the cases -- right now! \n \n There's the SOUND of violin strings being plucked. \n \n ROBERTA \n Who's plucking? \n \n Roberta wheels around to find a girl plucking her violin \n like a banjo, and doing a little dance. This is LUCY, a skinny "," Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), \n rehearsing \"Orange Blossom Special.\" They play badly. Rachel \n helps Roberta correct students. \n \n ROBERTA \n Stop! Someone's playing the wrong \n notes! And you shouldn't need your \n music anymore! Except for the Bach \n Double, everything has to be memorized \n by next rehearsal! \n"," The kids say \"the world's greatest violinists\" along with \n her -- they've obviously been hearing this a lot. Roberta \n glares at them. \n \n ROBERTA \n I think we should forget the Bach \n Double. \n (to the other kids) \n And you guys are never gonna get \n Minuet One. I think we should drop \n that too. \n"," What's his name? \n \n DOROTHEA \n Arnold Steinhardt. \n \n ROBERTA \n Of the Guarneri String Quartet? \n \n Dorothea nods, and hands Roberta a card. \n \n DOROTHEA \n Stay in touch. Let us know when the \n kids have a concert. \n"," ROBERTA \n (to the boys) \n Did you hear what I just said? \n \n ANGLE - Three kids are using the violin cases as pretend \n machine guns -- and shooting each other. \n \n ROBERTA \n Put those down, please! \n \n ANGLE - A boy and a girl are having a \"sword fight\" with \n their bows. \n \n ROBERTA"," Carlos... Itzhak Perlman... Diane Monroe... De Sean. \n \n The song finishes and the APPLAUSE begins. The OTHER \n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \n and join the rest. More applause. The CAMERA PULLS BACK TO \n INCLUDE the audience facing the stage, then REVERSES to show \n the audience standing in the orchestra and balconies. \n"],[" and they've cancelled all events. \n \n ROBERTA \n Until when? \n \n DOROTHEA \n \"Until further notice.\" \n \n ROBERTA \n This can't happen! We've sold tickets! \n We've done publicity! The concert's \n in three weeks! \n \n DOROTHEA \n I've been on the phone all morning "," Disappointed grumblings. \n \n ISABEL \n What if we raise the money ourselves? \n \n JANET \n I can't see how they'd object to \n that. \n \n A beat as people take this in. \n \n CONCEPCION \n Well once that newspaper article \n comes out, that should help bring in \n money. \n \n BEVERLY"," could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," The kids and their parents are practically boiling over with \n excitement. Last minute kisses, violin tunings, and clothing \n adjustments take place throughout the room. \n \n The boys are in suits or tuxes, the girls in velvet or \n flowered dresses, some with bows in their hair, some with \n their hair up in buns. Roberta tries to take a head count, "," Pandemonium. Nick and Lexi, both in tuxes, are doing several \n tasks at once while Roberta, in a simple black velvet dress \n and stockinged feet, tries to put on her makeup but keeps \n poking her head out of the bathroom, giving orders. Allegra \n BARKS outside the back door. \n \n ROBERTA \n Nick -- did you feed Allegra? \n \n NICK"," because we knew how much you kids \n could benefit from it. \n \n CUTAWAY to Roberta and Janet exchanging glances over Dennis \n taking credit for the program. \n \n DENNIS \n You should know, however, that the \n violin is a difficult instrument. \n \n JUSTIN, a Black boy with attitude, raises his hand. He always "," Dorothea opens the door for Roberta who just charges in, \n agitated, without even saying hello. We sense that Dorothea \n too, is troubled by something. \n \n ROBERTA \n I must have been crazy to agree to \n this. They're never gonna be ready. \n And you should hear the Bach Double! \n A disaster. So the good news is \n tickets are selling like hot cakes, "," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," What about in the Bronx? \n \n NICK \n There's nothing. \n (beat) \n Why don't you just do it in one of \n the schools? It'll be a lot smaller \n but -- \n \n ROBERTA \n We won't make enough money. \n \n LEXI \n What about postponing it? \n \n ROBERTA"," on Tuesdays. \n \n ROBERTA \n But you scheduled them for violin. \n \n DENNIS \n You must have read the schedule wrong. \n \n ROBERTA \n (trying to remain \n polite) \n I don't think so. \n \n DENNIS \n Well, I can't solve this problem for \n you right now."," The tension in the room shoots sky high. \n \n INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT \n \n Janet stands onstage and addresses the audience. \n \n JANET \n When I became the principal of Central \n Park East Elementary, I envisioned a \n school where children could fulfill \n their highest potential, despite the \n challenges of poverty and racism. "," The kids look sobered by this. \n \n ROBERTA \n Come to think of it, we'll probably \n also need to meet before school. \n \n Lots of grumbling: \"Say what?\" \"No way!\" \"Before school?\" \n I'ma be sleepwalking!\" \n \n ROBERTA \n You've heard of Navy Seal Training? \n Well, this is gonna be Roberta String "," Hall sick to their stomachs! That's \n right, they're gonna pay a thousand \n dollars a ticket and you're gonna \n make them throw up on their gowns \n and tuxedos! \n \n Carlos senses a presence and turns to see Roberta. A tense \n beat as he awaits her reaction. \n \n ROBERTA \n (in all seriousness)"," and giving direction. They're playing badly. \n \n Rachel plays as well, but walks around the room making \n corrections. It's early morning, and the kids look half- \n asleep. \n \n ROBERTA \n Frog! Frog! I need more accents on \n the down beat! More bow! More! \n \n They play a few more bars and still sound pretty bad. \n \n ROBERTA"," The kids look at each other, daunted. \n \n ROBERTA \n And you sound like you're \n sleepwalking. Your heart's not even \n in it. \n \n VANESSA \n Maybe 'cause we don't have a place \n for the concert. \n \n Roberta looks at her, and then notices the despondent looks \n on many of the kids' faces."," in disbelief at Roberta fluffing a couch pillow. \n \n NICK \n What are you doing? \n \n ROBERTA \n Just straightening a little. \n \n NICK \n You're insane, you know that? \n (grabs the pillow) \n Finish getting dressed! \n \n He throws the pillow onto the couch. Roberta heads upstairs. \n"," but the bad news is that the kids \n sound like shit. \n \n DOROTHEA \n There's more bad news... We've lost \n the Y. \n \n Roberta looks at her, aghast. \n \n ROBERTA \n What?! \n \n DOROTHEA \n They had a flood -- a water heater \n burst... The concert hall was damaged "," had to go to the hospital. \n \n ROBERTA \n Again? You told me you went to the \n hospital last week. \n \n DE SEAN \n Oh yeah. Maybe it was last week. \n \n Roberta rolls her eyes, then turns to Lucy. \n \n ROBERTA \n Lucy -- you sounded the worst of \n all. Have you practiced? \n \n LUCY"],[" could be great publicity. There's \n word of mouth... you could get \n reviewed... \n \n ROBERTA \n It better be a good concert! \n \n Some people laugh but we see the anxiety on Roberta's face. \n \n ROBERTA \n We have to offer something more than \n me and the kids. \n (to Dorothea) \n Do you think maybe your husband would "," Yeah, but what if it doesn't? For \n all we know, it's gonna be buried on \n the back page. Besides, who says \n anyone's gonna give a damn about our \n kids? \n \n DOROTHEA \n (to Roberta) \n What if you do a benefit concert? We \n can raise a batch of money from ticket \n sales, and then the concert itself "," INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \n \n SEVENTY-FIVE KIDS play \"We Shall Overcome\" and it's incredibly \n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \n leads the children. At the side of the stage, we see DOROTHEA \n photographing the concert. THE CAMERA PANS THE AUDIENCE of "," have a bigger mission: to take the \n magical spirit of tonight's concert \n with us out into the world, and to \n fight for music and art to be a part \n of every child's education. Thank \n you. \n \n The APPLAUSE is DEAFENING, then slowly diminishes as we: \n \n DISSOLVE TO: \n"," children's future is compromised. I \n want to thank you for your support. \n Enjoy the concert. \n \n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \n \n In the b.g. we hear the audience APPLAUDING Janet. Roberta \n holds up her hands to quiet down the anxious students. \n \n ROBERTA \n Everyone -- attention please! \n \n They become quiet."," Disappointed grumblings. \n \n ISABEL \n What if we raise the money ourselves? \n \n JANET \n I can't see how they'd object to \n that. \n \n A beat as people take this in. \n \n CONCEPCION \n Well once that newspaper article \n comes out, that should help bring in \n money. \n \n BEVERLY"," City Board of Education. \n \n The money raised from Fiddlefest supported Roberta's violin \n program for three years. Roberta and Opus 118 continue their \n fundraising efforts to keep the program alive. \n"," Roberta Guaspari lives in East Harlem with her daughter Sofia, \n whom she adopted from El Salvador. Nick is a professional \n cellist in a graduate music program, and Alexi has been \n accepted to medical school. \n \n Roberta teaches violin to approximately 150 students a year \n in three East Harlem elementary schools. The East Harlem \n Violin Program, however, is still not funded by the New York "," none of this would've happened. \n \n Roberta contemplates this. A beat. \n \n ROBERTA \n Thank you, Charles. \n \n Her last stitch finished, Assunta rips the needle from the \n thread. \n \n EXT. CARNEGIE HALL - ESTABLISHING - DUSK \n \n INT. CARNEGIE HALL - BACK STAGE - NIGHT \n"," Roberta turns to see ISAAC STERN approaching her. She's \n completely flustered. \n \n ROBERTA \n Oh my god -- Isaac Stern. \n \n ISAAC STERN \n You must be Roberta. \n \n ROBERTA \n Thank you so much for helping us. \n \n ISAAC STERN \n (looking out at the \n hall)"," because we knew how much you kids \n could benefit from it. \n \n CUTAWAY to Roberta and Janet exchanging glances over Dennis \n taking credit for the program. \n \n DENNIS \n You should know, however, that the \n violin is a difficult instrument. \n \n JUSTIN, a Black boy with attitude, raises his hand. He always "," brings her flowers. Roberta kisses her, then approaches the \n mike. \n \n ROBERTA \n (to the audience) \n The beautiful concert that you just \n heard could be the last concert of \n the East Harlem Violin Program. The \n Board of Education and the District \n Superintendent don't think that music \n is important for our children. But "," The students finish MINUET ONE. There's an exquisite moment \n of silence, then APPLAUSE. \n \n INT. CARNEGIE HALL - THE STAGE - LATER \n \n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \n with the kids. He improvises, surprising them as his violin \n makes the sound of a TRAIN moving through a tunnel. \n"," Hall. \n \n Roberta takes this in, relating it to her own struggle. \n \n ISAAC STERN \n If it's all right with you, I'd like \n to play in your concert. Maybe bring \n a couple of friends... \n \n ROBERTA \n Yes, of course! That would be great! \n \n Isaac nods, then touches her shoulder. \n \n ISAAC STERN"," at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \n SEATS. Her footsteps echo as she walks towards the front of \n the stage, then stops. \n \n CLOSE ON ROBERTA \n \n We can see her imagining the audience on the night of the \n concert. She can't believe her eyes. A beat, and she looks "," We could rent a place like the 92nd \n Street Y -- it's perfect for this. \n It seats about nine hundred people \n and if we charge between fifty and a \n hundred a ticket -- \n \n ISABEL \n (to Roberta) \n We could probably raise enough to \n reinstate your program for a year. \n \n JANET \n Sounds like a plan. \n"," They begin again, and we see Naeem take out a violin and \n join in. As they play, Roberta's ears perk up at something \n she's hearing. She crosses to Lucy. \n \n ROBERTA \n What are you playing? \n \n LUCY \n Twinkle. \n \n ROBERTA \n (to class) \n Everyone stop! \n (to Lucy)"," violinists bow... and MOVE IN CLOSER on ROBERTA in her moment \n of triumph. \n \n INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER \n \n Roberta addresses the audience. Her voice is strong but softer \n around the edges; she is a woman in a state of grace. \n \n ROBERTA \n We're all here tonight because we "," watches in anticipation. Roberta cues them and they play the \n next note in perfect unison. An involuntary smile lights on \n DE SEAN's face. They finish the song, the audience applauds, \n and Roberta turns to face them. \n \n She lights up when she sees how thrilled Janet looks, and \n Janet in turn raises her hands higher as she applauds Roberta. \n \n DISSOLVE TO:"," be afraid. It's gonna be really \n wonderful. So play -- play from here. \n \n She pats her heart. \n \n INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT \n \n The kids head out towards the stage, the APPLAUSE getting \n louder as they get closer. \n \n INT. CARNEGIE HALL - STAGE - NIGHT \n"]],"string":"[\n [\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" as she sees Vanessa get out of her MOTHER'S car with her \\n violin. Roberta nears the front door and finds Isabel and \\n some teachers huddled in conversation. A few students are \\n crying. \\n \\n ROBERTA \\n (to Isabel) \\n What happened? \\n \\n INT. MUSIC ROOM - DAY \\n \\n The beginners sit on the floor and rosin their bows. A few \",\n \" Roberta stands there, sobered. \\n \\n ROBERTA \\n I'm really sorry, Lucy. \\n (tries to get her \\n bearings) \\n Just do the best you can. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n A group of kids stand together with their violins and chat. \\n Roberta exits the building and they greet her. She waves \",\n \" Roberta except for NAEEM and GUADALUPE, a petite Mexican \\n girl with a long dark braid. [NOTE: We'll see other violin \\n students from time to time, but this is the class we'll follow \\n for Roberta's first year] \\n \\n ROBERTA \\n And what am I doing now? \\n \\n NAEEM/GUADALUPE \\n Rosining the bow. \\n\",\n \" He kisses her forehead, then exits. HOLD ON ROBERTA, looking \\n hurt and frightened. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta rosins her bow, standing in front of ten kids -- \\n third through fifth-grade -- who sit on the floor next to \\n their violin cases. The kids are Black and Latino, with a \\n couple of white faces. They're all talking and ignoring \",\n \" Ernesto and we can't fix them now, \\n but Ramon -- he works so hard. The \\n violin makes him want to be good at \\n everything. \\n \\n He shows no response, and she exits. Manuelo ponders what \\n she said. \\n \\n EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) \\n \\n Roberta approaches the school on a winter morning. She smiles \",\n \" Kenny -- but RACHEL is absent) stand outside the locked school \\n gate, waiting for Roberta. Some of the kids have their violins \\n out of the cases, tuning them. \\n \\n CARLOS \\n Teacher's late. I think she should \\n be dropped, don't you? \\n \\n Kids laugh. \\n \\n RAMON \\n Yeah. I don't think we should let \",\n \" attentively, then helping him lift the violin higher. \\n \\n 5. Vanessa practices in a crowded school hallway, frustrated \\n as kids keep bumping into her. \\n \\n 6. Roberta, in her nightgown, practices in front of her \\n refrigerator in the middle of the night. \\n \\n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \\n\",\n \" EXT. SCHOOL YARD - DAY \\n \\n Roberta walks through a school yard filled with kids and \\n parents picking them up. She sees Naeem and crosses to him. \\n \\n ROBERTA \\n Where were you today, Naeem? \\n \\n NAEEM \\n I can't be in violin class anymore. \\n \\n ROBERTA \\n Why not? \\n\",\n \" INT. SCHOOL AUDITORIUM - NIGHT \\n \\n ROBERTA \\n \\n Stands in the aisle, leading the students and playing violin. \\n \\n ON STAGE \\n \\n The fifty fifth-grade students play the \\\"Twinkle\\\" variations. \\n Their playing is impeccable and they look terrific. \\n \\n As the CAMERA PANS the audience, we recognize: MRS. ADISA, \",\n \" ROBERTA \\n You need violins? \\n \\n INT. MUSIC ROOM - DAY \\n \\n In a noisy music room with bad acoustics, Roberta tries to \\n take control of fifty kids, third through fifth-graders, who \\n are in a state of manic excitement over the FIFTY VIOLIN \\n CASES on the floor. \\n \\n ROBERTA \\n (gently)\",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \",\n \" INT. CPE 1 - MUSIC CLASSROOM - DAY \\n \\n Roberta addresses ten first-graders sitting in a circle on \\n the floor. She points to the horsehair on her bow. \\n \\n ROBERTA \\n And this? What's this? \\n \\n BOY \\n The frog hair? \\n \\n Roberta and the kids laugh. \\n \\n ROBERTA\",\n \" ALICE \\n They're having a lesson now. \\n \\n ROBERTA \\n But this is when they have violin \\n class! \\n \\n ALICE \\n That's not my problem. \\n \\n Roberta's reluctant to argue in front of the kids; she exits. \\n \\n EXT. SCHOOL YARD - DAY \\n\",\n \" ROBERTA \\n Anyone else? \\n \\n Silence. \\n \\n INT. MUSIC ROOM - LATER \\n \\n In front of the class, Roberta helps NAEEM, a graceful Black \\n boy, hold the violin. He has a serious expression and a scar \\n on his left cheek. Roberta controls the bow and fingerboard, \\n but it appears that the boy is playing music. He smiles. \\n\",\n \" ROBERTA \\n (to the boys) \\n Did you hear what I just said? \\n \\n ANGLE - Three kids are using the violin cases as pretend \\n machine guns -- and shooting each other. \\n \\n ROBERTA \\n Put those down, please! \\n \\n ANGLE - A boy and a girl are having a \\\"sword fight\\\" with \\n their bows. \\n \\n ROBERTA\",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" classroom. \\n \\n ROBERTA \\n No. But I keep trying. And maybe \\n someday the school will give me a \\n parking space! \\n \\n She rushes towards the school and Dorothea follows her. \\n \\n DOROTHEA \\n Wait -- \\n \\n She hands Roberta a thin box. Roberta puts down her violins, \\n glances inside it and forgets about being late. \\n\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\"\n ],\n [\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" over to them. Janet looks at her, alarmed. \\n \\n ROBERTA \\n Is it true? \\n \\n JANET \\n Why don't you come in my office? \\n \\n ROBERTA \\n It's true? You're firing me? \\n \\n JANET \\n It's not me, Roberta. The Board of \\n Ed. cut the budget, the District had \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" Roberta nods, defeated. \\n \\n JANET \\n I'm very sorry. \\n \\n INT. CPE 1 - HALLWAY - DAY \\n \\n Roberta stands outside Janet's office, dejectedly watching \\n the children noisily running through the hall. \\n \\n INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY \\n\",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" Wake up, Ernie. \\n \\n He looks at her groggily. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the brick workers. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the painters. \\n \\n ROBERTA \\n You're fired. \\n \\n Brian smiles at her, impressed. \\n\",\n \" DENNIS \\n You're disrupting school and I want \\n them out of here -- now. \\n \\n ROBERTA \\n You still don't get it, do you? I \\n don't care if you hate me, Dennis -- \\n that's your business. But think about \\n the students for once. Every time \\n you interfere, you're not hurting me -- \",\n \" to comply, and as of the end of this \\n term, the violin program has been... \\n excessed. \\n \\n Roberta takes this in, momentarily speechless. In the b.g., \\n the beginners slip into the hall to watch. \\n \\n ROBERTA \\n Excessed. \\n (beat) \\n They specifically said that my violin \\n program has to go. \\n\",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" I think what Mrs. Lamb is trying to \\n say, Roberta, is that you're a little \\n too harsh. I'm sure you might be \\n able to soften some of your comments \\n to the children? \\n \\n She gives Roberta a long hard look. Roberta nods. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta listens to the students play \\\"Go Tell Aunt Rhody\\\" -- \",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" I'd much rather get rid of. But as \\n far as the Board's concerned, violin \\n classes are not a priority. \\n \\n Roberta's fury starts to give way to grief. She looks terribly \\n wounded. Janet looks at her helplessly. \\n \\n JANET \\n I don't have the power here, Roberta. \\n I'm so sorry. \\n\",\n \" Things happened very quickly... I \\n wanted to tell you myself -- \\n \\n ROBERTA \\n (reeling) \\n I just... I can't even believe this \\n is happening! \\n \\n DENNIS \\n Why not? You're a sub. Your position \\n has never been permanent. \\n \\n JANET \\n Shut up, Dennis! You're not helping!\",\n \" ROBERTA \\n Mr. Klein? I'm gonna have to drop \\n Vanessa from the class if she keeps \\n forgetting her violin. \\n \\n MR. KLEIN \\n (sotto) \\n She's going back and forth between \\n houses. My wife and I split up. \\n \\n ROBERTA \\n (softening) \\n Oh. I'm sorry. \\n\",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \"\n ],\n [\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" her play in Fiddlefest! \\n \\n A few kids start playing \\\"CAN-CAN.\\\" It catches on, and more \\n of them join in. PASSERSBY stop to listen, and some drop \\n change into the open cases. RAMON and a couple of other kids \\n grin at this. \\n \\n CARLOS steps in front of the kids as he plays, and begins an \\n uncanny imitation of Roberta: \\n\",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" ROBERTA \\n All right, Naeem -- tell them. \\n \\n NAEEM \\n It's called the frog. \\n \\n Some kids giggle and joke about this. Roberta points to the \\n scroll of the violin. \\n \\n ROBERTA \\n Anyone remember what this is? \\n \\n LUCY, the fidgety girl, snaps her fingers. \\n \\n ROBERTA\",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" Rachel's gonna be my lieutenant and \\n I expect you to listen to her. \\n \\n Ramon looks through his music sheets. \\n \\n RAMON \\n Bach's \\\"Minuet One\\\"? \\n \\n ROBERTA \\n People are gonna be paying good money \\n for this concert -- we're not just \\n gonna play \\\"Twinkle.\\\" \\n (handing out papers)\",\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" You think the four hundred people \\n who've bought tickets so far will \\n think it's funny too? You think Itzhak \\n Perlman will think it's funny that \\n he's donating his time and you're \\n all gonna stink? \\n \\n Vanessa yawns and Roberta sees her. Uh-oh. \\n \\n ROBERTA \\n Am I boring you, Vanessa? \\n\",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\"\n ],\n [\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" The students finish MINUET ONE. There's an exquisite moment \\n of silence, then APPLAUSE. \\n \\n INT. CARNEGIE HALL - THE STAGE - LATER \\n \\n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \\n with the kids. He improvises, surprising them as his violin \\n makes the sound of a TRAIN moving through a tunnel. \\n\",\n \" her play in Fiddlefest! \\n \\n A few kids start playing \\\"CAN-CAN.\\\" It catches on, and more \\n of them join in. PASSERSBY stop to listen, and some drop \\n change into the open cases. RAMON and a couple of other kids \\n grin at this. \\n \\n CARLOS steps in front of the kids as he plays, and begins an \\n uncanny imitation of Roberta: \\n\",\n \" Carlos... Itzhak Perlman... Diane Monroe... De Sean. \\n \\n The song finishes and the APPLAUSE begins. The OTHER \\n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \\n and join the rest. More applause. The CAMERA PULLS BACK TO \\n INCLUDE the audience facing the stage, then REVERSES to show \\n the audience standing in the orchestra and balconies. \\n\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \\n waits to hear if Itzhak Perlman will say yes. \\n \\n 2. Parents, Roberta, Nick and Lexi hang \\\"FIDDLEFEST CONCERT\\\" \\n posters around their neighborhood, announcing a concert at \\n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and \",\n \" TICKET ORDER FORMS and CHECKS. They stack the checks in a \\n pile, address return envelopes and place FIDDLEFEST TICKETS \\n inside them. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Thirty-three excited kids from Roberta's different classes \\n chat, tune their violins, rosin their bows. The students \\n include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, \",\n \" DAN \\n Besides, no one's gonna be paying \\n attention to your playing anyway. \\n \\n Roberta laughs. Dan smiles, glad he got her to lighten up. \\n \\n EXT. CPE 1 - DAY (EARLY MORNING) \\n \\n The Fiddlefest kids (including Ramon, Shandra, Vanessa, De \\n Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and \",\n \" Ramon, Vanessa, and Shandra. Roberta enters the room, full \\n of energy, and addresses them as she heads to the front. \\n \\n ROBERTA \\n Listen up, everyone! Quiet down! \\n \\n The students give her their attention. \\n \\n ROBERTA \\n You are my very best beginner and \\n advanced violin students and I've \\n chosen you to play in Fiddlefest \",\n \" Steinhardt, Diane Monroe, Michael \\n Tree, Mark O'Connor and Karen Briggs. \\n \\n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \\n \\n CRANE SHOT of the six guest violinists on stage for the Grand \\n Finale, each one sharing a music stand with a student. Roberta \\n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to \",\n \" calling other theaters. Nothing's \\n available. \\n \\n They both sink into the couch, completely undone by this. \\n \\n ROBERTA \\n Just keep looking. \\n \\n INT. ROBERTA'S BROWNSTONE - NIGHT \\n \\n The Fiddlefest kids are crammed into Roberta's house, \\n (including De Sean, Guadalupe, Ramon, Vanessa, Shandra, \",\n \" The kids and their parents are practically boiling over with \\n excitement. Last minute kisses, violin tunings, and clothing \\n adjustments take place throughout the room. \\n \\n The boys are in suits or tuxes, the girls in velvet or \\n flowered dresses, some with bows in their hair, some with \\n their hair up in buns. Roberta tries to take a head count, \",\n \" STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \\n \\n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \\n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \\n to \\\"FIDDLEFEST\\\" and accompanying LETTERS and TICKET ORDER \\n FORMS. Roberta and Dorothea open envelopes with filled-out \",\n \" INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \\n \\n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \\n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \\n chatting and listening to the kids. \\n \\n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \\n\",\n \" attentively, then helping him lift the violin higher. \\n \\n 5. Vanessa practices in a crowded school hallway, frustrated \\n as kids keep bumping into her. \\n \\n 6. Roberta, in her nightgown, practices in front of her \\n refrigerator in the middle of the night. \\n \\n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \\n\",\n \" That's the one Lucy wrote! \\n \\n The CAMERA returns to the children and captures their own \\n pride in their playing, including LUCY, who smiles as she \\n hears her song played by fifty. \\n \\n THE CONCERT - TIME DISSOLVE \\n \\n The students are now playing \\\"Allegro,\\\" and they reach the \\n fermata. They hold their positions in silence and the audience \",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" INT. SCHOOL AUDITORIUM - NIGHT \\n \\n ROBERTA \\n \\n Stands in the aisle, leading the students and playing violin. \\n \\n ON STAGE \\n \\n The fifty fifth-grade students play the \\\"Twinkle\\\" variations. \\n Their playing is impeccable and they look terrific. \\n \\n As the CAMERA PANS the audience, we recognize: MRS. ADISA, \",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" right. \\n \\n INT. MUSIC ROOM - DAY \\n \\n The kids play \\\"Allegro,\\\" Roberta leading them. \\n \\n ROBERTA \\n Get ready, now -- we're coming up to \\n the fermata... \\n \\n They reach a certain note, then pause. \\n \\n ROBERTA \\n Hold... Hold... Don't anybody move. \\n Now at the Spring Concert, the \"\n ],\n [\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" over to them. Janet looks at her, alarmed. \\n \\n ROBERTA \\n Is it true? \\n \\n JANET \\n Why don't you come in my office? \\n \\n ROBERTA \\n It's true? You're firing me? \\n \\n JANET \\n It's not me, Roberta. The Board of \\n Ed. cut the budget, the District had \",\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" JANET \\n They've slashed the budget -- music \\n and art programs got hit the worst. \\n \\n ROBERTA \\n What about Dennis' classes? \\n \\n DENNIS \\n I'm tenured, Roberta. \\n \\n Roberta looks at him, then back to Janet. \\n \\n ROBERTA \\n When was this decided? \\n \\n JANET\",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Ten years ago, Roberta Guaspari walked \\n into my office because she needed a \\n job, and because she had a vision \\n that any child could learn the violin. \\n We put our dreams together and created \\n the East Harlem Violin Program which \\n has helped more than a thousand \\n students expand their vision of what's \\n possible in their lives. When a \\n program like this is cut, our \",\n \" to comply, and as of the end of this \\n term, the violin program has been... \\n excessed. \\n \\n Roberta takes this in, momentarily speechless. In the b.g., \\n the beginners slip into the hall to watch. \\n \\n ROBERTA \\n Excessed. \\n (beat) \\n They specifically said that my violin \\n program has to go. \\n\",\n \" other extra programs to give them \\n instead. \\n \\n ROBERTA \\n Oh, I see. So after ten years, after \\n fourteen hundred children have learned \\n to play the violin, this is just an \\n \\\"extra program.\\\" \\n \\n JANET \\n You know I don't feel that way and \\n you know damn well I've been standing \\n by you all these years! You think I \",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" I'd much rather get rid of. But as \\n far as the Board's concerned, violin \\n classes are not a priority. \\n \\n Roberta's fury starts to give way to grief. She looks terribly \\n wounded. Janet looks at her helplessly. \\n \\n JANET \\n I don't have the power here, Roberta. \\n I'm so sorry. \\n\",\n \" I think what Mrs. Lamb is trying to \\n say, Roberta, is that you're a little \\n too harsh. I'm sure you might be \\n able to soften some of your comments \\n to the children? \\n \\n She gives Roberta a long hard look. Roberta nods. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta listens to the students play \\\"Go Tell Aunt Rhody\\\" -- \",\n \" school -- in Greece -- and a year \\n teaching chorus in Hawaii -- ten \\n years ago -- it doesn't look like \\n you've had any other teaching \\n experience. \\n \\n ROBERTA \\n Well, not traditional teaching \\n experience. I've been doing private \\n lessons... \\n \\n Janet looks for this on the resume. \\n \\n ROBERTA\",\n \" They clink glasses and drink. \\n \\n ROBERTA \\n I don't know, Brian. I'm hanging on \\n by a thread there. Out of fifty kids, \\n maybe six are listening to me. \\n \\n BRIAN \\n Look at the progress. Didn't you say \\n no one was listening to you on Monday? \\n \\n Roberta laughs. \\n \\n ROBERTA\",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \",\n \" I'm from a blue collar family, and \\n if it weren't for the lessons I got \\n in public school, I never would have \\n learned the violin. \\n \\n It CUTS TO Roberta's beginners speaking to the interviewer. \\n \\n INTERVIEWER (O.S.) \\n How does it make you feel to lose \\n your violin program? \\n \\n SHANDRA\",\n \" Things happened very quickly... I \\n wanted to tell you myself -- \\n \\n ROBERTA \\n (reeling) \\n I just... I can't even believe this \\n is happening! \\n \\n DENNIS \\n Why not? You're a sub. Your position \\n has never been permanent. \\n \\n JANET \\n Shut up, Dennis! You're not helping!\"\n ],\n [\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" This is making her nervous. She looks at him, afraid of what \\n he might be saying. \\n \\n ROBERTA \\n (carefully) \\n What are you saying? If there's some \\n need you have that I don't meet, \\n you'd go and get it \\\"met\\\" by someone \\n else? \\n \\n He heaves a sigh of frustration, not wanting to answer the \\n question. \\n\",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \",\n \" The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \\n photo album from the floor, looks at a photo and removes it. \\n She's a beautiful woman with large, expressive eyes, but \\n right now she looks like hell. She stares at the photo -- \\n it's the two couples dancing. A quick glimpse of hurt on her \",\n \" BRIAN \\n Because? \\n \\n ROBERTA \\n The boys -- \\n \\n BRIAN \\n They're sleeping. \\n \\n ROBERTA \\n I know, but... I'm still married. \\n \\n BRIAN \\n And what's your husband doing right \\n now? \\n \\n A few beats, and she moves towards him. \\n\",\n \" Tell me. \\n \\n ROBERTA \\n (hesitates, then) \\n I don't know. Charles filled out my \\n absentee ballot. \\n \\n BRIAN \\n Oh my God -- it's even worse than I \\n thought! \\n (touching her hair) \\n Is this the same Roberta who got the \\n orchestra to strike until they gave \\n us new uniforms?\",\n \" He places items into a carry-on bag, packing at a rapid clip. \\n In contrast, Roberta seems to be moving in slow motion. \\n \\n BRIAN \\n I've got a few families lined up \\n there, some in California -- \\n \\n ROBERTA \\n How long will you be gone? \\n \\n BRIAN \\n Two, three months. \\n \\n ROBERTA \\n What?\",\n \" She turns, relieved, until she sees that Brian's packing a \\n suitcase. \\n \\n ROBERTA \\n Where are you going? \\n \\n BRIAN \\n Texas. \\n \\n He dashes out. Roberta sits up, rattled by this news. \\n \\n INT. BRIAN'S OFFICE - DAY \\n \\n Brian excitedly gathers papers and files scattered around \\n his electric typewriter.\",\n \" Roberta's thrilled and relieved to see him. She embraces \\n him, and they kiss passionately. \\n \\n INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) \\n \\n CLOSE ON plaster walls being knocked down with sledgehammers. \\n REVEAL Brian, Roberta, and a couple of workmen knocking down \\n the walls in an old brownstone. \\n\",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" Roberta attempts to read Brian's book, To Hell and Back: \\n Interviews with Vietnam Vets, but she's distracted. She \\n glances at her purse, then back to the book. She puts the \\n book down and dials the phone. \\n \\n ROBERTA \\n Brian Turner's room, please. \\n \\n While she waits, she looks at Brian's picture on the book \",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" knew Charles when you married him. \\n \\n ROBERTA \\n (defensive) \\n I don't get it -- you're ragging on \\n me about buying the house -- I would \\n think you'd want Brian to live with \\n me. \\n \\n ASSUNTA \\n Not if he's the wrong person. \\n \\n Roberta locks her jaw, not wanting to believe that she's \",\n \" ROBERTA \\n O.K., enough goofing off -- back to \\n work. \\n \\n BRIAN \\n You trying to kill me? \\n \\n She laughs and they kiss. \\n \\n ASSUNTA comes up the street with a bag of take-out food. She \\n casts a dubious glance at the lovers. \\n \\n ASSUNTA \\n I was the only person in the whole \",\n \" BRIAN \\n It didn't mean I had the one I wanted. \\n \\n He gives her a flirtatious smile, then takes out one of her \\n rollers. \\n \\n BRIAN \\n You're not a navy wife anymore... \\n \\n He moves to takes out another roller and Roberta stops him. \\n \\n ROBERTA \\n Yes I am... legally. \\n \\n BRIAN\",\n \" with ribbons, bows and stickers. At one point she even unties \\n a ribbon and redoes it because it's not perfect. She looks \\n pretty, but she's dressed conservatively, like a navy \\n housewife. There's only one other clerk wrapping gifts and a \\n long line of impatient customers. A male SUPERVISOR appears \\n behind Roberta. \\n \\n SUPERVISOR\",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \"\n ],\n [\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \",\n \" with ribbons, bows and stickers. At one point she even unties \\n a ribbon and redoes it because it's not perfect. She looks \\n pretty, but she's dressed conservatively, like a navy \\n housewife. There's only one other clerk wrapping gifts and a \\n long line of impatient customers. A male SUPERVISOR appears \\n behind Roberta. \\n \\n SUPERVISOR\",\n \" Roberta climbs the dimly-lit stairs of a dilapidated, scary \\n building. O.S. a BABY CRIES, a couple of TV's BLARE. \\n \\n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \\n \\n At the top of the stairs, Roberta turns down the hall, passing \\n a door riddled with bullet holes. She finds the apartment \",\n \" INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta enters her apartment, back from the airport, and \\n double-locks the door behind her. You can see on her face \\n that she's dreading the emptiness. She crosses to a small \\n Christmas tree, obviously decorated by her and the boys, and \\n plugs in the tiny blinking lights. It's not exactly \",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\",\n \" She sits down beside Roberta, takes out her lunch. \\n \\n ROBERTA \\n Is it my imagination, or does everyone \\n hate me? \\n \\n ISABEL \\n It's hard to fit in when you're doing \\n a special program. People figure \\n you're not gonna be here very long, \\n so why make the effort? \\n (beat) \\n It may take a while for folks to \",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \\n photo album from the floor, looks at a photo and removes it. \\n She's a beautiful woman with large, expressive eyes, but \\n right now she looks like hell. She stares at the photo -- \\n it's the two couples dancing. A quick glimpse of hurt on her \",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" Roberta's explaining that. Just \\n listen. \\n \\n ROBERTA \\n After your parents sign your \\n permission slips, I'm gonna put them \\n in a sack, and I'll pick fifty names \\n from each school. \\n \\n ANGLE - Ramon listens intently with his fingers crossed. \\n \\n ROBERTA \\n So everyone bring in your slips by \",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" She tosses one aside, then opens another. \\n \\n INSERT \\n \\n The letter is designed like a newspaper with a headline that \\n reads: JOURNALISM PROFESSOR DAN PAXTON ANSWERS PERSONAL AD; \\n HOPES RUN HIGH BEAUTIFUL MUSICIAN WILL CALL FOR A DATE! \\n \\n BACK TO SCENE \\n \\n Roberta can't help but be charmed.\",\n \" other extra programs to give them \\n instead. \\n \\n ROBERTA \\n Oh, I see. So after ten years, after \\n fourteen hundred children have learned \\n to play the violin, this is just an \\n \\\"extra program.\\\" \\n \\n JANET \\n You know I don't feel that way and \\n you know damn well I've been standing \\n by you all these years! You think I \",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \"\n ],\n [\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" Ten years ago, Roberta Guaspari walked \\n into my office because she needed a \\n job, and because she had a vision \\n that any child could learn the violin. \\n We put our dreams together and created \\n the East Harlem Violin Program which \\n has helped more than a thousand \\n students expand their vision of what's \\n possible in their lives. When a \\n program like this is cut, our \",\n \" to comply, and as of the end of this \\n term, the violin program has been... \\n excessed. \\n \\n Roberta takes this in, momentarily speechless. In the b.g., \\n the beginners slip into the hall to watch. \\n \\n ROBERTA \\n Excessed. \\n (beat) \\n They specifically said that my violin \\n program has to go. \\n\",\n \" I'm from a blue collar family, and \\n if it weren't for the lessons I got \\n in public school, I never would have \\n learned the violin. \\n \\n It CUTS TO Roberta's beginners speaking to the interviewer. \\n \\n INTERVIEWER (O.S.) \\n How does it make you feel to lose \\n your violin program? \\n \\n SHANDRA\",\n \" other extra programs to give them \\n instead. \\n \\n ROBERTA \\n Oh, I see. So after ten years, after \\n fourteen hundred children have learned \\n to play the violin, this is just an \\n \\\"extra program.\\\" \\n \\n JANET \\n You know I don't feel that way and \\n you know damn well I've been standing \\n by you all these years! You think I \",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" I'd much rather get rid of. But as \\n far as the Board's concerned, violin \\n classes are not a priority. \\n \\n Roberta's fury starts to give way to grief. She looks terribly \\n wounded. Janet looks at her helplessly. \\n \\n JANET \\n I don't have the power here, Roberta. \\n I'm so sorry. \\n\",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" JANET \\n They've slashed the budget -- music \\n and art programs got hit the worst. \\n \\n ROBERTA \\n What about Dennis' classes? \\n \\n DENNIS \\n I'm tenured, Roberta. \\n \\n Roberta looks at him, then back to Janet. \\n \\n ROBERTA \\n When was this decided? \\n \\n JANET\",\n \" Roberta stands there, sobered. \\n \\n ROBERTA \\n I'm really sorry, Lucy. \\n (tries to get her \\n bearings) \\n Just do the best you can. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n A group of kids stand together with their violins and chat. \\n Roberta exits the building and they greet her. She waves \",\n \" as she sees Vanessa get out of her MOTHER'S car with her \\n violin. Roberta nears the front door and finds Isabel and \\n some teachers huddled in conversation. A few students are \\n crying. \\n \\n ROBERTA \\n (to Isabel) \\n What happened? \\n \\n INT. MUSIC ROOM - DAY \\n \\n The beginners sit on the floor and rosin their bows. A few \",\n \" over to them. Janet looks at her, alarmed. \\n \\n ROBERTA \\n Is it true? \\n \\n JANET \\n Why don't you come in my office? \\n \\n ROBERTA \\n It's true? You're firing me? \\n \\n JANET \\n It's not me, Roberta. The Board of \\n Ed. cut the budget, the District had \",\n \" stick around. I finally decided I'd \\n start my own program -- Charles gave \\n me the money and I bought fifty \\n violins from this little Greek shop -- \\n got started at a private school and \\n then... \\n \\n BRIAN \\n Your husband ran off with your best \\n friend. \\n \\n A beat. \\n \\n ROBERTA\",\n \" and giving direction. They're playing badly. \\n \\n Rachel plays as well, but walks around the room making \\n corrections. It's early morning, and the kids look half- \\n asleep. \\n \\n ROBERTA \\n Frog! Frog! I need more accents on \\n the down beat! More bow! More! \\n \\n They play a few more bars and still sound pretty bad. \\n \\n ROBERTA\",\n \" BRIAN \\n A little of both. \\n \\n Roberta smiles, blushing a bit. Brian looks at her, getting \\n an idea. \\n \\n BRIAN \\n You know, I know this really cool \\n lady who runs this elementary school -- \\n I wrote a piece on her. It's a public \\n school, but it's alternative -- she \\n might be able to create some kind of \",\n \" The kids say \\\"the world's greatest violinists\\\" along with \\n her -- they've obviously been hearing this a lot. Roberta \\n glares at them. \\n \\n ROBERTA \\n I think we should forget the Bach \\n Double. \\n (to the other kids) \\n And you guys are never gonna get \\n Minuet One. I think we should drop \\n that too. \\n\",\n \" Kenny -- but RACHEL is absent) stand outside the locked school \\n gate, waiting for Roberta. Some of the kids have their violins \\n out of the cases, tuning them. \\n \\n CARLOS \\n Teacher's late. I think she should \\n be dropped, don't you? \\n \\n Kids laugh. \\n \\n RAMON \\n Yeah. I don't think we should let \"\n ],\n [\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" The students finish MINUET ONE. There's an exquisite moment \\n of silence, then APPLAUSE. \\n \\n INT. CARNEGIE HALL - THE STAGE - LATER \\n \\n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \\n with the kids. He improvises, surprising them as his violin \\n makes the sound of a TRAIN moving through a tunnel. \\n\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" her play in Fiddlefest! \\n \\n A few kids start playing \\\"CAN-CAN.\\\" It catches on, and more \\n of them join in. PASSERSBY stop to listen, and some drop \\n change into the open cases. RAMON and a couple of other kids \\n grin at this. \\n \\n CARLOS steps in front of the kids as he plays, and begins an \\n uncanny imitation of Roberta: \\n\",\n \" Ramon, Vanessa, and Shandra. Roberta enters the room, full \\n of energy, and addresses them as she heads to the front. \\n \\n ROBERTA \\n Listen up, everyone! Quiet down! \\n \\n The students give her their attention. \\n \\n ROBERTA \\n You are my very best beginner and \\n advanced violin students and I've \\n chosen you to play in Fiddlefest \",\n \" open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \\n waits to hear if Itzhak Perlman will say yes. \\n \\n 2. Parents, Roberta, Nick and Lexi hang \\\"FIDDLEFEST CONCERT\\\" \\n posters around their neighborhood, announcing a concert at \\n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and \",\n \" STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \\n \\n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \\n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \\n to \\\"FIDDLEFEST\\\" and accompanying LETTERS and TICKET ORDER \\n FORMS. Roberta and Dorothea open envelopes with filled-out \",\n \" DAN \\n Besides, no one's gonna be paying \\n attention to your playing anyway. \\n \\n Roberta laughs. Dan smiles, glad he got her to lighten up. \\n \\n EXT. CPE 1 - DAY (EARLY MORNING) \\n \\n The Fiddlefest kids (including Ramon, Shandra, Vanessa, De \\n Sean, Naeem, Guadalupe, Lucy, Simon, Stephanie, Amanda and \",\n \" Carlos... Itzhak Perlman... Diane Monroe... De Sean. \\n \\n The song finishes and the APPLAUSE begins. The OTHER \\n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \\n and join the rest. More applause. The CAMERA PULLS BACK TO \\n INCLUDE the audience facing the stage, then REVERSES to show \\n the audience standing in the orchestra and balconies. \\n\",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" (to the fencers) \\n Don't do that! Put the bows back in \\n the cases -- right now! \\n \\n There's the SOUND of violin strings being plucked. \\n \\n ROBERTA \\n Who's plucking? \\n \\n Roberta wheels around to find a girl plucking her violin \\n like a banjo, and doing a little dance. This is LUCY, a skinny \",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" TICKET ORDER FORMS and CHECKS. They stack the checks in a \\n pile, address return envelopes and place FIDDLEFEST TICKETS \\n inside them. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Thirty-three excited kids from Roberta's different classes \\n chat, tune their violins, rosin their bows. The students \\n include Carlos, Stephanie, Amanda, Kenny, Rachel, Simon, \",\n \" That's the one Lucy wrote! \\n \\n The CAMERA returns to the children and captures their own \\n pride in their playing, including LUCY, who smiles as she \\n hears her song played by fifty. \\n \\n THE CONCERT - TIME DISSOLVE \\n \\n The students are now playing \\\"Allegro,\\\" and they reach the \\n fermata. They hold their positions in silence and the audience \",\n \" This is to inform you that your child, \\n Ramon Olivas, has been chosen by \\n lottery to be in the violin program. \\n \\n CONCEPCION \\n You happy? \\n \\n Ramon spins round and round with the letter in his hand. \\n \\n CONCEPCION \\n I think you're happy. \\n \\n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \\n\",\n \" Steinhardt, Diane Monroe, Michael \\n Tree, Mark O'Connor and Karen Briggs. \\n \\n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \\n \\n CRANE SHOT of the six guest violinists on stage for the Grand \\n Finale, each one sharing a music stand with a student. Roberta \\n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to \",\n \" They begin again, and we see Naeem take out a violin and \\n join in. As they play, Roberta's ears perk up at something \\n she's hearing. She crosses to Lucy. \\n \\n ROBERTA \\n What are you playing? \\n \\n LUCY \\n Twinkle. \\n \\n ROBERTA \\n (to class) \\n Everyone stop! \\n (to Lucy)\",\n \" The kids and their parents are practically boiling over with \\n excitement. Last minute kisses, violin tunings, and clothing \\n adjustments take place throughout the room. \\n \\n The boys are in suits or tuxes, the girls in velvet or \\n flowered dresses, some with bows in their hair, some with \\n their hair up in buns. Roberta tries to take a head count, \",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \"\n ],\n [\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" INT. CARNEGIE HALL - NIGHT \\n \\n The hall is filling to capacity as people take their seats, \\n the room buzzing with voices. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n The CARNEGIE HALL staff person enters. \\n \\n STAFF PERSON \\n FIVE MINUTE CALL. WE NOW HAVE FIVE \\n MINUTES. \\n\",\n \" What about in the Bronx? \\n \\n NICK \\n There's nothing. \\n (beat) \\n Why don't you just do it in one of \\n the schools? It'll be a lot smaller \\n but -- \\n \\n ROBERTA \\n We won't make enough money. \\n \\n LEXI \\n What about postponing it? \\n \\n ROBERTA\",\n \" have a bigger mission: to take the \\n magical spirit of tonight's concert \\n with us out into the world, and to \\n fight for music and art to be a part \\n of every child's education. Thank \\n you. \\n \\n The APPLAUSE is DEAFENING, then slowly diminishes as we: \\n \\n DISSOLVE TO: \\n\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" Disappointed grumblings. \\n \\n ISABEL \\n What if we raise the money ourselves? \\n \\n JANET \\n I can't see how they'd object to \\n that. \\n \\n A beat as people take this in. \\n \\n CONCEPCION \\n Well once that newspaper article \\n comes out, that should help bring in \\n money. \\n \\n BEVERLY\",\n \" The kids and their parents are practically boiling over with \\n excitement. Last minute kisses, violin tunings, and clothing \\n adjustments take place throughout the room. \\n \\n The boys are in suits or tuxes, the girls in velvet or \\n flowered dresses, some with bows in their hair, some with \\n their hair up in buns. Roberta tries to take a head count, \",\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" attentively, then helping him lift the violin higher. \\n \\n 5. Vanessa practices in a crowded school hallway, frustrated \\n as kids keep bumping into her. \\n \\n 6. Roberta, in her nightgown, practices in front of her \\n refrigerator in the middle of the night. \\n \\n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \\n\",\n \" be afraid. It's gonna be really \\n wonderful. So play -- play from here. \\n \\n She pats her heart. \\n \\n INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT \\n \\n The kids head out towards the stage, the APPLAUSE getting \\n louder as they get closer. \\n \\n INT. CARNEGIE HALL - STAGE - NIGHT \\n\",\n \" and they've cancelled all events. \\n \\n ROBERTA \\n Until when? \\n \\n DOROTHEA \\n \\\"Until further notice.\\\" \\n \\n ROBERTA \\n This can't happen! We've sold tickets! \\n We've done publicity! The concert's \\n in three weeks! \\n \\n DOROTHEA \\n I've been on the phone all morning \",\n \" INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \\n \\n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \\n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \\n chatting and listening to the kids. \\n \\n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \\n\",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\"\n ],\n [\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" over to them. Janet looks at her, alarmed. \\n \\n ROBERTA \\n Is it true? \\n \\n JANET \\n Why don't you come in my office? \\n \\n ROBERTA \\n It's true? You're firing me? \\n \\n JANET \\n It's not me, Roberta. The Board of \\n Ed. cut the budget, the District had \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" Roberta nods, defeated. \\n \\n JANET \\n I'm very sorry. \\n \\n INT. CPE 1 - HALLWAY - DAY \\n \\n Roberta stands outside Janet's office, dejectedly watching \\n the children noisily running through the hall. \\n \\n INT. AREA OUTSIDE JANET WILLIAMS' OFFICE - THE NEXT DAY \\n\",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" Wake up, Ernie. \\n \\n He looks at her groggily. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the brick workers. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the painters. \\n \\n ROBERTA \\n You're fired. \\n \\n Brian smiles at her, impressed. \\n\",\n \" DENNIS \\n You're disrupting school and I want \\n them out of here -- now. \\n \\n ROBERTA \\n You still don't get it, do you? I \\n don't care if you hate me, Dennis -- \\n that's your business. But think about \\n the students for once. Every time \\n you interfere, you're not hurting me -- \",\n \" to comply, and as of the end of this \\n term, the violin program has been... \\n excessed. \\n \\n Roberta takes this in, momentarily speechless. In the b.g., \\n the beginners slip into the hall to watch. \\n \\n ROBERTA \\n Excessed. \\n (beat) \\n They specifically said that my violin \\n program has to go. \\n\",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" I think what Mrs. Lamb is trying to \\n say, Roberta, is that you're a little \\n too harsh. I'm sure you might be \\n able to soften some of your comments \\n to the children? \\n \\n She gives Roberta a long hard look. Roberta nods. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta listens to the students play \\\"Go Tell Aunt Rhody\\\" -- \",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" I'd much rather get rid of. But as \\n far as the Board's concerned, violin \\n classes are not a priority. \\n \\n Roberta's fury starts to give way to grief. She looks terribly \\n wounded. Janet looks at her helplessly. \\n \\n JANET \\n I don't have the power here, Roberta. \\n I'm so sorry. \\n\",\n \" Things happened very quickly... I \\n wanted to tell you myself -- \\n \\n ROBERTA \\n (reeling) \\n I just... I can't even believe this \\n is happening! \\n \\n DENNIS \\n Why not? You're a sub. Your position \\n has never been permanent. \\n \\n JANET \\n Shut up, Dennis! You're not helping!\",\n \" ROBERTA \\n Mr. Klein? I'm gonna have to drop \\n Vanessa from the class if she keeps \\n forgetting her violin. \\n \\n MR. KLEIN \\n (sotto) \\n She's going back and forth between \\n houses. My wife and I split up. \\n \\n ROBERTA \\n (softening) \\n Oh. I'm sorry. \\n\",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \"\n ],\n [\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" Roberta attempts to read Brian's book, To Hell and Back: \\n Interviews with Vietnam Vets, but she's distracted. She \\n glances at her purse, then back to the book. She puts the \\n book down and dials the phone. \\n \\n ROBERTA \\n Brian Turner's room, please. \\n \\n While she waits, she looks at Brian's picture on the book \",\n \" BRIAN \\n It didn't mean I had the one I wanted. \\n \\n He gives her a flirtatious smile, then takes out one of her \\n rollers. \\n \\n BRIAN \\n You're not a navy wife anymore... \\n \\n He moves to takes out another roller and Roberta stops him. \\n \\n ROBERTA \\n Yes I am... legally. \\n \\n BRIAN\",\n \" The WOMAN -- ROBERTA GUASPARI-DEMETRAS (38) -- retrieves the \\n photo album from the floor, looks at a photo and removes it. \\n She's a beautiful woman with large, expressive eyes, but \\n right now she looks like hell. She stares at the photo -- \\n it's the two couples dancing. A quick glimpse of hurt on her \",\n \" INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta enters her apartment, back from the airport, and \\n double-locks the door behind her. You can see on her face \\n that she's dreading the emptiness. She crosses to a small \\n Christmas tree, obviously decorated by her and the boys, and \\n plugs in the tiny blinking lights. It's not exactly \",\n \" Tell me. \\n \\n ROBERTA \\n (hesitates, then) \\n I don't know. Charles filled out my \\n absentee ballot. \\n \\n BRIAN \\n Oh my God -- it's even worse than I \\n thought! \\n (touching her hair) \\n Is this the same Roberta who got the \\n orchestra to strike until they gave \\n us new uniforms?\",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" And is it a navy requirement that \\n you dress like it's the 1950's? \\n \\n ROBERTA \\n I do not! \\n \\n BRIAN \\n (goading her) \\n Who did you vote for in the last \\n election? \\n \\n ROBERTA \\n What does that have to do with \\n anything? \\n \\n BRIAN\",\n \" BRIAN \\n Because? \\n \\n ROBERTA \\n The boys -- \\n \\n BRIAN \\n They're sleeping. \\n \\n ROBERTA \\n I know, but... I'm still married. \\n \\n BRIAN \\n And what's your husband doing right \\n now? \\n \\n A few beats, and she moves towards him. \\n\",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" with ribbons, bows and stickers. At one point she even unties \\n a ribbon and redoes it because it's not perfect. She looks \\n pretty, but she's dressed conservatively, like a navy \\n housewife. There's only one other clerk wrapping gifts and a \\n long line of impatient customers. A male SUPERVISOR appears \\n behind Roberta. \\n \\n SUPERVISOR\",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \",\n \" He places items into a carry-on bag, packing at a rapid clip. \\n In contrast, Roberta seems to be moving in slow motion. \\n \\n BRIAN \\n I've got a few families lined up \\n there, some in California -- \\n \\n ROBERTA \\n How long will you be gone? \\n \\n BRIAN \\n Two, three months. \\n \\n ROBERTA \\n What?\",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" She turns, relieved, until she sees that Brian's packing a \\n suitcase. \\n \\n ROBERTA \\n Where are you going? \\n \\n BRIAN \\n Texas. \\n \\n He dashes out. Roberta sits up, rattled by this news. \\n \\n INT. BRIAN'S OFFICE - DAY \\n \\n Brian excitedly gathers papers and files scattered around \\n his electric typewriter.\",\n \" Roberta hesitates, but knows she has to tell them the truth. \\n She addresses both boys. \\n \\n ROBERTA \\n Your father met someone he liked \\n more than Mommy, and then -- \\n \\n NICK \\n Who? \\n \\n Roberta swallows, shocked to hear him ask this. She can hardly \\n answer him. \\n \\n ROBERTA\",\n \" BRIAN \\n (hesitates, then) \\n Roberta -- \\n \\n His tone and expression tell her the words are not \\n forthcoming. \\n \\n ROBERTA \\n Get out. \\n \\n He looks at her, shocked by her toughness, but knows he can't \\n give her what she wants. He exits. Roberta stands in the \\n middle of the room, a determined look on her face. \\n\",\n \" This is making her nervous. She looks at him, afraid of what \\n he might be saying. \\n \\n ROBERTA \\n (carefully) \\n What are you saying? If there's some \\n need you have that I don't meet, \\n you'd go and get it \\\"met\\\" by someone \\n else? \\n \\n He heaves a sigh of frustration, not wanting to answer the \\n question. \\n\",\n \" in his arms. \\n \\n BRIAN \\n You're gonna be fine. You have a \\n job, a place to stay, your kids have \\n a school to go to -- and there's a \\n D'Agostino's around the corner. \\n \\n She attempts a smile. \\n \\n ROBERTA \\n Congratulations. \\n\"\n ],\n [\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" ROBERTA \\n You called Vanessa's father and \\n mother? \\n \\n JANET \\n No answer at either. \\n \\n A Carnegie Hall staff person in a suit enters. \\n \\n STAFF PERSON \\n Half hour call! It's now half hour \\n call! So pace yourself accordingly. \\n Don't get more than thirty minutes \\n worth of nervous! \\n\",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\",\n \" this. It's huge. It's gigantic! It's \\n Carnegie Hall! And listen to this: \\n now Isaac Stern wants to play with \\n us -- Diane Monroe, Michael Tree -- \\n there's other people calling -- \\n \\n DAN \\n That's fantastic! \\n \\n ROBERTA \\n Fantastic? I'll never get the kids \",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" Roberta nods, and addresses the kids as she unlocks the gate. \\n \\n ROBERTA \\n He's right, by the way. You do sound \\n terrible, and you are gonna make \\n everyone in Carnegie Hall sick to \\n their stomachs. \\n \\n The kids start filing in. Rachel comes up the street and \\n catches up to Roberta. \\n \\n RACHEL\",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" Would you believe in 1960, they tried \\n to tear this place down? They wanted \\n to replace it with a bright red \\n skyscraper -- we called it \\\"the red \\n terror.\\\" \\n \\n ROBERTA \\n You're kidding. \\n \\n ISAAC STERN \\n We had to fight like hell, but with \\n a lot of help, we saved Carnegie \",\n \" violinists bow... and MOVE IN CLOSER on ROBERTA in her moment \\n of triumph. \\n \\n INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER \\n \\n Roberta addresses the audience. Her voice is strong but softer \\n around the edges; she is a woman in a state of grace. \\n \\n ROBERTA \\n We're all here tonight because we \",\n \" INT. CARNEGIE HALL - DAY \\n \\n CLOSE ON THE CEILING OF CARNEGIE HALL, revolving slowly. \\n \\n PULL BACK TO REVEAL THIS IS ROBERTA'S POV \\n \\n She stands on the empty stage, gazing at the ceiling as she \\n slowly turns around. She's holding her violin case. She looks \",\n \" DOROTHEA \\n Don't be silly. Besides -- you'll \\n need your money for parking tickets. \\n \\n They smile at each other. \\n \\n DOROTHEA \\n What you're doing for these children \\n is wonderful. My husband's a violinist -- \\n he was quite impressed when I told \\n him about you. \\n \\n ROBERTA\",\n \" INT. CARNEGIE HALL - NIGHT \\n \\n The hall is filling to capacity as people take their seats, \\n the room buzzing with voices. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n The CARNEGIE HALL staff person enters. \\n \\n STAFF PERSON \\n FIVE MINUTE CALL. WE NOW HAVE FIVE \\n MINUTES. \\n\",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" around to make sure she's alone. She takes out her violin, \\n takes a deep breath as she looks out towards her \\\"audience,\\\" \\n then starts to play the second violin part of the Bach Double \\n Concerto. Suddenly, there's the SOUND of a stage door opening. \\n Roberta stops. \\n \\n MALE VOICE (O.S.) \\n Incredible sound in this room, no? \\n\",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" ROBERTA \\n (half to herself) \\n It better be a good concert. \\n \\n The DOORBELL RINGS and Roberta crosses to get it. DAN enters, \\n holding copies of the NY POST, the DAILY NEWS, and a couple \\n of other papers. Each paper has been opened to a specific \\n page. \\n \\n DAN \\n Take your pick. \\n\",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\"\n ],\n [\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" and giving direction. They're playing badly. \\n \\n Rachel plays as well, but walks around the room making \\n corrections. It's early morning, and the kids look half- \\n asleep. \\n \\n ROBERTA \\n Frog! Frog! I need more accents on \\n the down beat! More bow! More! \\n \\n They play a few more bars and still sound pretty bad. \\n \\n ROBERTA\",\n \" INT. SCHOOL AUDITORIUM - NIGHT \\n \\n ROBERTA \\n \\n Stands in the aisle, leading the students and playing violin. \\n \\n ON STAGE \\n \\n The fifty fifth-grade students play the \\\"Twinkle\\\" variations. \\n Their playing is impeccable and they look terrific. \\n \\n As the CAMERA PANS the audience, we recognize: MRS. ADISA, \",\n \" Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), \\n rehearsing \\\"Orange Blossom Special.\\\" They play badly. Rachel \\n helps Roberta correct students. \\n \\n ROBERTA \\n Stop! Someone's playing the wrong \\n notes! And you shouldn't need your \\n music anymore! Except for the Bach \\n Double, everything has to be memorized \\n by next rehearsal! \\n\",\n \" What's his name? \\n \\n DOROTHEA \\n Arnold Steinhardt. \\n \\n ROBERTA \\n Of the Guarneri String Quartet? \\n \\n Dorothea nods, and hands Roberta a card. \\n \\n DOROTHEA \\n Stay in touch. Let us know when the \\n kids have a concert. \\n\",\n \" Roberta knocks on Janet's door. \\n \\n JANET (O.S.) \\n Yes? \\n \\n As Roberta opens the door, we see that Nick and Lexi are \\n with her. All three have violins. INSIDE, Janet's in \\n conversation with DENNIS RAUSCH (38), an uptight man with a \\n tie that doesn't match his suit jacket. He's showing Janet a \",\n \" INT. ROBERTA'S BROWNSTONE - LIVING ROOM - NIGHT \\n \\n Roberta, Nick and Lexi play Haydn's \\\"Trio #13\\\" together on \\n their respective instruments. We sense that this is a special \\n family ritual. They play throughout their conversation: \\n \\n ROBERTA \\n I think you're flat, Nick. \\n \\n NICK \\n I'm not flat. \\n\",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS \\n plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. \\n NICK plays cello; LEXI plays the piano behind them; and, \\n playing with her own solo music stand, ROBERTA. \\n \\n Their expressions are serious and passionate, broken by \\n occasional smiles lighting on faces: Isaac Stern... Lucy... \",\n \" He kisses her forehead, then exits. HOLD ON ROBERTA, looking \\n hurt and frightened. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta rosins her bow, standing in front of ten kids -- \\n third through fifth-grade -- who sit on the floor next to \\n their violin cases. The kids are Black and Latino, with a \\n couple of white faces. They're all talking and ignoring \",\n \" this. It's huge. It's gigantic! It's \\n Carnegie Hall! And listen to this: \\n now Isaac Stern wants to play with \\n us -- Diane Monroe, Michael Tree -- \\n there's other people calling -- \\n \\n DAN \\n That's fantastic! \\n \\n ROBERTA \\n Fantastic? I'll never get the kids \",\n \" The kids say \\\"the world's greatest violinists\\\" along with \\n her -- they've obviously been hearing this a lot. Roberta \\n glares at them. \\n \\n ROBERTA \\n I think we should forget the Bach \\n Double. \\n (to the other kids) \\n And you guys are never gonna get \\n Minuet One. I think we should drop \\n that too. \\n\",\n \" ROBERTA \\n (to the boys) \\n Did you hear what I just said? \\n \\n ANGLE - Three kids are using the violin cases as pretend \\n machine guns -- and shooting each other. \\n \\n ROBERTA \\n Put those down, please! \\n \\n ANGLE - A boy and a girl are having a \\\"sword fight\\\" with \\n their bows. \\n \\n ROBERTA\",\n \" DOROTHEA \\n Don't be silly. Besides -- you'll \\n need your money for parking tickets. \\n \\n They smile at each other. \\n \\n DOROTHEA \\n What you're doing for these children \\n is wonderful. My husband's a violinist -- \\n he was quite impressed when I told \\n him about you. \\n \\n ROBERTA\",\n \" her play in Fiddlefest! \\n \\n A few kids start playing \\\"CAN-CAN.\\\" It catches on, and more \\n of them join in. PASSERSBY stop to listen, and some drop \\n change into the open cases. RAMON and a couple of other kids \\n grin at this. \\n \\n CARLOS steps in front of the kids as he plays, and begins an \\n uncanny imitation of Roberta: \\n\",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\",\n \" around to make sure she's alone. She takes out her violin, \\n takes a deep breath as she looks out towards her \\\"audience,\\\" \\n then starts to play the second violin part of the Bach Double \\n Concerto. Suddenly, there's the SOUND of a stage door opening. \\n Roberta stops. \\n \\n MALE VOICE (O.S.) \\n Incredible sound in this room, no? \\n\",\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" Roberta nods, and addresses the kids as she unlocks the gate. \\n \\n ROBERTA \\n He's right, by the way. You do sound \\n terrible, and you are gonna make \\n everyone in Carnegie Hall sick to \\n their stomachs. \\n \\n The kids start filing in. Rachel comes up the street and \\n catches up to Roberta. \\n \\n RACHEL\"\n ],\n [\n \" Roberta except for NAEEM and GUADALUPE, a petite Mexican \\n girl with a long dark braid. [NOTE: We'll see other violin \\n students from time to time, but this is the class we'll follow \\n for Roberta's first year] \\n \\n ROBERTA \\n And what am I doing now? \\n \\n NAEEM/GUADALUPE \\n Rosining the bow. \\n\",\n \" ROBERTA \\n You need violins? \\n \\n INT. MUSIC ROOM - DAY \\n \\n In a noisy music room with bad acoustics, Roberta tries to \\n take control of fifty kids, third through fifth-graders, who \\n are in a state of manic excitement over the FIFTY VIOLIN \\n CASES on the floor. \\n \\n ROBERTA \\n (gently)\",\n \" school -- in Greece -- and a year \\n teaching chorus in Hawaii -- ten \\n years ago -- it doesn't look like \\n you've had any other teaching \\n experience. \\n \\n ROBERTA \\n Well, not traditional teaching \\n experience. I've been doing private \\n lessons... \\n \\n Janet looks for this on the resume. \\n \\n ROBERTA\",\n \" as she sees Vanessa get out of her MOTHER'S car with her \\n violin. Roberta nears the front door and finds Isabel and \\n some teachers huddled in conversation. A few students are \\n crying. \\n \\n ROBERTA \\n (to Isabel) \\n What happened? \\n \\n INT. MUSIC ROOM - DAY \\n \\n The beginners sit on the floor and rosin their bows. A few \",\n \" and giving direction. They're playing badly. \\n \\n Rachel plays as well, but walks around the room making \\n corrections. It's early morning, and the kids look half- \\n asleep. \\n \\n ROBERTA \\n Frog! Frog! I need more accents on \\n the down beat! More bow! More! \\n \\n They play a few more bars and still sound pretty bad. \\n \\n ROBERTA\",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\",\n \" (to Naeem) \\n Why don't you go grab one of my spare \\n violins? \\n \\n Naeem happily runs to the extra violins at the front of the \\n room; Mrs. Adisa nods to Roberta with a look of gratitude, \\n then exits. Roberta crosses back to the front of the room. \\n \\n ROBERTA \\n (to class) \\n Let's try it again. \\n\",\n \" Roberta stands there, sobered. \\n \\n ROBERTA \\n I'm really sorry, Lucy. \\n (tries to get her \\n bearings) \\n Just do the best you can. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n A group of kids stand together with their violins and chat. \\n Roberta exits the building and they greet her. She waves \",\n \" They begin again, and we see Naeem take out a violin and \\n join in. As they play, Roberta's ears perk up at something \\n she's hearing. She crosses to Lucy. \\n \\n ROBERTA \\n What are you playing? \\n \\n LUCY \\n Twinkle. \\n \\n ROBERTA \\n (to class) \\n Everyone stop! \\n (to Lucy)\",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" Roberta grabs the top one -- the POST -- opened to page 5. \\n \\n INSERT \\n \\n The page has a photo of Roberta at the Spring Concert, and a \\n large article headlined A VIOLIN TEACHER FIGHTS BACK. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Lots of chaos as a TELEVISION NEWS CREW sets up. Roberta \",\n \" INT. CPE 1 - MUSIC CLASSROOM - DAY \\n \\n Roberta addresses ten first-graders sitting in a circle on \\n the floor. She points to the horsehair on her bow. \\n \\n ROBERTA \\n And this? What's this? \\n \\n BOY \\n The frog hair? \\n \\n Roberta and the kids laugh. \\n \\n ROBERTA\",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" ROBERTA \\n Anyone else? \\n \\n Silence. \\n \\n INT. MUSIC ROOM - LATER \\n \\n In front of the class, Roberta helps NAEEM, a graceful Black \\n boy, hold the violin. He has a serious expression and a scar \\n on his left cheek. Roberta controls the bow and fingerboard, \\n but it appears that the boy is playing music. He smiles. \\n\",\n \" ROBERTA \\n (to the boys) \\n Did you hear what I just said? \\n \\n ANGLE - Three kids are using the violin cases as pretend \\n machine guns -- and shooting each other. \\n \\n ROBERTA \\n Put those down, please! \\n \\n ANGLE - A boy and a girl are having a \\\"sword fight\\\" with \\n their bows. \\n \\n ROBERTA\",\n \" NICK \\n (shrugs) \\n She's O.K. \\n \\n Roberta gives Nick a look, but Janet smiles. \\n \\n JANET \\n (to Roberta) \\n If you could teach our students to \\n play like that, I'd be thrilled, but -- \\n \\n ROBERTA \\n I can. Any child can learn the violin. \\n \\n DENNIS\",\n \" I think what Mrs. Lamb is trying to \\n say, Roberta, is that you're a little \\n too harsh. I'm sure you might be \\n able to soften some of your comments \\n to the children? \\n \\n She gives Roberta a long hard look. Roberta nods. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta listens to the students play \\\"Go Tell Aunt Rhody\\\" -- \",\n \" INT. COFFEE SHOP - ROME, N.Y. - DAY \\n \\n Roberta sits opposite Brian. Her lunch is untouched. \\n \\n ROBERTA \\n My college professors said it was \\n too late -- I hadn't had enough \\n training to be a concert violinist. \\n So I got a teaching degree instead. \\n \\n BRIAN \\n I'll bet you're a great teacher.\",\n \" He kisses her forehead, then exits. HOLD ON ROBERTA, looking \\n hurt and frightened. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta rosins her bow, standing in front of ten kids -- \\n third through fifth-grade -- who sit on the floor next to \\n their violin cases. The kids are Black and Latino, with a \\n couple of white faces. They're all talking and ignoring \",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \"\n ],\n [\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" and fifty kids at three East Harlem \\n schools and there's so many children \\n who want to take violin classes that \\n we have to have a lottery. \\n \\n VANESSA raises her hand, a white girl whose clothes and \\n accessories are always adorned with cats. \\n \\n VANESSA \\n Can I be in the class? \\n \\n ISABEL\",\n \" Ten years ago, Roberta Guaspari walked \\n into my office because she needed a \\n job, and because she had a vision \\n that any child could learn the violin. \\n We put our dreams together and created \\n the East Harlem Violin Program which \\n has helped more than a thousand \\n students expand their vision of what's \\n possible in their lives. When a \\n program like this is cut, our \",\n \" STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \\n \\n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \\n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \\n to \\\"FIDDLEFEST\\\" and accompanying LETTERS and TICKET ORDER \\n FORMS. Roberta and Dorothea open envelopes with filled-out \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" EXT. SPANISH HARLEM, NEW YORK CITY - TRAVELLING SHOT - DAY \\n \\n A SALSA SONG PLAYS OVER as we see stores with Spanish names \\n and signs; Black and Latino elementary school children walking \\n home from school; some burned-out buildings; Black and Latino \\n teens playing basketball on a cement court; Spanish graffiti \\n on walls; elderly women buying fruit at a produce stand. \\n\",\n \" This is to inform you that your child, \\n Ramon Olivas, has been chosen by \\n lottery to be in the violin program. \\n \\n CONCEPCION \\n You happy? \\n \\n Ramon spins round and round with the letter in his hand. \\n \\n CONCEPCION \\n I think you're happy. \\n \\n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \\n\",\n \" (with some Spanish) \\n Well, I'm his parent and I don't \\n give permission! He should be playing \\n baseball, not the violin! \\n \\n CONCEPCION \\n It makes him happy. \\n \\n ON RAMON, looking far from happy at the moment. \\n \\n EXT. RIVER EAST SCHOOL - DAY \\n \\n Rachel steps off a city bus, carrying her violin. She passes \",\n \" looks pretty much the same. The classroom teacher is ISABEL, \\n a little older, a little tougher. \\n \\n ISABEL \\n C'mon everybody, settle down -- Janet \\n wants to talk to you. \\n \\n JANET \\n Today's a very special day because \\n we're starting the tenth year of the \\n East Harlem Violin Program. This is \",\n \" INT. ROBERTA'S BROWNSTONE - NIGHT \\n \\n There's a crowd of PARENTS assembled in Roberta's front room, \\n talking at once, yelling out ideas, including CONCEPCION, \\n BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. \\n ADAMS (Puerto Rican), the parents of James (from Roberta's \",\n \" He kisses her forehead, then exits. HOLD ON ROBERTA, looking \\n hurt and frightened. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta rosins her bow, standing in front of ten kids -- \\n third through fifth-grade -- who sit on the floor next to \\n their violin cases. The kids are Black and Latino, with a \\n couple of white faces. They're all talking and ignoring \",\n \" as she sees Vanessa get out of her MOTHER'S car with her \\n violin. Roberta nears the front door and finds Isabel and \\n some teachers huddled in conversation. A few students are \\n crying. \\n \\n ROBERTA \\n (to Isabel) \\n What happened? \\n \\n INT. MUSIC ROOM - DAY \\n \\n The beginners sit on the floor and rosin their bows. A few \",\n \" and gives it to her. \\n \\n ROBERTA \\n Now you have two, O.K.? One for each \\n house. \\n \\n Vanessa nods, clutching the piece of music. Roberta and Mr. \\n Klein exchange a look. She touches his arm, then walks off. \\n \\n INT. RAMON'S HOUSE - NIGHT \\n \\n Ramon, holding his bow and violin, crosses to his father \",\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" Welcome to East Harlem. \\n \\n EXT. CENTRAL PARK EAST ELEMENTARY SCHOOL (CPE 1) - EAST \\n HARLEM - ESTABLISHING - DAY \\n \\n INT. JANET WILLIAMS' OFFICE - DAY \\n \\n JANET WILLIAMS, a Black woman (40's) with a kind face, sits \",\n \" Naeem plays music, his whole face \\n lights up. You should see him. \\n \\n Mrs. Adisa takes this in. Roberta exits. Mrs. Adisa looks \\n for Naeem and sees him watching the violin students, longing \\n to be among them. She watches her son with compassion. \\n \\n EXT. OUTDOOR MARKET - DAY \\n \\n Roberta and the boys shop in a colorful outdoor produce market \",\n \" because we knew how much you kids \\n could benefit from it. \\n \\n CUTAWAY to Roberta and Janet exchanging glances over Dennis \\n taking credit for the program. \\n \\n DENNIS \\n You should know, however, that the \\n violin is a difficult instrument. \\n \\n JUSTIN, a Black boy with attitude, raises his hand. He always \",\n \" this. It's huge. It's gigantic! It's \\n Carnegie Hall! And listen to this: \\n now Isaac Stern wants to play with \\n us -- Diane Monroe, Michael Tree -- \\n there's other people calling -- \\n \\n DAN \\n That's fantastic! \\n \\n ROBERTA \\n Fantastic? I'll never get the kids \",\n \" Assuming they had the discipline. \\n \\n ROBERTA \\n I'll teach them to have discipline. \\n \\n JANET \\n A lot of our parents are struggling \\n to feed their kids and pay the rent -- \\n they don't have time to help them \\n learn violin. \\n \\n ROBERTA \\n They don't have to. If they can help, \",\n \" Ernesto and we can't fix them now, \\n but Ramon -- he works so hard. The \\n violin makes him want to be good at \\n everything. \\n \\n He shows no response, and she exits. Manuelo ponders what \\n she said. \\n \\n EXT. CPE 1 ELEMENTARY SCHOOL - DAY (MORNING) \\n \\n Roberta approaches the school on a winter morning. She smiles \"\n ],\n [\n \" Ten years ago, Roberta Guaspari walked \\n into my office because she needed a \\n job, and because she had a vision \\n that any child could learn the violin. \\n We put our dreams together and created \\n the East Harlem Violin Program which \\n has helped more than a thousand \\n students expand their vision of what's \\n possible in their lives. When a \\n program like this is cut, our \",\n \" to comply, and as of the end of this \\n term, the violin program has been... \\n excessed. \\n \\n Roberta takes this in, momentarily speechless. In the b.g., \\n the beginners slip into the hall to watch. \\n \\n ROBERTA \\n Excessed. \\n (beat) \\n They specifically said that my violin \\n program has to go. \\n\",\n \" I'm from a blue collar family, and \\n if it weren't for the lessons I got \\n in public school, I never would have \\n learned the violin. \\n \\n It CUTS TO Roberta's beginners speaking to the interviewer. \\n \\n INTERVIEWER (O.S.) \\n How does it make you feel to lose \\n your violin program? \\n \\n SHANDRA\",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" JANET \\n They've slashed the budget -- music \\n and art programs got hit the worst. \\n \\n ROBERTA \\n What about Dennis' classes? \\n \\n DENNIS \\n I'm tenured, Roberta. \\n \\n Roberta looks at him, then back to Janet. \\n \\n ROBERTA \\n When was this decided? \\n \\n JANET\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" Training. \\n \\n ANOTHER ANGLE - Two young men and two young women walk in, \\n carrying violins. We realize from the scar that one is NAEEM \\n (20), now a strikingly handsome man, over six feet tall. \\n With him is DE SEAN (19), a short guy with dreadlocks, looking \\n more like a rapper than a violinist. GUADALUPE (19), walking \",\n \" other extra programs to give them \\n instead. \\n \\n ROBERTA \\n Oh, I see. So after ten years, after \\n fourteen hundred children have learned \\n to play the violin, this is just an \\n \\\"extra program.\\\" \\n \\n JANET \\n You know I don't feel that way and \\n you know damn well I've been standing \\n by you all these years! You think I \",\n \" This is to inform you that your child, \\n Ramon Olivas, has been chosen by \\n lottery to be in the violin program. \\n \\n CONCEPCION \\n You happy? \\n \\n Ramon spins round and round with the letter in his hand. \\n \\n CONCEPCION \\n I think you're happy. \\n \\n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \\n\",\n \" because we knew how much you kids \\n could benefit from it. \\n \\n CUTAWAY to Roberta and Janet exchanging glances over Dennis \\n taking credit for the program. \\n \\n DENNIS \\n You should know, however, that the \\n violin is a difficult instrument. \\n \\n JUSTIN, a Black boy with attitude, raises his hand. He always \",\n \" I'd much rather get rid of. But as \\n far as the Board's concerned, violin \\n classes are not a priority. \\n \\n Roberta's fury starts to give way to grief. She looks terribly \\n wounded. Janet looks at her helplessly. \\n \\n JANET \\n I don't have the power here, Roberta. \\n I'm so sorry. \\n\",\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" He kisses her forehead, then exits. HOLD ON ROBERTA, looking \\n hurt and frightened. \\n \\n INT. MUSIC ROOM - DAY \\n \\n Roberta rosins her bow, standing in front of ten kids -- \\n third through fifth-grade -- who sit on the floor next to \\n their violin cases. The kids are Black and Latino, with a \\n couple of white faces. They're all talking and ignoring \",\n \" stick around. I finally decided I'd \\n start my own program -- Charles gave \\n me the money and I bought fifty \\n violins from this little Greek shop -- \\n got started at a private school and \\n then... \\n \\n BRIAN \\n Your husband ran off with your best \\n friend. \\n \\n A beat. \\n \\n ROBERTA\",\n \" They begin again, and we see Naeem take out a violin and \\n join in. As they play, Roberta's ears perk up at something \\n she's hearing. She crosses to Lucy. \\n \\n ROBERTA \\n What are you playing? \\n \\n LUCY \\n Twinkle. \\n \\n ROBERTA \\n (to class) \\n Everyone stop! \\n (to Lucy)\",\n \" INT. CPE 1 - MUSIC CLASSROOM - DAY \\n \\n Roberta addresses ten first-graders sitting in a circle on \\n the floor. She points to the horsehair on her bow. \\n \\n ROBERTA \\n And this? What's this? \\n \\n BOY \\n The frog hair? \\n \\n Roberta and the kids laugh. \\n \\n ROBERTA\",\n \" (yelling) \\n Ramon! How many cats you killing in \\n there? \\n \\n INTERCUT RAMON - He plays with pride, eyes on the music taped \\n to the wall. \\n \\n INT. CPE 1 - MUSIC ROOM - DAY (A FEW MONTHS LATER) \\n \\n ON RAMON, his improved playing showing that time has passed. \",\n \" INT. MUSIC ROOM - DAY \\n \\n Roberta's SCREAMING at the kids as they play \\\"Twinkle Twinkle \\n Little Star.\\\" \\n \\n ROBERTA \\n First finger on the E! Three -- two -- \\n one -- open! \\n (to a white girl with \\n pigtails) \\n Wrong string, Becky! We've done this \\n fourteen times! And look at your \",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \"\n ],\n [\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" because I trust that you can handle \\n the pressure. It's gonna be a lot of \\n work -- a lot. Right now, we've sold \\n some tickets, but I'm not gonna be \\n back here in the fall if the audience \\n storms out of their seats, demanding \\n a refund! \\n \\n She nods to Rachel who starts handing out sheets of music. \\n \\n ROBERTA\",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" I'm sorry about Julliard... and the \\n concert. \\n \\n She hands Roberta her violin. \\n \\n ROBERTA \\n Keep it. Take it with you. \\n \\n RACHEL \\n No... I don't want to play anymore. \\n \\n ROBERTA \\n What?! You can't give up violin, \\n Rachel -- it's a part of you. A very \",\n \" Roberta nods, and addresses the kids as she unlocks the gate. \\n \\n ROBERTA \\n He's right, by the way. You do sound \\n terrible, and you are gonna make \\n everyone in Carnegie Hall sick to \\n their stomachs. \\n \\n The kids start filing in. Rachel comes up the street and \\n catches up to Roberta. \\n \\n RACHEL\",\n \" and giving direction. They're playing badly. \\n \\n Rachel plays as well, but walks around the room making \\n corrections. It's early morning, and the kids look half- \\n asleep. \\n \\n ROBERTA \\n Frog! Frog! I need more accents on \\n the down beat! More bow! More! \\n \\n They play a few more bars and still sound pretty bad. \\n \\n ROBERTA\",\n \" There's a KNOCK on the door. Concepcion answers it, revealing \\n Roberta. \\n \\n CONCEPCION \\n Roberta! Come in. \\n \\n Roberta enters. \\n \\n ROBERTA \\n I came by to check on Ramon. \\n \\n CONCEPCION \\n (confused) \\n Why? \\n \\n ROBERTA\",\n \" Rachel's gonna be my lieutenant and \\n I expect you to listen to her. \\n \\n Ramon looks through his music sheets. \\n \\n RAMON \\n Bach's \\\"Minuet One\\\"? \\n \\n ROBERTA \\n People are gonna be paying good money \\n for this concert -- we're not just \\n gonna play \\\"Twinkle.\\\" \\n (handing out papers)\",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\"\n ],\n [\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" Disappointed grumblings. \\n \\n ISABEL \\n What if we raise the money ourselves? \\n \\n JANET \\n I can't see how they'd object to \\n that. \\n \\n A beat as people take this in. \\n \\n CONCEPCION \\n Well once that newspaper article \\n comes out, that should help bring in \\n money. \\n \\n BEVERLY\",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \\n waits to hear if Itzhak Perlman will say yes. \\n \\n 2. Parents, Roberta, Nick and Lexi hang \\\"FIDDLEFEST CONCERT\\\" \\n posters around their neighborhood, announcing a concert at \\n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and \",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" have a bigger mission: to take the \\n magical spirit of tonight's concert \\n with us out into the world, and to \\n fight for music and art to be a part \\n of every child's education. Thank \\n you. \\n \\n The APPLAUSE is DEAFENING, then slowly diminishes as we: \\n \\n DISSOLVE TO: \\n\",\n \" STUDENTS FROM THE EAST HARLEM VIOLIN PROGRAM. \\n \\n 3. Parents -- including Beverly Wilson, Concepcion, Mr. Adams \\n and Carlos' mom and dad -- stuff envelopes with INVITATIONS \\n to \\\"FIDDLEFEST\\\" and accompanying LETTERS and TICKET ORDER \\n FORMS. Roberta and Dorothea open envelopes with filled-out \",\n \" and they've cancelled all events. \\n \\n ROBERTA \\n Until when? \\n \\n DOROTHEA \\n \\\"Until further notice.\\\" \\n \\n ROBERTA \\n This can't happen! We've sold tickets! \\n We've done publicity! The concert's \\n in three weeks! \\n \\n DOROTHEA \\n I've been on the phone all morning \",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" That's the one Lucy wrote! \\n \\n The CAMERA returns to the children and captures their own \\n pride in their playing, including LUCY, who smiles as she \\n hears her song played by fifty. \\n \\n THE CONCERT - TIME DISSOLVE \\n \\n The students are now playing \\\"Allegro,\\\" and they reach the \\n fermata. They hold their positions in silence and the audience \",\n \" INT. CARNEGIE HALL - NIGHT \\n \\n The hall is filling to capacity as people take their seats, \\n the room buzzing with voices. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n The CARNEGIE HALL staff person enters. \\n \\n STAFF PERSON \\n FIVE MINUTE CALL. WE NOW HAVE FIVE \\n MINUTES. \\n\",\n \" RAMON smiles, awed by this -- but he remains calm and \\n professional. \\n \\n INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER \\n \\n As the guest violinists head for the stage, we hear their \\n names over a mike, mixed with APPLAUSE: \\n \\n MALE VOICE (V.O.) \\n Isaac Stern, Itzhak Perlman, Arnold \",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" ROBERTA \\n All right, Naeem -- tell them. \\n \\n NAEEM \\n It's called the frog. \\n \\n Some kids giggle and joke about this. Roberta points to the \\n scroll of the violin. \\n \\n ROBERTA \\n Anyone remember what this is? \\n \\n LUCY, the fidgety girl, snaps her fingers. \\n \\n ROBERTA\",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\",\n \" Would you believe in 1960, they tried \\n to tear this place down? They wanted \\n to replace it with a bright red \\n skyscraper -- we called it \\\"the red \\n terror.\\\" \\n \\n ROBERTA \\n You're kidding. \\n \\n ISAAC STERN \\n We had to fight like hell, but with \\n a lot of help, we saved Carnegie \"\n ],\n [\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" back, but she's clearly still upset by her interaction with \\n Lucy. She sees Naeem and his mother and approaches them. \\n \\n NAEEM \\n Hi, Roberta. \\n \\n ROBERTA \\n Hi, Naeem. Can I talk to your mom \\n for a minute? \\n \\n Naeem nods and moves off. \\n \\n ROBERTA\",\n \" Roberta closes the oven and gathers her courage. \\n \\n ROBERTA \\n Are you still with her? \\n \\n A beat. \\n \\n CHARLES (O.S.) \\n No. \\n \\n We watch Roberta's body collapse into a sense of overwhelming \\n relief. FOLLOW HER as she steps into THE HALLWAY, then \\n stretches the phone into: \\n\",\n \" ROBERTA \\n Standing strong doesn't only mean \\n using your legs. You can stand strong \\n on the inside too. \\n (beat) \\n Know what I mean? \\n \\n Guadalupe nods. Roberta holds out the violin case. Guadalupe \\n lunges forward and hugs her around the waist. Roberta \\n awkwardly accepts the hug, startled and touched by it, and \",\n \" INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta enters her apartment, back from the airport, and \\n double-locks the door behind her. You can see on her face \\n that she's dreading the emptiness. She crosses to a small \\n Christmas tree, obviously decorated by her and the boys, and \\n plugs in the tiny blinking lights. It's not exactly \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" in his arms. \\n \\n BRIAN \\n You're gonna be fine. You have a \\n job, a place to stay, your kids have \\n a school to go to -- and there's a \\n D'Agostino's around the corner. \\n \\n She attempts a smile. \\n \\n ROBERTA \\n Congratulations. \\n\",\n \" thought you'd moved on. \\n \\n ROBERTA \\n I never said that. \\n \\n BRIAN \\n No? Maybe not with words. \\n \\n This embarrasses her, then pisses her off. \\n \\n ROBERTA \\n You know what? I shouldn't have called \\n you. This was a mistake. \\n \\n BRIAN\",\n \" important part. \\n \\n Rachel looks anguished. Roberta moves closer and touches her \\n arm. \\n \\n ROBERTA \\n Please honey. Just take it. \\n \\n RACHEL \\n I don't want to. \\n \\n Roberta looks at her, pained, then hugs her. Rachel quickly \\n kisses Roberta goodbye and exits. Roberta watches her. \\n\",\n \" he takes her hand, and then kisses her on the cheek. \\n \\n BRIAN \\n Congratulations. \\n \\n ROBERTA \\n Thank you... \\n \\n BRIAN \\n I knew you'd get here sooner or later. \\n I'm glad I'm here to see it. \\n \\n A beat. \\n \\n ROBERTA \\n I am too. \\n\",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" She laughs wistfully, then looks a little sad. \\n \\n ROBERTA \\n That Roberta's not around anymore. \\n \\n He pulls her towards him by the belt to her robe. \\n \\n BRIAN \\n I don't believe that. \\n \\n They kiss and it heats up quickly. Roberta pulls back. \\n \\n ROBERTA \\n I shouldn't. \\n\",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" RACHEL \\n (looking downward) \\n It's a secret... My father... he's \\n been hurting my mom... We have to \\n leave. \\n \\n ROBERTA \\n (gently) \\n Has he been hurting you too? \\n \\n Rachel shakes her head no, then starts to cry a little. \\n \\n RACHEL\",\n \" ROBERTA \\n I'll take care of you, Nick. You \\n too, Lexi. I promise. I'm not going \\n anywhere. We're still a family. \\n \\n Nick starts crying. Roberta takes him in her arms. Lexi starts \\n to cry and Roberta holds him too. \\n \\n ROBERTA \\n (softly, to both) \\n I promise. \\n\",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" bed, gets into fetal position, and stares at a point beyond \\n the wall, ignoring the O.S. voices. \\n \\n WOMAN'S VOICE (O.S.) \\n Hear that? Your boys need you. \\n \\n EXT. GUASPARI HOUSE - DOORWAY - DAY \\n \\n ASSUNTA GUASPARI (58), Roberta's slender, tired Italian-\",\n \" striving for when I was their age. \\n Not to mention the other ten years' \\n worth of students whose lives were \\n changed because of you. That's your \\n talent, Roberta. \\n \\n She takes this in, looks at him gratefully and puts her hand \\n over his. He strokes her hand. \\n \\n ROBERTA \\n I'm scared. \\n \\n DAN\"\n ],\n [\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" with ribbons, bows and stickers. At one point she even unties \\n a ribbon and redoes it because it's not perfect. She looks \\n pretty, but she's dressed conservatively, like a navy \\n housewife. There's only one other clerk wrapping gifts and a \\n long line of impatient customers. A male SUPERVISOR appears \\n behind Roberta. \\n \\n SUPERVISOR\",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" school -- in Greece -- and a year \\n teaching chorus in Hawaii -- ten \\n years ago -- it doesn't look like \\n you've had any other teaching \\n experience. \\n \\n ROBERTA \\n Well, not traditional teaching \\n experience. I've been doing private \\n lessons... \\n \\n Janet looks for this on the resume. \\n \\n ROBERTA\",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" Mama, he's gonna get tired of her -- \\n you'll see. \\n \\n Assunta's face shows she's doubtful about this. \\n \\n ASSUNTA \\n Well in the meantime, get a job. \\n \\n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \\n \\n Roberta is behind the counter, meticulously wrapping a present \",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta enters her apartment, back from the airport, and \\n double-locks the door behind her. You can see on her face \\n that she's dreading the emptiness. She crosses to a small \\n Christmas tree, obviously decorated by her and the boys, and \\n plugs in the tiny blinking lights. It's not exactly \",\n \" done much with her hair. It's a start. \\n \\n ROBERTA \\n You really think Charles is a jerk? \\n \\n ASSUNTA \\n From the day you married him. \\n \\n ROBERTA \\n Why didn't you say something? \\n \\n ASSUNTA \\n Since when do you listen to me? \\n \\n Roberta half-smiles, pours herself some coffee, then sits \",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" Janet looks at her curiously, then exits. \\n \\n INT. EMPTY APARTMENT - EAST HARLEM - DAY \\n \\n Roberta walks around an empty, rundown apartment, her \\n expression somber. Crayon markings on the walls, cigarette \\n burns on the floors, a filthy bathroom and kitchen. An older \\n Puerto Rican woman stands back as Roberta inspects the place. \",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" Roberta climbs the dimly-lit stairs of a dilapidated, scary \\n building. O.S. a BABY CRIES, a couple of TV's BLARE. \\n \\n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \\n \\n At the top of the stairs, Roberta turns down the hall, passing \\n a door riddled with bullet holes. She finds the apartment \",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" No, no -- I'm sorry. Look, I know it \\n hurts, but you're gonna get through \\n this, Roberta -- you will. \\n \\n ROBERTA \\n I'm moving back to my Mom's. \\n \\n BRIAN \\n What? You're gonna quit teaching in \\n the middle of the term? \\n \\n ROBERTA\",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \"\n ],\n [\n \" Janet looks at her curiously, then exits. \\n \\n INT. EMPTY APARTMENT - EAST HARLEM - DAY \\n \\n Roberta walks around an empty, rundown apartment, her \\n expression somber. Crayon markings on the walls, cigarette \\n burns on the floors, a filthy bathroom and kitchen. An older \\n Puerto Rican woman stands back as Roberta inspects the place. \",\n \" EXT. BROWNSTONE - EAST HARLEM - THE SAME DAY \\n \\n A mild winter day. Roberta, covered with plaster dust and \\n overheated from working, leans against a car and drinks a \\n beer. The three-story brick building has some graffiti on it \\n and is badly in need of a paint job; there are a few broken \\n windows, and the front stairs need repairing. WORKMEN file \",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" A funky apartment on the Upper West Side. Nick and Lexi are \\n both asleep in sleeping bags on top of a futon on the floor, \\n their suitcases nearby. Brian tiptoes past them, carrying \\n two glasses of champagne. He knocks on his office door. \\n \\n ROBERTA (O.S.) \\n Come in. \\n \\n INT. BRIAN'S APARTMENT - OFFICE - CONTINUOUS \\n\",\n \" Roberta climbs the dimly-lit stairs of a dilapidated, scary \\n building. O.S. a BABY CRIES, a couple of TV's BLARE. \\n \\n INT. TENEMENT BUILDING - HALLWAY - CONTINUOUS \\n \\n At the top of the stairs, Roberta turns down the hall, passing \\n a door riddled with bullet holes. She finds the apartment \",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" in his arms. \\n \\n BRIAN \\n You're gonna be fine. You have a \\n job, a place to stay, your kids have \\n a school to go to -- and there's a \\n D'Agostino's around the corner. \\n \\n She attempts a smile. \\n \\n ROBERTA \\n Congratulations. \\n\",\n \" ROBERTA \\n (half to herself) \\n It better be a good concert. \\n \\n The DOORBELL RINGS and Roberta crosses to get it. DAN enters, \\n holding copies of the NY POST, the DAILY NEWS, and a couple \\n of other papers. Each paper has been opened to a specific \\n page. \\n \\n DAN \\n Take your pick. \\n\",\n \" ROBERTA \\n Where? \\n \\n DOROTHEA \\n Carnegie Hall. \\n \\n Dorothea grins from ear to ear, Nick and Lexi whoop and \\n holler, and all wait for Roberta to jump up and down for joy -- \\n but she looks stricken. \\n \\n ROBERTA \\n (panicked) \\n Carnegie Hall? \\n\",\n \" Graffiti's been removed, the stairs have been repaired, the \\n windows have security bars, and there are flowers blooming \\n in pots in front of the building. Roberta steps INTO FRAME, \\n walking Allegra, now a 10-year-old dog. \\n \\n INT. BROWNSTONE - DAY \\n \\n The house is transformed: the first floor is one long open \",\n \" Mama, he's gonna get tired of her -- \\n you'll see. \\n \\n Assunta's face shows she's doubtful about this. \\n \\n ASSUNTA \\n Well in the meantime, get a job. \\n \\n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \\n \\n Roberta is behind the counter, meticulously wrapping a present \",\n \" A beat, and Roberta exits. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n Roberta's dazed and in pain as she walks through the crowds \\n of children, oblivious to kids calling her name and waving. \\n \\n INT. ROBERTA'S BROWNSTONE - DAY (LATE AFTERNOON) \\n \\n Nick and Lexi enter the darkened house, chatting as Nick \",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Roberta's thrilled and relieved to see him. She embraces \\n him, and they kiss passionately. \\n \\n INT. BROWNSTONE - DAY (TIME CUT - TWO MONTHS LATER) \\n \\n CLOSE ON plaster walls being knocked down with sledgehammers. \\n REVEAL Brian, Roberta, and a couple of workmen knocking down \\n the walls in an old brownstone. \\n\",\n \" (beat) \\n You look real pretty today, honey. \\n \\n Brian overhears, rolls his eyes and pulls her aside. \\n \\n BRIAN \\n You're crazy. Why did you hire him? \\n \\n ROBERTA \\n He needed a job. Besides, he's wired \\n all of East Harlem. \\n \\n BRIAN \\n When? Fifty years ago? \\n\",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta enters her apartment, back from the airport, and \\n double-locks the door behind her. You can see on her face \\n that she's dreading the emptiness. She crosses to a small \\n Christmas tree, obviously decorated by her and the boys, and \\n plugs in the tiny blinking lights. It's not exactly \",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" She turns, relieved, until she sees that Brian's packing a \\n suitcase. \\n \\n ROBERTA \\n Where are you going? \\n \\n BRIAN \\n Texas. \\n \\n He dashes out. Roberta sits up, rattled by this news. \\n \\n INT. BRIAN'S OFFICE - DAY \\n \\n Brian excitedly gathers papers and files scattered around \\n his electric typewriter.\",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \"\n ],\n [\n \" ROBERTA \\n I think I am. It's just that... \\n (sighs) \\n See, every time I'd get started \\n somewhere, Charles would be \\n transferred... then I had my kids \\n and took time off to raise them... \\n and then when I decided to teach \\n again, no one would hire me 'cause \\n you can't count on a navy wife to \",\n \" over to them. Janet looks at her, alarmed. \\n \\n ROBERTA \\n Is it true? \\n \\n JANET \\n Why don't you come in my office? \\n \\n ROBERTA \\n It's true? You're firing me? \\n \\n JANET \\n It's not me, Roberta. The Board of \\n Ed. cut the budget, the District had \",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \",\n \" Things happened very quickly... I \\n wanted to tell you myself -- \\n \\n ROBERTA \\n (reeling) \\n I just... I can't even believe this \\n is happening! \\n \\n DENNIS \\n Why not? You're a sub. Your position \\n has never been permanent. \\n \\n JANET \\n Shut up, Dennis! You're not helping!\",\n \" behind her desk and looks at Roberta's resume. A sign on her \\n desk indicates that she's the DIRECTOR. Also on the desk is \\n a FRAMED PICTURE of Janet, her husband, daughter (14), and \\n son (12). Roberta sits nervously in the chair opposite her. \\n \\n JANET \\n (looking at resume) \\n Aside from half a term in a private \",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" Wake up, Ernie. \\n \\n He looks at her groggily. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the brick workers. \\n \\n ROBERTA \\n You're fired. \\n \\n She crosses to the painters. \\n \\n ROBERTA \\n You're fired. \\n \\n Brian smiles at her, impressed. \\n\",\n \" with ribbons, bows and stickers. At one point she even unties \\n a ribbon and redoes it because it's not perfect. She looks \\n pretty, but she's dressed conservatively, like a navy \\n housewife. There's only one other clerk wrapping gifts and a \\n long line of impatient customers. A male SUPERVISOR appears \\n behind Roberta. \\n \\n SUPERVISOR\",\n \" ROBERTA \\n Look, Dan -- I went along with this \\n 'cause it's been a while. Quite a \\n while... And I had a very nice time... \\n but I'm not sure if I'm ready to get \\n involved with anyone right now. \\n \\n A beat. Roberta feels badly about rejecting him. \\n \\n DAN \\n (deadpan)\",\n \" She exits, leaving Roberta to mull over her words. \\n \\n INT. GUASPARI KITCHEN - DAY \\n \\n Coffee is brewing and homemade cinnamon rolls are cooling on \\n a rack. We recognize the kitchen from the home movie footage. \\n As Assunta clears the boys' breakfast dishes from the table, \\n Roberta enters. She's dressed, but hasn't put on makeup or \",\n \" instantly cools when she sees her. In the b.g. Roberta sees \\n Janet and turns off the vacuum cleaner. \\n \\n JANET \\n Hello, Assunta. How are you? \\n \\n ASSUNTA \\n I'd be a lot better if my daughter \\n had a job next year. \\n \\n ROBERTA \\n Ma! \\n \\n JANET\",\n \" Wake up, Roberta! \\n \\n We hear the sound of KNOCKING as the CAMERA PANS a small, \\n darkened guest room. A few streaks of daylight filter through \\n Venetian blinds. \\n \\n WOMAN'S VOICE (O.S.) \\n Come on, Bert -- get out of bed! \\n \\n The CAMERA finds a WOMAN lying face down on a twin bed, thick \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" A beat as she realizes what she's just said. The boys look \\n at her and the three of them stop walking. \\n \\n ROBERTA \\n Guys -- you need to think about this. \\n If I try to fight this -- with no \\n salary coming in -- I could lose the \\n house, screw up your college plans... \\n It would be a lot safer to just go \\n out tomorrow and get a job in a \",\n \" A beat. Janet observes the tension, then turns to Roberta. \\n \\n JANET \\n (to Roberta) \\n For now I'll put you down as a sub, \\n but I have to warn you -- even if it \\n works out, the Board may not let me \\n create a permanent position for you. \\n \\n ROBERTA \\n That's O.K. I'll worry about that \",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" Mama, he's gonna get tired of her -- \\n you'll see. \\n \\n Assunta's face shows she's doubtful about this. \\n \\n ASSUNTA \\n Well in the meantime, get a job. \\n \\n INT. DEPARTMENT STORE - GIFT WRAP COUNTER - ROME, N.Y. - DAY \\n \\n Roberta is behind the counter, meticulously wrapping a present \",\n \" ROBERTA \\n (covering her \\n discomfort) \\n That is so beautiful! \\n \\n He runs off. Roberta exhales, sits down alone on a bench and \\n takes out her lunch. She smiles at ALICE CROWLEY and another \\n TEACHER but they cross to another bench. ISABEL VASQUEZ (25) \\n approaches, a lively Puerto Rican woman with a strong New \\n York accent.\",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" down at the table. \\n \\n ROBERTA \\n (sighs, then) \\n What am I gonna do? \\n \\n ASSUNTA \\n First, you eat breakfast. Second, \\n you go out and get a job -- any job. \\n Your boys, god-bless-em, are good \\n eaters -- but I can't afford it. \\n \\n ROBERTA\"\n ],\n [\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" Disappointed grumblings. \\n \\n ISABEL \\n What if we raise the money ourselves? \\n \\n JANET \\n I can't see how they'd object to \\n that. \\n \\n A beat as people take this in. \\n \\n CONCEPCION \\n Well once that newspaper article \\n comes out, that should help bring in \\n money. \\n \\n BEVERLY\",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" You think the four hundred people \\n who've bought tickets so far will \\n think it's funny too? You think Itzhak \\n Perlman will think it's funny that \\n he's donating his time and you're \\n all gonna stink? \\n \\n Vanessa yawns and Roberta sees her. Uh-oh. \\n \\n ROBERTA \\n Am I boring you, Vanessa? \\n\",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\",\n \" have a bigger mission: to take the \\n magical spirit of tonight's concert \\n with us out into the world, and to \\n fight for music and art to be a part \\n of every child's education. Thank \\n you. \\n \\n The APPLAUSE is DEAFENING, then slowly diminishes as we: \\n \\n DISSOLVE TO: \\n\",\n \" because we knew how much you kids \\n could benefit from it. \\n \\n CUTAWAY to Roberta and Janet exchanging glances over Dennis \\n taking credit for the program. \\n \\n DENNIS \\n You should know, however, that the \\n violin is a difficult instrument. \\n \\n JUSTIN, a Black boy with attitude, raises his hand. He always \",\n \" and they've cancelled all events. \\n \\n ROBERTA \\n Until when? \\n \\n DOROTHEA \\n \\\"Until further notice.\\\" \\n \\n ROBERTA \\n This can't happen! We've sold tickets! \\n We've done publicity! The concert's \\n in three weeks! \\n \\n DOROTHEA \\n I've been on the phone all morning \",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" INT. CARNEGIE HALL - NIGHT \\n \\n The hall is filling to capacity as people take their seats, \\n the room buzzing with voices. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n The CARNEGIE HALL staff person enters. \\n \\n STAFF PERSON \\n FIVE MINUTE CALL. WE NOW HAVE FIVE \\n MINUTES. \\n\",\n \" because I trust that you can handle \\n the pressure. It's gonna be a lot of \\n work -- a lot. Right now, we've sold \\n some tickets, but I'm not gonna be \\n back here in the fall if the audience \\n storms out of their seats, demanding \\n a refund! \\n \\n She nods to Rachel who starts handing out sheets of music. \\n \\n ROBERTA\",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" They begin again, and we see Naeem take out a violin and \\n join in. As they play, Roberta's ears perk up at something \\n she's hearing. She crosses to Lucy. \\n \\n ROBERTA \\n What are you playing? \\n \\n LUCY \\n Twinkle. \\n \\n ROBERTA \\n (to class) \\n Everyone stop! \\n (to Lucy)\",\n \" Roberta's explaining that. Just \\n listen. \\n \\n ROBERTA \\n After your parents sign your \\n permission slips, I'm gonna put them \\n in a sack, and I'll pick fifty names \\n from each school. \\n \\n ANGLE - Ramon listens intently with his fingers crossed. \\n \\n ROBERTA \\n So everyone bring in your slips by \",\n \" This is to inform you that your child, \\n Ramon Olivas, has been chosen by \\n lottery to be in the violin program. \\n \\n CONCEPCION \\n You happy? \\n \\n Ramon spins round and round with the letter in his hand. \\n \\n CONCEPCION \\n I think you're happy. \\n \\n EXT. RIVER EAST ELEMENTARY SCHOOL - DAY \\n\",\n \" open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \\n waits to hear if Itzhak Perlman will say yes. \\n \\n 2. Parents, Roberta, Nick and Lexi hang \\\"FIDDLEFEST CONCERT\\\" \\n posters around their neighborhood, announcing a concert at \\n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and \"\n ],\n [\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" BACK TO ROBERTA \\n \\n She's really depressed herself now. \\n \\n INT. CLASSROOM - DAY \\n \\n ALICE CROWLEY (50's), a no-nonsense Black teacher, shows her \\n fifth-graders a globe. She doesn't turn as Roberta enters \\n and crosses to her. In the b.g. we see ROBERTA'S STUDENTS \\n waiting in THE HALL.\",\n \" Roberta stands in front of a classroom of twenty cute first- \\n graders -- mostly Black and Latino, a few white -- sitting \\n on the floor, chatting excitedly. Even though Roberta's ten \\n years older, she seems more youthful; her wavy hair is loose \\n over her shoulders, her clothing's casual and artistic. Beside \\n her is Janet, her hair flecked with gray, and Dennis, who \",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" The song ends and the audience APPLAUDS, rising from their \\n seats, including ASSUNTA (now 65), next to ISABEL and DAN. \\n Someone remains seated: a REPORTER (40's), sitting beside \\n Dan and taking notes. \\n \\n The STUDENTS bow, then point to Roberta who bows and takes \\n the stage. She gestures for people to sit. A beginner student \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" INT. SCHOOL AUDITORIUM - NIGHT \\n \\n ROBERTA \\n \\n Stands in the aisle, leading the students and playing violin. \\n \\n ON STAGE \\n \\n The fifty fifth-grade students play the \\\"Twinkle\\\" variations. \\n Their playing is impeccable and they look terrific. \\n \\n As the CAMERA PANS the audience, we recognize: MRS. ADISA, \",\n \" Roberta's in a bathrobe and nightgown, some rollers in her \\n hair. She's tidying up her suitcase, etc., next to an old \\n couch that's been made up as a bed. Leftist political books \\n line a shelf above Brian's desk, including copies of his \\n own, TO HELL AND BACK: INTERVIEWS WITH VIETNAM VETS by BRIAN \",\n \" Roberta looks worn out. \\n \\n ROBERTA \\n I'm a good teacher. I've worked so \\n hard to give these kids something to \\n be proud of. \\n \\n Lexi moves to comfort her. \\n \\n LEXI \\n I'm so sorry, Mom. I can't believe \\n they did this to you. \\n \\n ROBERTA\",\n \" Roberta's explaining that. Just \\n listen. \\n \\n ROBERTA \\n After your parents sign your \\n permission slips, I'm gonna put them \\n in a sack, and I'll pick fifty names \\n from each school. \\n \\n ANGLE - Ramon listens intently with his fingers crossed. \\n \\n ROBERTA \\n So everyone bring in your slips by \",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" striving for when I was their age. \\n Not to mention the other ten years' \\n worth of students whose lives were \\n changed because of you. That's your \\n talent, Roberta. \\n \\n She takes this in, looks at him gratefully and puts her hand \\n over his. He strokes her hand. \\n \\n ROBERTA \\n I'm scared. \\n \\n DAN\",\n \" Roberta takes this in, upset. \\n \\n INT. ROBERTA'S APARTMENT - LIVING ROOM - NIGHT \\n \\n Roberta plays \\\"Go Tell Aunt Rhody\\\" with Guadalupe, De Sean, \\n Naeem, Benjamin, and two kids from the other classes. Lexi \\n plays along with them. Nick enters from the kitchen, eating \\n a cookie, ignoring the students. He turns on the T.V. \\n\",\n \" RACHEL, heading for school, calls out to Roberta. \\n \\n RACHEL \\n Don't be late for violin class! I \\n hear the teacher's really mean. \\n \\n Roberta smiles, slips the card in her pocket, nods to Dorothea \\n and follows Rachel. \\n \\n INT. RIVER EAST SCHOOL - MUSIC ROOM - DAY \\n\",\n \" They clink glasses and drink. \\n \\n ROBERTA \\n I don't know, Brian. I'm hanging on \\n by a thread there. Out of fifty kids, \\n maybe six are listening to me. \\n \\n BRIAN \\n Look at the progress. Didn't you say \\n no one was listening to you on Monday? \\n \\n Roberta laughs. \\n \\n ROBERTA\",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" ROBERTA \\n Well, O.K. then. I'll pick someone \\n else. \\n (she picks a name) \\n Ramon Olivas. \\n \\n Ramon's face lights up. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n As Roberta walks through the yard, she sees kids excitedly \\n showing acceptance letters to their moms. \\n\",\n \" INT. ROBERTA'S BROWNSTONE - NIGHT \\n \\n There's a crowd of PARENTS assembled in Roberta's front room, \\n talking at once, yelling out ideas, including CONCEPCION, \\n BEVERLY WILSON (Shandra's mom), MR. ADAMS (Black) and MRS. \\n ADAMS (Puerto Rican), the parents of James (from Roberta's \",\n \" Roberta stands there, sobered. \\n \\n ROBERTA \\n I'm really sorry, Lucy. \\n (tries to get her \\n bearings) \\n Just do the best you can. \\n \\n EXT. SCHOOL YARD - DAY \\n \\n A group of kids stand together with their violins and chat. \\n Roberta exits the building and they greet her. She waves \",\n \" She puts her stuff down, then looks at the kids. \\n \\n ROBERTA \\n What's going on? Where are all your \\n violins? \\n \\n RAMON \\n We heard you got fired. \\n \\n ROBERTA \\n What?! \\n \\n EXT. HALLWAY - DAY \\n \\n Janet and Dennis talk outside Janet's office. Roberta storms \"\n ],\n [\n \" INT. CARNEGIE HALL - BACK STAGE - CONTINUOUS \\n \\n Isaac Stern, Itzhak Perlman, Michael Tree, Arnold Steinhardt, \\n Diane Monroe, Karen Briggs and Mark O'Connor wait back stage, \\n chatting and listening to the kids. \\n \\n INT. CARNEGIE HALL - THE STAGE - MOMENTS LATER \\n\",\n \" beside DE SEAN; DIANE MONROE plays beside LUCY; KAREN BRIGGS \\n plays beside THOMAS, and MARK O'CONNOR plays beside STEPHANIE. \\n NICK plays cello; LEXI plays the piano behind them; and, \\n playing with her own solo music stand, ROBERTA. \\n \\n Their expressions are serious and passionate, broken by \\n occasional smiles lighting on faces: Isaac Stern... Lucy... \",\n \" Steinhardt, Diane Monroe, Michael \\n Tree, Mark O'Connor and Karen Briggs. \\n \\n INT. CARNEGIE HALL - STAGE - MOMENTS LATER \\n \\n CRANE SHOT of the six guest violinists on stage for the Grand \\n Finale, each one sharing a music stand with a student. Roberta \\n nods, and they begin THE BACH DOUBLE CONCERTO. She turns to \",\n \" The students finish MINUET ONE. There's an exquisite moment \\n of silence, then APPLAUSE. \\n \\n INT. CARNEGIE HALL - THE STAGE - LATER \\n \\n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \\n with the kids. He improvises, surprising them as his violin \\n makes the sound of a TRAIN moving through a tunnel. \\n\",\n \" face the audience as she joins them. \\n \\n MOVE IN AND PAN the performers and students: NAAEM shares a \\n stand with ARNOLD STEINHARDT; ISAAC STERN stands and plays \\n with GUADALUPE, sitting beside him; ITZHAK PERLMAN sits and \\n plays next to CARLOS, standing beside him; MICHAEL TREE plays \",\n \" RAMON smiles, awed by this -- but he remains calm and \\n professional. \\n \\n INT. CARNEGIE HALL - BACK STAGE CORRIDOR - LATER \\n \\n As the guest violinists head for the stage, we hear their \\n names over a mike, mixed with APPLAUSE: \\n \\n MALE VOICE (V.O.) \\n Isaac Stern, Itzhak Perlman, Arnold \",\n \" Training. \\n \\n ANOTHER ANGLE - Two young men and two young women walk in, \\n carrying violins. We realize from the scar that one is NAEEM \\n (20), now a strikingly handsome man, over six feet tall. \\n With him is DE SEAN (19), a short guy with dreadlocks, looking \\n more like a rapper than a violinist. GUADALUPE (19), walking \",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" open to the name ITZHAK PERLMAN. In the b.g., Dorothea tensely \\n waits to hear if Itzhak Perlman will say yes. \\n \\n 2. Parents, Roberta, Nick and Lexi hang \\\"FIDDLEFEST CONCERT\\\" \\n posters around their neighborhood, announcing a concert at \\n THE 92ND STREET Y with ARNOLD STEINHARDT, ITZHAK PERLMAN and \",\n \" this. It's huge. It's gigantic! It's \\n Carnegie Hall! And listen to this: \\n now Isaac Stern wants to play with \\n us -- Diane Monroe, Michael Tree -- \\n there's other people calling -- \\n \\n DAN \\n That's fantastic! \\n \\n ROBERTA \\n Fantastic? I'll never get the kids \",\n \" him, and crosses to his sister, waiting for him DOWN THE \\n STREET. He takes the violin from her and carries it himself. \\n \\n INT. CPE MUSIC ROOM - DAY \\n \\n The Fiddlefest kids, including Carlos, Vanessa, Shandra, \\n Ramon, Stephanie, Amanda, Kenny, Simon, Thomas, De Sean and \\n Guadalupe practice Bach's \\\"Minuet One,\\\" Roberta leading them \",\n \" The woman snaps her fingers and smiles. Roberta laughs and \\n embraces her, then turns to the students. \\n \\n ROBERTA \\n Kids, these are four of my very first \\n violin students and I've asked them \\n to play in the concert with us. \\n (to the alumni) \\n I was just telling them how hard \\n they're gonna have to work. \\n \\n DE SEAN\",\n \" Roberta knocks on Janet's door. \\n \\n JANET (O.S.) \\n Yes? \\n \\n As Roberta opens the door, we see that Nick and Lexi are \\n with her. All three have violins. INSIDE, Janet's in \\n conversation with DENNIS RAUSCH (38), an uptight man with a \\n tie that doesn't match his suit jacket. He's showing Janet a \",\n \" NICK \\n (shrugs) \\n She's O.K. \\n \\n Roberta gives Nick a look, but Janet smiles. \\n \\n JANET \\n (to Roberta) \\n If you could teach our students to \\n play like that, I'd be thrilled, but -- \\n \\n ROBERTA \\n I can. Any child can learn the violin. \\n \\n DENNIS\",\n \" (to the fencers) \\n Don't do that! Put the bows back in \\n the cases -- right now! \\n \\n There's the SOUND of violin strings being plucked. \\n \\n ROBERTA \\n Who's plucking? \\n \\n Roberta wheels around to find a girl plucking her violin \\n like a banjo, and doing a little dance. This is LUCY, a skinny \",\n \" Carlos, Thomas, Stephanie, Amanda, Kenny, and Simon), \\n rehearsing \\\"Orange Blossom Special.\\\" They play badly. Rachel \\n helps Roberta correct students. \\n \\n ROBERTA \\n Stop! Someone's playing the wrong \\n notes! And you shouldn't need your \\n music anymore! Except for the Bach \\n Double, everything has to be memorized \\n by next rehearsal! \\n\",\n \" The kids say \\\"the world's greatest violinists\\\" along with \\n her -- they've obviously been hearing this a lot. Roberta \\n glares at them. \\n \\n ROBERTA \\n I think we should forget the Bach \\n Double. \\n (to the other kids) \\n And you guys are never gonna get \\n Minuet One. I think we should drop \\n that too. \\n\",\n \" What's his name? \\n \\n DOROTHEA \\n Arnold Steinhardt. \\n \\n ROBERTA \\n Of the Guarneri String Quartet? \\n \\n Dorothea nods, and hands Roberta a card. \\n \\n DOROTHEA \\n Stay in touch. Let us know when the \\n kids have a concert. \\n\",\n \" ROBERTA \\n (to the boys) \\n Did you hear what I just said? \\n \\n ANGLE - Three kids are using the violin cases as pretend \\n machine guns -- and shooting each other. \\n \\n ROBERTA \\n Put those down, please! \\n \\n ANGLE - A boy and a girl are having a \\\"sword fight\\\" with \\n their bows. \\n \\n ROBERTA\",\n \" Carlos... Itzhak Perlman... Diane Monroe... De Sean. \\n \\n The song finishes and the APPLAUSE begins. The OTHER \\n FIDDLEFEST PLAYERS come out from back stage, RAMON in front, \\n and join the rest. More applause. The CAMERA PULLS BACK TO \\n INCLUDE the audience facing the stage, then REVERSES to show \\n the audience standing in the orchestra and balconies. \\n\"\n ],\n [\n \" and they've cancelled all events. \\n \\n ROBERTA \\n Until when? \\n \\n DOROTHEA \\n \\\"Until further notice.\\\" \\n \\n ROBERTA \\n This can't happen! We've sold tickets! \\n We've done publicity! The concert's \\n in three weeks! \\n \\n DOROTHEA \\n I've been on the phone all morning \",\n \" Disappointed grumblings. \\n \\n ISABEL \\n What if we raise the money ourselves? \\n \\n JANET \\n I can't see how they'd object to \\n that. \\n \\n A beat as people take this in. \\n \\n CONCEPCION \\n Well once that newspaper article \\n comes out, that should help bring in \\n money. \\n \\n BEVERLY\",\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" The kids and their parents are practically boiling over with \\n excitement. Last minute kisses, violin tunings, and clothing \\n adjustments take place throughout the room. \\n \\n The boys are in suits or tuxes, the girls in velvet or \\n flowered dresses, some with bows in their hair, some with \\n their hair up in buns. Roberta tries to take a head count, \",\n \" Pandemonium. Nick and Lexi, both in tuxes, are doing several \\n tasks at once while Roberta, in a simple black velvet dress \\n and stockinged feet, tries to put on her makeup but keeps \\n poking her head out of the bathroom, giving orders. Allegra \\n BARKS outside the back door. \\n \\n ROBERTA \\n Nick -- did you feed Allegra? \\n \\n NICK\",\n \" because we knew how much you kids \\n could benefit from it. \\n \\n CUTAWAY to Roberta and Janet exchanging glances over Dennis \\n taking credit for the program. \\n \\n DENNIS \\n You should know, however, that the \\n violin is a difficult instrument. \\n \\n JUSTIN, a Black boy with attitude, raises his hand. He always \",\n \" Dorothea opens the door for Roberta who just charges in, \\n agitated, without even saying hello. We sense that Dorothea \\n too, is troubled by something. \\n \\n ROBERTA \\n I must have been crazy to agree to \\n this. They're never gonna be ready. \\n And you should hear the Bach Double! \\n A disaster. So the good news is \\n tickets are selling like hot cakes, \",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" What about in the Bronx? \\n \\n NICK \\n There's nothing. \\n (beat) \\n Why don't you just do it in one of \\n the schools? It'll be a lot smaller \\n but -- \\n \\n ROBERTA \\n We won't make enough money. \\n \\n LEXI \\n What about postponing it? \\n \\n ROBERTA\",\n \" on Tuesdays. \\n \\n ROBERTA \\n But you scheduled them for violin. \\n \\n DENNIS \\n You must have read the schedule wrong. \\n \\n ROBERTA \\n (trying to remain \\n polite) \\n I don't think so. \\n \\n DENNIS \\n Well, I can't solve this problem for \\n you right now.\",\n \" The tension in the room shoots sky high. \\n \\n INT. CARNEGIE HALL - STAGE - PODIUM - NIGHT \\n \\n Janet stands onstage and addresses the audience. \\n \\n JANET \\n When I became the principal of Central \\n Park East Elementary, I envisioned a \\n school where children could fulfill \\n their highest potential, despite the \\n challenges of poverty and racism. \",\n \" The kids look sobered by this. \\n \\n ROBERTA \\n Come to think of it, we'll probably \\n also need to meet before school. \\n \\n Lots of grumbling: \\\"Say what?\\\" \\\"No way!\\\" \\\"Before school?\\\" \\n I'ma be sleepwalking!\\\" \\n \\n ROBERTA \\n You've heard of Navy Seal Training? \\n Well, this is gonna be Roberta String \",\n \" Hall sick to their stomachs! That's \\n right, they're gonna pay a thousand \\n dollars a ticket and you're gonna \\n make them throw up on their gowns \\n and tuxedos! \\n \\n Carlos senses a presence and turns to see Roberta. A tense \\n beat as he awaits her reaction. \\n \\n ROBERTA \\n (in all seriousness)\",\n \" and giving direction. They're playing badly. \\n \\n Rachel plays as well, but walks around the room making \\n corrections. It's early morning, and the kids look half- \\n asleep. \\n \\n ROBERTA \\n Frog! Frog! I need more accents on \\n the down beat! More bow! More! \\n \\n They play a few more bars and still sound pretty bad. \\n \\n ROBERTA\",\n \" The kids look at each other, daunted. \\n \\n ROBERTA \\n And you sound like you're \\n sleepwalking. Your heart's not even \\n in it. \\n \\n VANESSA \\n Maybe 'cause we don't have a place \\n for the concert. \\n \\n Roberta looks at her, and then notices the despondent looks \\n on many of the kids' faces.\",\n \" in disbelief at Roberta fluffing a couch pillow. \\n \\n NICK \\n What are you doing? \\n \\n ROBERTA \\n Just straightening a little. \\n \\n NICK \\n You're insane, you know that? \\n (grabs the pillow) \\n Finish getting dressed! \\n \\n He throws the pillow onto the couch. Roberta heads upstairs. \\n\",\n \" but the bad news is that the kids \\n sound like shit. \\n \\n DOROTHEA \\n There's more bad news... We've lost \\n the Y. \\n \\n Roberta looks at her, aghast. \\n \\n ROBERTA \\n What?! \\n \\n DOROTHEA \\n They had a flood -- a water heater \\n burst... The concert hall was damaged \",\n \" had to go to the hospital. \\n \\n ROBERTA \\n Again? You told me you went to the \\n hospital last week. \\n \\n DE SEAN \\n Oh yeah. Maybe it was last week. \\n \\n Roberta rolls her eyes, then turns to Lucy. \\n \\n ROBERTA \\n Lucy -- you sounded the worst of \\n all. Have you practiced? \\n \\n LUCY\"\n ],\n [\n \" could be great publicity. There's \\n word of mouth... you could get \\n reviewed... \\n \\n ROBERTA \\n It better be a good concert! \\n \\n Some people laugh but we see the anxiety on Roberta's face. \\n \\n ROBERTA \\n We have to offer something more than \\n me and the kids. \\n (to Dorothea) \\n Do you think maybe your husband would \",\n \" Yeah, but what if it doesn't? For \\n all we know, it's gonna be buried on \\n the back page. Besides, who says \\n anyone's gonna give a damn about our \\n kids? \\n \\n DOROTHEA \\n (to Roberta) \\n What if you do a benefit concert? We \\n can raise a batch of money from ticket \\n sales, and then the concert itself \",\n \" INT. CPE 1 AUDITORIUM - THE CONCERT - STAGE - NIGHT \\n \\n SEVENTY-FIVE KIDS play \\\"We Shall Overcome\\\" and it's incredibly \\n moving. Nick's on cello, Lexi plays piano. ROBERTA proudly \\n leads the children. At the side of the stage, we see DOROTHEA \\n photographing the concert. THE CAMERA PANS THE AUDIENCE of \",\n \" have a bigger mission: to take the \\n magical spirit of tonight's concert \\n with us out into the world, and to \\n fight for music and art to be a part \\n of every child's education. Thank \\n you. \\n \\n The APPLAUSE is DEAFENING, then slowly diminishes as we: \\n \\n DISSOLVE TO: \\n\",\n \" children's future is compromised. I \\n want to thank you for your support. \\n Enjoy the concert. \\n \\n INT. CARNEGIE HALL - BACKSTAGE - NIGHT \\n \\n In the b.g. we hear the audience APPLAUDING Janet. Roberta \\n holds up her hands to quiet down the anxious students. \\n \\n ROBERTA \\n Everyone -- attention please! \\n \\n They become quiet.\",\n \" Disappointed grumblings. \\n \\n ISABEL \\n What if we raise the money ourselves? \\n \\n JANET \\n I can't see how they'd object to \\n that. \\n \\n A beat as people take this in. \\n \\n CONCEPCION \\n Well once that newspaper article \\n comes out, that should help bring in \\n money. \\n \\n BEVERLY\",\n \" City Board of Education. \\n \\n The money raised from Fiddlefest supported Roberta's violin \\n program for three years. Roberta and Opus 118 continue their \\n fundraising efforts to keep the program alive. \\n\",\n \" Roberta Guaspari lives in East Harlem with her daughter Sofia, \\n whom she adopted from El Salvador. Nick is a professional \\n cellist in a graduate music program, and Alexi has been \\n accepted to medical school. \\n \\n Roberta teaches violin to approximately 150 students a year \\n in three East Harlem elementary schools. The East Harlem \\n Violin Program, however, is still not funded by the New York \",\n \" none of this would've happened. \\n \\n Roberta contemplates this. A beat. \\n \\n ROBERTA \\n Thank you, Charles. \\n \\n Her last stitch finished, Assunta rips the needle from the \\n thread. \\n \\n EXT. CARNEGIE HALL - ESTABLISHING - DUSK \\n \\n INT. CARNEGIE HALL - BACK STAGE - NIGHT \\n\",\n \" Roberta turns to see ISAAC STERN approaching her. She's \\n completely flustered. \\n \\n ROBERTA \\n Oh my god -- Isaac Stern. \\n \\n ISAAC STERN \\n You must be Roberta. \\n \\n ROBERTA \\n Thank you so much for helping us. \\n \\n ISAAC STERN \\n (looking out at the \\n hall)\",\n \" because we knew how much you kids \\n could benefit from it. \\n \\n CUTAWAY to Roberta and Janet exchanging glances over Dennis \\n taking credit for the program. \\n \\n DENNIS \\n You should know, however, that the \\n violin is a difficult instrument. \\n \\n JUSTIN, a Black boy with attitude, raises his hand. He always \",\n \" brings her flowers. Roberta kisses her, then approaches the \\n mike. \\n \\n ROBERTA \\n (to the audience) \\n The beautiful concert that you just \\n heard could be the last concert of \\n the East Harlem Violin Program. The \\n Board of Education and the District \\n Superintendent don't think that music \\n is important for our children. But \",\n \" The students finish MINUET ONE. There's an exquisite moment \\n of silence, then APPLAUSE. \\n \\n INT. CARNEGIE HALL - THE STAGE - LATER \\n \\n Country fiddler MARK O'CONNOR plays ORANGE BLOSSOM SPECIAL \\n with the kids. He improvises, surprising them as his violin \\n makes the sound of a TRAIN moving through a tunnel. \\n\",\n \" Hall. \\n \\n Roberta takes this in, relating it to her own struggle. \\n \\n ISAAC STERN \\n If it's all right with you, I'd like \\n to play in your concert. Maybe bring \\n a couple of friends... \\n \\n ROBERTA \\n Yes, of course! That would be great! \\n \\n Isaac nods, then touches her shoulder. \\n \\n ISAAC STERN\",\n \" at the UPPER BALCONIES -- THE LOWER BALCONIES -- THE ORCHESTRA \\n SEATS. Her footsteps echo as she walks towards the front of \\n the stage, then stops. \\n \\n CLOSE ON ROBERTA \\n \\n We can see her imagining the audience on the night of the \\n concert. She can't believe her eyes. A beat, and she looks \",\n \" We could rent a place like the 92nd \\n Street Y -- it's perfect for this. \\n It seats about nine hundred people \\n and if we charge between fifty and a \\n hundred a ticket -- \\n \\n ISABEL \\n (to Roberta) \\n We could probably raise enough to \\n reinstate your program for a year. \\n \\n JANET \\n Sounds like a plan. \\n\",\n \" They begin again, and we see Naeem take out a violin and \\n join in. As they play, Roberta's ears perk up at something \\n she's hearing. She crosses to Lucy. \\n \\n ROBERTA \\n What are you playing? \\n \\n LUCY \\n Twinkle. \\n \\n ROBERTA \\n (to class) \\n Everyone stop! \\n (to Lucy)\",\n \" violinists bow... and MOVE IN CLOSER on ROBERTA in her moment \\n of triumph. \\n \\n INT. CARNEGIE HALL - STAGE - PODIUM - MOMENTS LATER \\n \\n Roberta addresses the audience. Her voice is strong but softer \\n around the edges; she is a woman in a state of grace. \\n \\n ROBERTA \\n We're all here tonight because we \",\n \" watches in anticipation. Roberta cues them and they play the \\n next note in perfect unison. An involuntary smile lights on \\n DE SEAN's face. They finish the song, the audience applauds, \\n and Roberta turns to face them. \\n \\n She lights up when she sees how thrilled Janet looks, and \\n Janet in turn raises her hands higher as she applauds Roberta. \\n \\n DISSOLVE TO:\",\n \" be afraid. It's gonna be really \\n wonderful. So play -- play from here. \\n \\n She pats her heart. \\n \\n INT. CARNEGIE HALL - BACKSTAGE CORRIDOR - NIGHT \\n \\n The kids head out towards the stage, the APPLAUSE getting \\n louder as they get closer. \\n \\n INT. CARNEGIE HALL - STAGE - NIGHT \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Where is the school located where Roberta takes a position as a substitute violin teacher?","Why does Roberta lose her teaching job?","What is Roberta's fund raising concert called?","Where is the Fiddlefest concert finally held?","How long does Roberta teach before her position is cut?","What is the profession of Roberta's husband?","What is the name of Roberta's program?","How many schools are running Roberta's string program at the time her position is cut?","What is the purpose of the fiddlefest concert?","What venue does the fund raising concert finally take place at? ","Why does Roberta lose her teaching job?","Which of the armed forces did Roberta's husband work for?","What is the profession of Roberta's friend whose husband eventually helps to secure Carnegie Hall as a venue for the concert? ","Which orchestra does Roberta's friends' husband play for? ","How much experience has Roberta had in music teaching when she takes her first job as substitute violin teacher? ","How do the parents of the children in East Harlem react to the new music program?","How long does the string program last before budget cuts force it to close?","What reason does Roberta to decide to put on a fund-raising concert? ","What name was given to the fund raising concert?","In the midst of her deep despair, who was it that encouraged Roberta to move on with her life?","What job does Roberta begin working, despite not having much experience?","Where in New York City was Roberta's new job located?","How long had Roberta been in her position before her sudden unemployment?","Whose idea was it to plan a benefit concert?","What was the name of the fundraising event put on by Roberta and her former students?","Who is Karen Briggs, Mark O'Connor, and Michael Tree?","Not all efforts were smoth sailing in planning the benefit, what specifically caused an upset?","Though the benefit concert was well received, what was the ultimate outcome?"],"string":"[\n \"Where is the school located where Roberta takes a position as a substitute violin teacher?\",\n \"Why does Roberta lose her teaching job?\",\n \"What is Roberta's fund raising concert called?\",\n \"Where is the Fiddlefest concert finally held?\",\n \"How long does Roberta teach before her position is cut?\",\n \"What is the profession of Roberta's husband?\",\n \"What is the name of Roberta's program?\",\n \"How many schools are running Roberta's string program at the time her position is cut?\",\n \"What is the purpose of the fiddlefest concert?\",\n \"What venue does the fund raising concert finally take place at? \",\n \"Why does Roberta lose her teaching job?\",\n \"Which of the armed forces did Roberta's husband work for?\",\n \"What is the profession of Roberta's friend whose husband eventually helps to secure Carnegie Hall as a venue for the concert? \",\n \"Which orchestra does Roberta's friends' husband play for? \",\n \"How much experience has Roberta had in music teaching when she takes her first job as substitute violin teacher? \",\n \"How do the parents of the children in East Harlem react to the new music program?\",\n \"How long does the string program last before budget cuts force it to close?\",\n \"What reason does Roberta to decide to put on a fund-raising concert? \",\n \"What name was given to the fund raising concert?\",\n \"In the midst of her deep despair, who was it that encouraged Roberta to move on with her life?\",\n \"What job does Roberta begin working, despite not having much experience?\",\n \"Where in New York City was Roberta's new job located?\",\n \"How long had Roberta been in her position before her sudden unemployment?\",\n \"Whose idea was it to plan a benefit concert?\",\n \"What was the name of the fundraising event put on by Roberta and her former students?\",\n \"Who is Karen Briggs, Mark O'Connor, and Michael Tree?\",\n \"Not all efforts were smoth sailing in planning the benefit, what specifically caused an upset?\",\n \"Though the benefit concert was well received, what was the ultimate outcome?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["East Harlem in New York City.","East Harlem in New York City"],["The school budget is cut.","Budget cuts"],["Fiddlefest.","Fiddlefest"],["Carnegie Hall in New York City.","Carnegie Hall."],["Ten years.","ten years"],["He is in the US Navy.","He is in the US Navy."],["The Opus 118 (string program).","Opus 118"],["Three.","Three"],["To raise money so that Roberta's program can continue.","raise money to save the program"],["Carnegie Hall.","Carnegie Hall."],["Because the school budget is cut.","Budget cuts at the school"],["US Navy","US Navy"],["She is a publicist.","publicist"],["The Guarnari Quartet.","Guarneri Quartet"],["She has very little experience.","little"],["They are intialy skeptical.","They were initially skeptical about the program."],["Ten years.","ten years"],["To raise money to continue the music program at the schools.","To allow the program to continue after budget cuts."],["Fiddlefest.","Fiddlefest"],["Her mother.","Her mother"],["A subtitute violin teacher.","As a substitute violin teacher."],["East Harlem.","East Harlem."],["Ten years.","10 years"],["Roberta's.","Roberta Guaspari."],["\"Fiddlefest\"","Fiddlefest."],["Famous musicians","Famous musician "],["Losing the venue and not having a place to hold the concert.","They lost the venue."],["The school's Opus 118 program is up and running.","The school's funding was restored and the program was able to continue."]],"string":"[\n [\n \"East Harlem in New York City.\",\n \"East Harlem in New York City\"\n ],\n [\n \"The school budget is cut.\",\n \"Budget cuts\"\n ],\n [\n \"Fiddlefest.\",\n \"Fiddlefest\"\n ],\n [\n \"Carnegie Hall in New York City.\",\n \"Carnegie Hall.\"\n ],\n [\n \"Ten years.\",\n \"ten years\"\n ],\n [\n \"He is in the US Navy.\",\n \"He is in the US Navy.\"\n ],\n [\n \"The Opus 118 (string program).\",\n \"Opus 118\"\n ],\n [\n \"Three.\",\n \"Three\"\n ],\n [\n \"To raise money so that Roberta's program can continue.\",\n \"raise money to save the program\"\n ],\n [\n \"Carnegie Hall.\",\n \"Carnegie Hall.\"\n ],\n [\n \"Because the school budget is cut.\",\n \"Budget cuts at the school\"\n ],\n [\n \"US Navy\",\n \"US Navy\"\n ],\n [\n \"She is a publicist.\",\n \"publicist\"\n ],\n [\n \"The Guarnari Quartet.\",\n \"Guarneri Quartet\"\n ],\n [\n \"She has very little experience.\",\n \"little\"\n ],\n [\n \"They are intialy skeptical.\",\n \"They were initially skeptical about the program.\"\n ],\n [\n \"Ten years.\",\n \"ten years\"\n ],\n [\n \"To raise money to continue the music program at the schools.\",\n \"To allow the program to continue after budget cuts.\"\n ],\n [\n \"Fiddlefest.\",\n \"Fiddlefest\"\n ],\n [\n \"Her mother.\",\n \"Her mother\"\n ],\n [\n \"A subtitute violin teacher.\",\n \"As a substitute violin teacher.\"\n ],\n [\n \"East Harlem.\",\n \"East Harlem.\"\n ],\n [\n \"Ten years.\",\n \"10 years\"\n ],\n [\n \"Roberta's.\",\n \"Roberta Guaspari.\"\n ],\n [\n \"\\\"Fiddlefest\\\"\",\n \"Fiddlefest.\"\n ],\n [\n \"Famous musicians\",\n \"Famous musician \"\n ],\n [\n \"Losing the venue and not having a place to hold the concert.\",\n \"They lost the venue.\"\n ],\n [\n \"The school's Opus 118 program is up and running.\",\n \"The school's funding was restored and the program was able to continue.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"15618d16f20e7ba33352f06e210f42ef59d84d74"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":45,"cells":{"text":{"kind":"list like","value":[["him in. When he comes onto the church porch he stops in surprise. To the \n right of the entrance there is a large fresco on the wall, not quite \n finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \n paint-stained clothes. He has one brush in his mouth, while with another in \n his hand he outlines a small, terrified human face amidst a sea of other \n faces. \n \n \t\t\t\tJONS ","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","\t\tlike the man I've painted over there. \n \n The PAINTER points with his brush. JONS sees a small human form writhing in \n the grass, its eyes turned upwards in a frenzied look of horror and pain. \n \n \t\t\t\tJONS \n \t\tThat looks terrible. \n \n \t\t\t\tPAINTER \n \t\tIt certainly does. He tries to rip out the ","\t\tYou're only painting your Dance of Death. \n \n \t\t\t\tPAINTER \n \t\tI'm only painting things as they are. Everyone \n \t\telse can do as he likes. \n \n \t\t\t\tJONS \n \t\tJust think how some people will curse you. \n \n \t\t\t\tPAINTER \n \t\tMaybe. But then I'll paint something amusing ","\t\tWhat is this supposed to represent? \n \n \t\t\t\tPAINTER \n \t\tThe Dance of Death. \n \n \t\t\t\tJONS \n \t\tAnd that one is Death? \n \n \t\t\t\tPAINTER \n \t\tYes, he dances off with all of them. \n \n \t\t\t\tJONS \n \t\tWhy do you paint such nonsense? \n \n \t\t\t\tPAINTER ","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","but the suffering Jesus with the sores, the blood, the hammered nails and the \n face in convulsive pain. The Son of God, nailed on the wood of the cross, \n suffering scorn and shame. \n \n The penitents have now sunk down in the dirt of the road. They collapse where \n they stood like slaughtered cattle. Their screams rise with the song of the \n monks, through misty clouds of incense, towards the white fire of the sun. \n ","\t\tboil, he bites his hands, tears his veins open \n \t\twith his fingernails and his screams can be \n \t\theard everywhere. Does that scare you? \n \n \t\t\t\tJONS \n \t\tScare? Me? You don't know me. What are the \n \t\thorrors you've painted over there? \n \n \t\t\t\tPAINTER \n \t\tThe remarkable thing is that the poor creatures","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","\t\tThe rump behind you, the rump behind you \n \t\tthere's a profound truth. \n \n JONS paints a small figure which is supposed to represent himself. \n \n \t\t\t\tJONS \n \t\tThis is squire Jns. He grins at Death, mocks \n \t\tthe Lord, laughs at himself and leers at the \n \t\tgirls. His world is a Jnsworld, believable ","\t\tI thought it would serve to remind people that \n \t\tthey must die. \n \n \t\t\t\tJONS \n \t\tWell, it's not going to make them feel any \n \t\thappier. \n \n \t\t\t\tPAINTER \n \t\tWhy should one always make people happy? It \n \t\tmight not be a bad idea to scare them a little \n \t\tonce in a while. \n","Meanwhile, JONS and the PAINTER have got drunk and are talking animatedly \n together. \n \n \t\t\t\tJONS \n \t\tMe and my master have been abroad and have just \n \t\tcome home. Do you understand, you little \n \t\tpictor? \n \n \t\t\t\tPAINTER \n \t\tThe Crusade. \n \n \t\t\t\tJONS \n \t\t\t(drunk)","\t\t\t\tMIA \n \t\tWhat an imagination you have. \n \n \t\t\t\tJOF \n \t\tYou don't believe me! But it was real, I tell \n \t\tyou, not the kind of reality you see every day, \n \t\tbut a different kind. \n \n \t\t\t\tMIA \n \t\tPerhaps it was the kind of reality you told us \n \t\tabout when you saw the Devil painting our wagon ","bursting throats. Many sway and fall, lift themselves up again, support each \n other and help each other to intensify the scourging. \n \n Now the procession pauses at the crossroads in front of the inn. The monks \n fall on their knees, hiding their faces with clenched hands, arms pressed \n tightly together. Their song never stops. The Christ figure on its timbered \n cross is raised above the heads of the crowd. It is not Christ triumphant, ","of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \n yard have fallen on their knees, others hide their faces, many begin to \n mutter half-forgotten prayers. \n \n All have turned their faces towards the white road. Now a shrill song is \n heard. It is frenzied, almost a scream. A crucified Christ sways above the \n hilltop. \n","walls. Silently they eat the hard bread and the salt-darkened meat. KARIN \n sits at the head of the table and reads aloud from a thick book. \n \n \t\t\t\tKARIN \n \t\t\"And when the Lamb broke the seventh seal, \n \t\tthere was silence in heaven for about the space \n \t\tof half an hour. And I saw the seven angels \n \t\twhich stood before God; and to them were given ","\t\tthink the pestilence is the Lord's punishment. \n \t\tMobs of people who call themselves Slaves of \n \t\tSin are swarming over the country, flagellating \n \t\tthemselves and others, all for the glory of God. \n \n \t\t\t\tJONS \n \t\tDo they really whip themselves? \n \n \t\t\t\tPAINTER \n \t\tYes, it's a terrible sight. I crawl into a ","\t\t\t\tJONS \n \t\tAnd if they think ... \n \n \t\t\t\tPAINTER \n \t\tThey'll become still more scared. \n \n \t\t\t\tJONS \n \t\tAnd then they'll run right into the arms of the \n \t\tpriests. \n \n \t\t\t\tPAINTER \n \t\tThat's not my business. \n \n \t\t\t\tJONS ","nearly choked with rage. \n \n \t\t\t\tJONS \n \t\tWhat does she see? Can you tell me? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tShe feels no more pain. \n \n \t\t\t\tJONS \n \t\tYou don't answer my question. Who watches over \n \t\tthat child? Is it the angels, or God, or the "],["towards him. \n \n \t\t\t\tKNIGHT \n \t\tHave you seen the Devil? \n \n The MONK stops reading and raises his head. \n \n \t\t\t\tMONK \n \t\tYou must not talk to her. \n \n \t\t\t\tKNIGHT \n \t\tCan that be so dangerous? \n \n \t\t\t\tMONK \n \t\tI don't know, but she is believed to have ","\t\tshe brings the Devil with her wherever she \n \t\tgoes. \n \n \t\t\t\tJONS \n \t\tYou are eight brave men, then. \n \n \t\t\t\tSOLDIER \n \t\tWell, we've been paid. And this is a volunteer \n \t\tjob. \n \n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \n \n \t\t\t\tKNIGHT ","\t\tDevil, or only the emptiness? Emptiness, my \n \t\tlord! \n \n \t\t\t\tKNIGHT \n \t\tThis cannot be. \n \n \t\t\t\tJONS \n \t\tLook at her eyes, my lord. Her poor brain has \n \t\tjust made a discovery. Emptiness under the \n \t\tmoon. \n \n \t\t\t\tKNIGHT \n \t\tNo. \n","\t\tJns is my name. I am a pleasant and talkative \n \t\tyoung man who has never had anything but kind \n \t\tthoughts and has only done beautiful and noble \n \t\tdeeds. I'm kindest of all to young women. With \n \t\tthem, there is no limit to my kindness. \n \n He embraces her and tries to kiss her, but she holds herself back. Almost ","\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","bound to this like an eelskin stretched out to dry. \n \n The sound of the hammering echoes through the forest. The KNIGHT has \n dismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes, \n touches her very lightly as if to waken her. Slowly she turns her face \n towards him. \n \n \t\t\t\tKNIGHT \n \t\tThey say that you have been in league with the \n \t\tDevil. \n","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","\t\tlook after his house and try to enjoy life as \n \t\tlong as he can. \n \n \t\t\t\tWOMAN \n \t\tBut there have been other things too, such \n \t\tthings that can't even be spoken of. \n \t\t\t(whispers) \n \t\tThings that mustn't be named -- but the priests \n \t\tsay that the woman carries it between her legs ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","generous bosom to burst out of its prison -- no more than honor and chastity \n allow, but still enough so that the actor with his experienced eye \n immediately sees that there are ample rewards to be had here. \n \n Now she comes a little closer, kneels down and opens a bundle containing \n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \n not to fall off the wagon in his excitement. Standing on the steps of the ","\t\tWatch out, you perfumed slob, that I don't fart \n \t\ton you and immediately blow you down to the \n \t\tactor's own red-hot hell, where you can sit and \n \t\trecite monologues to each other until the dust \n \t\tcomes out of the Devil's ears. \n \n Then LISA throws herself around her husband's neck. \n \n \t\t\t\tLISA ","\t\teven though I curse Him and want to tear Him \n \t\tout of my heart? Why, in spite of everything, \n \t\tis He a baffling reality that I can't shake \n \t\toff? Do you hear me? \n \n \t\t\t\tDEATH \n \t\tYes, I hear you. \n \n \t\t\t\tKNIGHT \n \t\tI want knowledge, not faith, not suppositions, ","\t\t\t\tSOLDIER \n \t\tIt's the best remedy: blood mixed with the bile \n \t\tof a big black dog. The Devil can't stand the \n \t\tsmell. \n \n \t\t\t\tJONS \n \t\tNeither can I. \n \n JONS walks over towards the horses. The KNIGHT stands for a few, moments \n looking at the young girl. She is almost a child. Slowly she turns her eyes ","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","\t\tthe tricks of the theatre. \n \n \t\t\t\tJOF \n \t\tAnd that turned out to be her misfortune. \n \n \t\t\t\tPLOG \n \t\tHer misfortune, but not mine, because a person \n \t\twho's born unfortunate can hardly suffer from \n \t\tany further misfortune. Isn't that true? \n \n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \n and evil.","restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \n Block turns around. \n \n Behind him stands a man in black. His face is very pale and he keeps his \n hands hidden in the wide folds of his cloak. \n \n \t\t\t\tKNIGHT \n \t\tWho are you? \n \n \t\t\t\tDEATH \n \t\tI am Death. \n \n \t\t\t\tKNIGHT ","wagon, he supports himself against a nearby tree, crosses his legs and bows. \n \n The woman quietly bites into a chicken leg dripping with fat. At this moment \n the actor is stricken by a radiant glance full of lustful appetites. \n \n When he sees this look, SKAT makes an instantaneous decision, jumps down from \n the wagon and kneels in front of the blushing damsel. \n \n She becomes weak and faint from his nearness, looks at him with a glassy ","\t\tcries or be touched by Your sufferings. Wash \n \t\tYour tears and mirror Yourself in Your \n \t\tindifference. \n \n \t\t\t\tKNIGHT \n \t\tGod, You who are somewhere, who must be \n \t\tsomewhere, have mercy upon us. \n \n \t\t\t\tJONS \n \t\tI could have given you an herb to purge you of \n \t\tyour worries about eternity. Now it seems to be ","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n"],["\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n"," \n \n \n The morning breeze has died down. The restless movement of the sea has \n ceased, the water is silent. The sun rises from the haze and its glow \n whitens. The sea gull floats under the dark cloud, frozen in space. The day \n is already scorchingly hot. \n \n The squire JONS is awakened by a kick in the rear. Opening his eyes, he ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","miserable-looking dog whines incessantly as it lies flat on its stomach, \n wagging its tail. \n \n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \n When he doesn't receive an answer, he walks up to the man in order to shake \n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \n his hand. The man falls backward on the heath, his face turned towards JONS. ","grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \n horse and picks up the heavy pack. \n \n The KNIGHT slowly rides away from the sea, into the forest near the beach and \n up towards the road. He pretends not to hear the morning prayers of his \n squire. JONS soon overtakes him. \n \n \t\t\t\tJONS \n \t\t\t(sings)","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","his horse. The travelers depart from the crossroads. TYAN finally closes her \n eyes. \n \n \n \n The forest is now very dark. The road winds between the trees. The wagon \n squeaks and rattles over stones and roots. A bird suddenly shrieks. \n \n JOF lifts his head and wakes up. He has been asleep with his arms around \n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \n","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\tThe rump behind you, the rump behind you \n \t\tthere's a profound truth. \n \n JONS paints a small figure which is supposed to represent himself. \n \n \t\t\t\tJONS \n \t\tThis is squire Jns. He grins at Death, mocks \n \t\tthe Lord, laughs at himself and leers at the \n \t\tgirls. His world is a Jnsworld, believable ","\t\talready. \n \n One of the soldiers approaches. Thick smoke wells down from the pyre and \n sweeps over the quiet shadows near the crossroads and the hill. \n \n \t\t\t\tSOLDIER \n \t\tI've told you to be careful. Don't go too close \n \t\tto her. \n \n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water ","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","glance and breathes heavily. SKAT doesn't neglect to press kisses on her \n small, chubby hands. The sun shines brightly and small birds make noises in \n the bushes. \n \n Now she is forced to sit back; her legs seem unwilling to support her any \n longer. Bewildered, she singles out another chicken leg from the large sack \n of food and holds it up in front of SKAT with an appealing and triumphant \n expression, as if it were her maidenhood being offered as a prize.","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","He turns his face away and looks out towards the sea and the colorless gray \n sky. \n \n \t\t\t\tKNIGHT \n \t\tAnd it will be an adequate sign -- it will be \n \t\tenough for me. \n \n He rises, nods to the others and walks down towards the forest. JOF continues \n to play on his lyre. MIA stretches out on the grass. \n \n The KNIGHT picks up his chess game and carries it towards the beach. It is ","It is a corpse, staring at JONS with empty eye sockets and white teeth. \n \n JONS remounts and overtakes his master. He takes a drink from his waterskin \n and hands the bag to the knight. \n \n \t\t\t\tKNIGHT \n \t\tWell, did he show you the way? \n \n \t\t\t\tJONS \n \t\tNot exactly. \n \n \t\t\t\tKNIGHT ","JONS follows them with his heavily laden horse. He has the smith in tow. The \n GIRL sits on top of the load on the horse's back, hunched over as if asleep. \n \n The footsteps, the horses' heavy tramp on the soft path, the human breathing \n -- yet it is quiet. \n \n Then the moon sails out of the clouds. The forest suddenly becomes alive with \n the night's unreality. The dazzling light pours through the thick foliage of "],["He has picked up the juggling balls and slowly begins to toss them. Then he \n stands on his head and cackles like a hen. Suddenly he stops and sits down \n with a look of utter astonishment on his face. The wind causes the trees to \n sway slightly. The leaves stir and there is a soft murmur. The flowers and \n the grass bend gracefully, and somewhere a bird raises its voice in a long \n warble. \n \n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed ","\t\twe're really in a hurry. \n \n JOF climbs up on the wagon seat quickly and clucks at the horse. \n \n \n \n The small company is on its way towards the forest and the night. \n \n It is dark in the forest. \n \n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \n close to each other in the juggler's wagon. MIA holds her son in her arms. ","trees. He takes a drink of water, gargles, stretches and talks to his scrawny \n old horse. \n \n \t\t\t\tJOF \n \t\tGood morning. Have you had breakfast? I can't \n \t\teat grass, worse luck. Can't you teach me how? \n \t\tWe're a little hard up. People aren't very \n \t\tinterested in juggling in this part of the \n \t\tcountry. \n","JOF gets up carefully and disappears into the darkness behind the trees. MIA \n remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \n and the chess game. She holds her son in her arms. Now JOF returns. \n \n \t\t\t\tJOF \n \t\tI have harnessed the horse. The wagon is \n \t\tstanding near the big tree. You go first and \n \t\tI'll follow you with the packs. See that Mikael ","ride past an inlet and along verdant groves. In the shade of some large trees \n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \n under the shade of the trees but continue riding until they disappear at the \n bend of the road. \n \n \n \n In his sleep, JOF the juggler hears the neighing of his horse and the answer ","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n ","\t\t\t\tJOF \n \t\tI only become frightened and angry. I never get \n \t\ta chance to hit back. I can get angry, you know \n \t\tthat. I roared like a lion. \n \n \t\t\t\tMIA \n \t\tWere they frightened? \n \n \t\t\t\tJOF \n \t\tNo, they just laughed. \n \n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls ","left off. MIA and JOF decide that it would be wisest to leave the wagon. They \n sit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \n vigorously. JOF sits close to his wife. Slumped over, he still looks dazed \n and astonished. A dry, hot wind blows from the sea. \n \n \t\t\t\tMIA \n \t\tIf we would only get some rain. Everything is ","from a distance. He tries to go on sleeping, but it is stifling inside the \n wagon. The rays of the sun filtering through the canvas cast streaks of light \n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \n snores loudly. \n \n JOF crawls out of the wagon. There is still a spot of shade under the big ","\t\thide behind the curtain for the time being. \n \t\t\t(he wipes the sweat \n \t\t\tfrom his forehead) \n \t\tIt's damned hot. I think we'll have a \n \t\tthunderstorm. \n \n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \n makes a face as if he could see all the wonders of the world underneath it, \n and disappears behind the gaudily patched curtains.","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","immediately he loses interest, hoists the waterbag on his shoulder and pats \n the GIRL on the cheek. \n \n \t\t\t\tJONS \n \t\tGoodbye, my girl. I could very well have raped \n \t\tyou, but between you and me, I'm tired of that \n \t\tkind of love. It runs a little dry in the end. \n \n He laughs kindly and walks away from her. When he has walked a short distance ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","\t\tditch and hide when they pass by. \n \n \t\t\t\tJONS \n \t\tDo you have any brandy? I've been drinking \n \t\twater all day and it's made me as thirsty as a \n \t\tcamel in the desert. \n \n \t\t\t\tPAINTER \n \t\tI think I frightened you after all. \n \n JONS sits down with the PAINTER, who produces a jug of brandy. \n \n","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","\t\tIt is the end. \n \n \n \n JOF and MIA sit close together and listen to the rain tapping lightly on the \n wagon canvas, a sound which diminishes until finally there are only single \n drops. \n \n They crawl out of their hiding place. The wagon stands on a height above a \n slope, protected by an enormous tree. They look across ridges, forests, the \n wide plains, and the sea, which glistens in the sunlight breaking through the \n clouds. \n ","\t\t\t\tJONS \n \t\tWe stand powerless, our arms hanging at our \n \t\tsides, because we see what she sees, and our \n \t\tterror and hers are the same. \n \t\t\t(an outburst) \n \t\tThat poor little child. I can't stand it, I \n \t\tcan't stand it ... \n \n His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts","\t\tstart doing tricks again and that's more \n \t\ttrouble than it's worth. \n \n \t\t\t\tKNIGHT \n \t\tDo you do tricks also? \n \n \t\t\t\tMIA \n \t\tWe certainly do. And Jof is a very skillful \n \t\tjuggler. \n \n \t\t\t\tKNIGHT \n \t\tIs Mikael going to be an acrobat? \n","\t\t\t\tJOF \n \t\tMikael will grow up to be a great acrobat -- or \n \t\ta juggler who can do the one impossible trick. \n \n \t\t\t\tMIA \n \t\tWhat's that? \n \n \t\t\t\tJOF \n \t\tTo make one of the balls stand absolutely still \n \t\tin the air. \n \n \t\t\t\tMIA \n \t\tBut that's impossible.","\t \tfire and died from it, but the priests say that \n \t\tit's better to die pure than to live for hell. \n \n \t\t\t\tMERCHANT \n \t\tThis is the end, yes, it is. No one says it out \n \t\tloud, but all of us know that it's the end. And \n \t\tpeople are going mad from fear. \n \n \t\t\t\tFARMER \n \t\tSo you're afraid too. \n"],["\t\t\t\tRAVAL \n \t\tI am going to die. I. I. I! What will happen to \n \t\tme! Can no one console me? Haven't you any \n \t\tcompassion? Can't you see that I ... \n \n His words are choked off by a gurgling sound. He disappears in the darkness \n behind the fallen tree. It becomes quiet for a few moments. \n \n \t\t\t\tRAVAL \n \t\t\t(whispers) ","\t\tI don't want to die! I don't want to! \n \n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \n eyes bulge wildly and his mouth is ringed with foam. \n \n \t\t\t\tRAVAL \n \t\tCan't you have pity on me? Help me! At least \n \t\ttalk to me. \n \n No one answers. The trees sigh. RAVAL begins to cry. \n","\t\t\t\tRAVAL \n \t\tDo you have some water? \n \n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \n but his voice is heard again. \n \n \t\t\t\tRAVAL \n \t\tCan't you give me a little water? \n \t\t\t(pause) \n \t\tI have the plague. \n \n \t\t\t\tJONS ","RAVAL smiles anxiously. \n \n \t\t\t\tJONS \n \t\tWhen I see you, I suddenly understand the \n \t\tmeaning of these ten years, which previously \n \t\tseemed to me such a waste. Our life was too \n \t\tgood and we were too satisfied with ourselves. \n \t\tThe Lord wanted to punish us for our \n \t\tcomplacency. That is why He sent you to spew ","\t\tnow and never come back. \n \n JOF looks from one face to another, but no one seems ready to help him or \n come to his defense. \n \n \t\t\t\tRAVAL \n \t\tGet up so everyone can hear you. Talk louder. \n \n Trembling, JOF rises. He opens his mouth as if to say something, but not a \n word comes out. \n \n \t\t\t\tRAVAL ","\t\tthe tricks of the theatre. \n \n \t\t\t\tJOF \n \t\tAnd that turned out to be her misfortune. \n \n \t\t\t\tPLOG \n \t\tHer misfortune, but not mine, because a person \n \t\twho's born unfortunate can hardly suffer from \n \t\tany further misfortune. Isn't that true? \n \n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \n and evil.","With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \n kick so that he falls on the floor and is about to finish him off. Suddenly \n the GIRL screams. JONS stops and makes a gesture of generosity with his hand. \n \n \t\t\t\tJONS \n \t\tBy all means. I'm not bloodthirsty. \n \n He bends over RAVAL. \n \n \t\t\t\tRAVEL ","dressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \n his face perspiring heavily. RAVAL rolls an armlet out on the table. \n \n \t\t\t\tRAVAL \n \t\tDo you want this armlet? You can have it \n \t\tcheap. \n \n \t\t\t\tJOF \n \t\tI can't afford it. \n \n \t\t\t\tRAVAL \n \t\tIt's real silver.","out. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \n each other. \n \n \t\t\t\tJONS \n \t\tDo you remember what I was going to do to you \n \t\tif we met again? \n \n RAVAL steps back without speaking. \n \n \t\t\t\tJONS \n \t\tI'm a man who keeps his word. \n","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \n him. \n \n \t\t\t\tRAVAL \n \t\tDon't lie there moaning. Get up and dance. \n \n \t\t\t\tJOF \n \t\tI don't want to. I can't. \n \n \t\t\t\tRAVEL \n \t\tShow us how you imitate a bear. \n \n \t\t\t\tJOF ","\t\tmeaningless. I tell you that it's meaningless. \n \t\tCan't you hear that I'm consoling you? \n \n \t\t\t\tRAVEL \n \t\tHelp me, help me! \n \n No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \n frightened child's. His sudden scream is cut off in the middle. Then it \n becomes quiet. \n ","\t\tof us has to save his own skin. It's as simple \n \t\tas that. \n \n \t\t\t\tGIRL \n \t\tDon't touch me. \n \n \t\t\t\tRAVAL \n \t\tDon't try to scream. There's no one around to \n \t\thear you, neither God nor man. \n \n Slowly he closes the door behind the GIRL. The stuffy room is now in almost ","\t\tDon't come here. If you do I'll slit your \n \t\tthroat. Keep to the other side of the tree. \n \n \t\t\t\tRAVEL \n \t\tI'm afraid of death. \n \n No one answers. There is complete silence. RAVAL gasps heavily for air. The \n dry leaves rustle with his movements. \n \n \t\t\t\tRAVEL "," \n \t\t\t\tRAVAL \n \t\tListen, you! You sit there and lie to the \n \t\tsmith. \n \n \t\t\t\tJOF \n \t\tI! A liar! \n \n \t\t\t\tRAVAL \n \t\tYou're an actor too and it's probably your \n \t\tpartner who's run off with Plog's old lady. \n \n \t\t\t\tPLOG ","\t\t\t\tRAVEL \n \t\tWhy do you look so surprised? I steal from the \n \t\tdead. These days it's quite a lucrative \n \t\tenterprise. \n \n The GIRL makes a movement as if to run away. \n \n \t\t\t\tRAVEL \n \t\tYou're thinking of running to the village and \n \t\ttelling. That wouldn't serve any purpose. Each ","\t\tWe have a deep well with cool, fresh water. \n \t\tCome, I'll show you. \n \n They walk out of the house. RAVAL lies still for a few moments, then he rises \n slowly and looks around. When no one is in sight, he takes his bag and steals \n away. JONS quenches his thirst and fills his bag with water. The GIRL helps \n him. \n \n \t\t\t\tJONS ","\t\tI can't play a bear. \n \n \t\t\t\tRAVAL \n \t\tLet's see if you can't after all. \n \n RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \n his cheeks and forehead, frightened half to death. He begins to jump and hop \n on top of the tables, swinging his arms and legs and making grotesque faces. \n Some laugh, but most of the people sit silently. JOF gasps as if his lungs ","\t\tAm I not right? \n \n The GIRL stands immobile. \n \n \t\t\t\tJONS \n \t\tYou were the one who, ten years ago, convinced \n \t\tmy master of the necessity to join a better- \n \t\tclass crusade to the Holy Land. \n \n RAVAL looks around. \n \n \t\t\t\tJONS \n \t\tYou look uncomfortable. Do you have a stomach- \n \t\tache? \n","\t\tHow strange -- you've turned pale. Have you \n \t\tanything on your conscience? \n \n \t\t\t\tJOF \n \t\tYou're funny. Don't you think he's funny? \n \t\t\t(to Plog) \n \t\tOh, you don't. \n \n \t\t\t\tRAVAL \n \t\tMaybe we should mark you up a little with a "],["restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \n Block turns around. \n \n Behind him stands a man in black. His face is very pale and he keeps his \n hands hidden in the wide folds of his cloak. \n \n \t\t\t\tKNIGHT \n \t\tWho are you? \n \n \t\t\t\tDEATH \n \t\tI am Death. \n \n \t\t\t\tKNIGHT ","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","\t\t\t\tDEATH \n \t\tWell, there is no shame in that. \n \n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \n it around the KNIGHT'S shoulders. \n \n \t\t\t\tKNIGHT \n \t\tWait a moment. \n \n \t\t\t\tDEATH \n \t\tThat's what they all say. I grant no reprieves. \n","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n ","DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n DEATH. \n \n \t\t\t\tDEATH \n \t\tNow I take your queen. \n \n \t\t\t\tKNIGHT \n \t\tI didn't notice that. \n \n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \n which seem to have a life of their own. \n","DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \n \n \t\t\t\tKNIGHT \n \t\tYou drew black! \n \n \t\t\t\tDEATH \n \t\tVery appropriate. Don't you think so? \n \n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \n pawn.","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","\t\t\t\tKNIGHT \n \t\tYes, I do. \n \n \t\t\t\tDEATH \n \t\tWhat are you waiting for? \n \n \t\t\t\tKNIGHT \n \t\tI want knowledge. \n \n \t\t\t\tDEATH \n \t\tYou want guarantees? \n \n \t\t\t\tKNIGHT \n \t\tCall it whatever you like. Is it so cruelly ","the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \n \n \t\t\t\tKNIGHT \n \t\tWhat have you done with the child? \n \n DEATH turns around and looks at him. \n \n \t\t\t\tDEATH \n \t\tDon't you ever stop asking questions? \n \n \t\t\t\tKNIGHT \n \t\tNo, I'll never stop. \n","The sawing continues without a pause. SKAT becomes more frightened. \n \n \t\t\t\tSKAT \n \t\tCan't you at least answer me? Politeness costs \n \t\tso little. Who are you? \n \n DEATH straightens his back and squints up at him. SKAT cries out in terror. \n \n \t\t\t\tDEATH \n \t\tI'm sawing down your tree because your time is \n \t\tup. \n ","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","\t\twith fear and disgust. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThrough my indifference to my fellow men, I \n \t\thave isolated myself from their company. Now I \n \t\tlive in a world of phantoms. I am imprisoned in \n \t\tmy dreams and fantasies. \n \n \t\t\t\tDEATH \n \t\tAnd yet you don't want to die. ","\t\teven though I curse Him and want to tear Him \n \t\tout of my heart? Why, in spite of everything, \n \t\tis He a baffling reality that I can't shake \n \t\toff? Do you hear me? \n \n \t\t\t\tDEATH \n \t\tYes, I hear you. \n \n \t\t\t\tKNIGHT \n \t\tI want knowledge, not faith, not suppositions, ","\t\tDeath visited me this morning. We are playing \n \t\tchess together. This reprieve gives me the \n \t\tchance to arrange an urgent matter. \n \n \t\t\t\tDEATH \n \t\tWhat matter is that? \n \n \t\t\t\tKNIGHT \n \t\tMy life has been a futile pursuit, a wandering, \n \t\ta great deal of talk without meaning. I feel no ","\t\tlast moment of life and look towards the \n \t\tdarkness. \n \n \t\t\t\tDEATH \n \t\tWhen that day comes ... \n \n \t\t\t\tKNIGHT \n \t\tIn our fear, we make an image, and that image \n \t\twe call God. \n \n \t\t\t\tDEATH \n \t\tYou are worrying ... \n \n \t\t\t\tKNIGHT ","\t\t\t\tMIA \n \t\tHe is alone. You mustn't frighten me this way. \n \n \t\t\t\tJOF \n \t\tNo, no, he isn't alone. \n \n \t\t\t\tMIA \n \t\tWho is it, then? \n \n \t\t\t\tJOF \n \t\tDeath. He is sitting there playing chess with \n \t\tDeath himself. \n","\t\t\t\tKNIGHT \n \t\tI have my reasons. \n \n \t\t\t\tDEATH \n \t\tThat is your privilege. \n \n \t\t\t\tKNIGHT \n \t\tThe condition is that I may live as long as I \n \t\thold out against you. If I win, you will \n \t\trelease me. Is it agreed? \n \n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. ","\t\tdoesn't wake up. \n \n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \n his game. \n \n \t\t\t\tDEATH \n \t\tIt is your move, Antonius Block. \n \n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \n wagon. JOF bends down to pick up the pack and follows at a distance. \n \n \t\t\t\tDEATH "],["Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","\t\t\t\tTYAN \n \t\tNo one, nothing, no one? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tNo. \n \n \t\t\t\tTYAN \n \t\tCan't you see him behind your back? \n \n \t\t\t\tKNIGHT \n \t\t\t(looks around) \n \t\tNo, there is no one there. \n","no one appears he enters. It is very dark inside and his foot touches a soft \n object. He looks down. Beside the whitewashed fireplace, a woman is lying \n with her face to the ground. \n \n At the sound of approaching steps, JONS quickly hides behind the door. A man \n comes down a ladder from the loft. He is broad and thick-set. His eyes are \n black and his face is pale and puffy. His clothes are well cut but dirty and ","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","She shivers as if she had a fever. They pull the blankets over them and lie \n closely together. The wagon canvas flutters and beats in the wind. The roar \n outside is like a giant bellowing. \n \n \n \n The castle is silhouetted like a black boulder against the heavy dawn. Now \n the storm moves there, throwing itself powerfully against walls and \n abutments. The sky darkens; it is almost like night. \n","\t\tDevil, or only the emptiness? Emptiness, my \n \t\tlord! \n \n \t\t\t\tKNIGHT \n \t\tThis cannot be. \n \n \t\t\t\tJONS \n \t\tLook at her eyes, my lord. Her poor brain has \n \t\tjust made a discovery. Emptiness under the \n \t\tmoon. \n \n \t\t\t\tKNIGHT \n \t\tNo. \n","\t\tgreat mountain burning with fire was cast into \n \t\tthe sea; and a third part of the sea became \n \t\tblood ...\" \n \n Steps are heard on the stairs. JONS returns and sits down silently at his \n place but does not continue to eat. \n \n \t\t\t\tKNIGHT \n \t\tWas someone there? \n \n \t\t\t\tJONS \n \t\tNo, my lord. I saw no one. \n","restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \n Block turns around. \n \n Behind him stands a man in black. His face is very pale and he keeps his \n hands hidden in the wide folds of his cloak. \n \n \t\t\t\tKNIGHT \n \t\tWho are you? \n \n \t\t\t\tDEATH \n \t\tI am Death. \n \n \t\t\t\tKNIGHT ","\t\tJns is my name. I am a pleasant and talkative \n \t\tyoung man who has never had anything but kind \n \t\tthoughts and has only done beautiful and noble \n \t\tdeeds. I'm kindest of all to young women. With \n \t\tthem, there is no limit to my kindness. \n \n He embraces her and tries to kiss her, but she holds herself back. Almost ","\t\t\t\tMIA \n \t\tHe is alone. You mustn't frighten me this way. \n \n \t\t\t\tJOF \n \t\tNo, no, he isn't alone. \n \n \t\t\t\tMIA \n \t\tWho is it, then? \n \n \t\t\t\tJOF \n \t\tDeath. He is sitting there playing chess with \n \t\tDeath himself. \n","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","They all lift their heads, and when they see who is coming towards them \n through the twilight of the large room, they rise from the table and stand \n close together. \n \n \t\t\t\tKNIGHT \n \t\tGood morning, noble lord. \n \n \t\t\t\tKARIN \n \t\tI am Karin, the knight's wife, and welcome you \n \t\tcourteously to my house. \n \n \t\t\t\tPLOG ","towards him. \n \n \t\t\t\tKNIGHT \n \t\tHave you seen the Devil? \n \n The MONK stops reading and raises his head. \n \n \t\t\t\tMONK \n \t\tYou must not talk to her. \n \n \t\t\t\tKNIGHT \n \t\tCan that be so dangerous? \n \n \t\t\t\tMONK \n \t\tI don't know, but she is believed to have ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","wind in the tree tops. Here the forest is wild and impenetrable. Huge \n boulders stick up out of the ground like the heads of black giants. A fallen \n tree lies like a mighty barrier between light and shadow. \n \n MIA, JOF and their child have sat down apart from the others. They look at \n the light of the moon, which is no longer full and dead but mysterious and \n unstable. The KNIGHT sits bent over his chess game. LISA cries quietly behind ","\t\tdoesn't wake up. \n \n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \n his game. \n \n \t\t\t\tDEATH \n \t\tIt is your move, Antonius Block. \n \n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \n wagon. JOF bends down to pick up the pack and follows at a distance. \n \n \t\t\t\tDEATH ","\t\t\t(sings) \n \t\tThe terrible night doesn't frighten me ... \n \n He interrupts himself and listens. The sound of industrious sawing is heard \n through the silence. \n \n \t\t\t\tSKAT \n \t\tWorkmen in the forest. Oh, well! \n \t\t\t(sings) \n \t\tThe terrible night doesn't frighten me ... \n \t\t\t(speaks)","last mug of beer. The inn is now empty and quiet except for a few farmhands \n and maidens who are eating their evening meal in a corner. At one of the \n small windows sits a lonely, hunched-over fellow, with a jug of brandy in his \n hands. His expression is very sad. Once in a while he is shaken by a gigantic \n sob. It is PLOG, the smith, who sits there and whimpers. \n \n \t\t\t\tJONS "],["towards him. \n \n \t\t\t\tKNIGHT \n \t\tHave you seen the Devil? \n \n The MONK stops reading and raises his head. \n \n \t\t\t\tMONK \n \t\tYou must not talk to her. \n \n \t\t\t\tKNIGHT \n \t\tCan that be so dangerous? \n \n \t\t\t\tMONK \n \t\tI don't know, but she is believed to have ","generous bosom to burst out of its prison -- no more than honor and chastity \n allow, but still enough so that the actor with his experienced eye \n immediately sees that there are ample rewards to be had here. \n \n Now she comes a little closer, kneels down and opens a bundle containing \n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \n not to fall off the wagon in his excitement. Standing on the steps of the ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","nearly choked with rage. \n \n \t\t\t\tJONS \n \t\tWhat does she see? Can you tell me? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tShe feels no more pain. \n \n \t\t\t\tJONS \n \t\tYou don't answer my question. Who watches over \n \t\tthat child? Is it the angels, or God, or the ","from the skin and gives it to TYAN. Then he gives her a potion. \n \n \t\t\t\tKNIGHT \n \t\tTake this and it will stop the pain. \n \n Smoke billows down over them and they begin to cough. The soldiers step \n forward and raise the ladder against a nearby fir tree. TYAN hangs there \n motionlessly, her eyes wide open. \n \n The KNIGHT straightens up and stands immobile. JONS is behind him, his voice ","but the suffering Jesus with the sores, the blood, the hammered nails and the \n face in convulsive pain. The Son of God, nailed on the wood of the cross, \n suffering scorn and shame. \n \n The penitents have now sunk down in the dirt of the road. They collapse where \n they stood like slaughtered cattle. Their screams rise with the song of the \n monks, through misty clouds of incense, towards the white fire of the sun. \n ","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","\t\tcries or be touched by Your sufferings. Wash \n \t\tYour tears and mirror Yourself in Your \n \t\tindifference. \n \n \t\t\t\tKNIGHT \n \t\tGod, You who are somewhere, who must be \n \t\tsomewhere, have mercy upon us. \n \n \t\t\t\tJONS \n \t\tI could have given you an herb to purge you of \n \t\tyour worries about eternity. Now it seems to be ","\t\tJns is my name. I am a pleasant and talkative \n \t\tyoung man who has never had anything but kind \n \t\tthoughts and has only done beautiful and noble \n \t\tdeeds. I'm kindest of all to young women. With \n \t\tthem, there is no limit to my kindness. \n \n He embraces her and tries to kiss her, but she holds herself back. Almost ","mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \n arms and receives him. He holds his hands in front of his face, moaning like \n a child, and his body sways. He kneels. MIA holds him close to her and \n sprinkles him with small, anxious questions: What have you done? How are you? \n What is it? Does it hurt? What can I do? Have they been cruel to you? She ","\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","with great acclaim. SKAT suddenly discovers that someone is watching him as \n he gazes contentedly into the tin bowl. A woman stands there, stately in both \n height and volume. \n \n SKAT frowns, toys with his small dagger and occasionally throws a roguish but \n fiery glance at the beautiful visitor. She suddenly discovers that one of her \n shoes doesn't quite fit. She leans down to fix it and in doing so allows her ","\t\tlook after his house and try to enjoy life as \n \t\tlong as he can. \n \n \t\t\t\tWOMAN \n \t\tBut there have been other things too, such \n \t\tthings that can't even be spoken of. \n \t\t\t(whispers) \n \t\tThings that mustn't be named -- but the priests \n \t\tsay that the woman carries it between her legs ","wagon, he supports himself against a nearby tree, crosses his legs and bows. \n \n The woman quietly bites into a chicken leg dripping with fat. At this moment \n the actor is stricken by a radiant glance full of lustful appetites. \n \n When he sees this look, SKAT makes an instantaneous decision, jumps down from \n the wagon and kneels in front of the blushing damsel. \n \n She becomes weak and faint from his nearness, looks at him with a glassy ","glance and breathes heavily. SKAT doesn't neglect to press kisses on her \n small, chubby hands. The sun shines brightly and small birds make noises in \n the bushes. \n \n Now she is forced to sit back; her legs seem unwilling to support her any \n longer. Bewildered, she singles out another chicken leg from the large sack \n of food and holds it up in front of SKAT with an appealing and triumphant \n expression, as if it were her maidenhood being offered as a prize.","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \n yard have fallen on their knees, others hide their faces, many begin to \n mutter half-forgotten prayers. \n \n All have turned their faces towards the white road. Now a shrill song is \n heard. It is frenzied, almost a scream. A crucified Christ sways above the \n hilltop. \n","\t\tshe brings the Devil with her wherever she \n \t\tgoes. \n \n \t\t\t\tJONS \n \t\tYou are eight brave men, then. \n \n \t\t\t\tSOLDIER \n \t\tWell, we've been paid. And this is a volunteer \n \t\tjob. \n \n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \n \n \t\t\t\tKNIGHT ","bursting throats. Many sway and fall, lift themselves up again, support each \n other and help each other to intensify the scourging. \n \n Now the procession pauses at the crossroads in front of the inn. The monks \n fall on their knees, hiding their faces with clenched hands, arms pressed \n tightly together. Their song never stops. The Christ figure on its timbered \n cross is raised above the heads of the crowd. It is not Christ triumphant, "],["\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\tUp to the saints' feast at Elsinore. \n \n \t\t\t\tKNIGHT \n \t\tI wouldn't advise you to go there. \n \n \t\t\t\tJOF \n \t\tWhy not, if I may ask? \n \n \t\t\t\tKNIGHT \n \t\tThe plague has spread in that direction, \n \t\tfollowing the coast line south. It's said that ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","\t\twaiting for you here. All the others have fled \n \t\tfrom the plague. \n \n The KNIGHT is silent. He looks at her. \n \n \t\t\t\tKARIN \n \t\tDon't you recognize me any more? \n \n The KNIGHT nods, silent. \n \n \t\t\t\tKARIN \n \t\tYou also have changed. \n","Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","They all lift their heads, and when they see who is coming towards them \n through the twilight of the large room, they rise from the table and stand \n close together. \n \n \t\t\t\tKNIGHT \n \t\tGood morning, noble lord. \n \n \t\t\t\tKARIN \n \t\tI am Karin, the knight's wife, and welcome you \n \t\tcourteously to my house. \n \n \t\t\t\tPLOG "," \n \n \n The morning breeze has died down. The restless movement of the sea has \n ceased, the water is silent. The sun rises from the haze and its glow \n whitens. The sea gull floats under the dark cloud, frozen in space. The day \n is already scorchingly hot. \n \n The squire JONS is awakened by a kick in the rear. Opening his eyes, he ","\t\twe're really in a hurry. \n \n JOF climbs up on the wagon seat quickly and clucks at the horse. \n \n \n \n The small company is on its way towards the forest and the night. \n \n It is dark in the forest. \n \n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \n close to each other in the juggler's wagon. MIA holds her son in her arms. ","The Embarrassment Inn lies in the eastern section of the province. The plague \n has not yet reached this area on its way along the coast. \n \n The actors have placed their wagon under a tree in the yard of the inn. \n Dressed in colorful costumes, they perform a farce. \n \n The spectators watch the performance, commenting on it noisily. There are \n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands ","his horse. The travelers depart from the crossroads. TYAN finally closes her \n eyes. \n \n \n \n The forest is now very dark. The road winds between the trees. The wagon \n squeaks and rattles over stones and roots. A bird suddenly shrieks. \n \n JOF lifts his head and wakes up. He has been asleep with his arms around \n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \n","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\tremains of corpses scattered all over the \n \t\tplace. Yesterday afternoon there were as many \n \t\tas four suns in the heavens. \n \n The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \n towards its master, who is sleeping in a sitting position in the blazing hot \n sun. A black cloud of flies clusters around his head and shoulders. The ","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","\t\tSo very far away, \n \t\tBut your brother the Devil \n \t\tYou will meet on every level. \n \n JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \n horse, JONS'S own horse and JONS himself know all the songs by heart. The \n long, dusty journey from the Holy Land hasn't made them any cleaner. They ","\t\tthink the pestilence is the Lord's punishment. \n \t\tMobs of people who call themselves Slaves of \n \t\tSin are swarming over the country, flagellating \n \t\tthemselves and others, all for the glory of God. \n \n \t\t\t\tJONS \n \t\tDo they really whip themselves? \n \n \t\t\t\tPAINTER \n \t\tYes, it's a terrible sight. I crawl into a "],["\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","towards him. \n \n \t\t\t\tKNIGHT \n \t\tHave you seen the Devil? \n \n The MONK stops reading and raises his head. \n \n \t\t\t\tMONK \n \t\tYou must not talk to her. \n \n \t\t\t\tKNIGHT \n \t\tCan that be so dangerous? \n \n \t\t\t\tMONK \n \t\tI don't know, but she is believed to have ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","The GIRL sinks down and hides her face in her hands. JONS places his hand on \n her shoulder. \n \n \n 16 \n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \n \n \t\t\t\tDEATH \n \t\tShall we play our game to the end? \n \n \t\t\t\tKNIGHT \n \t\tYour move! \n","They all lift their heads, and when they see who is coming towards them \n through the twilight of the large room, they rise from the table and stand \n close together. \n \n \t\t\t\tKNIGHT \n \t\tGood morning, noble lord. \n \n \t\t\t\tKARIN \n \t\tI am Karin, the knight's wife, and welcome you \n \t\tcourteously to my house. \n \n \t\t\t\tPLOG ","\t\t\t\tTYAN \n \t\tYou can see him anytime. \n \n \t\t\t\tKNIGHT \n \t\tHow? \n \n \t\t\t\tTYAN \n \t\tYou must do as I tell you. \n \n The KNIGHT grips the wooden rail of the cart so tightly that his knuckles \n whiten. TYAN leans forward and joins her gaze with his. \n \n \t\t\t\tTYAN ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","\t\talready. \n \n One of the soldiers approaches. Thick smoke wells down from the pyre and \n sweeps over the quiet shadows near the crossroads and the hill. \n \n \t\t\t\tSOLDIER \n \t\tI've told you to be careful. Don't go too close \n \t\tto her. \n \n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water ","\t\t\t\tKNIGHT \n \t\tWho did? \n \n \t\t\t\tSOLDIER \n \t\tAsk the monk. \n \n The soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming \n in the moonlight. Her blackened mouth opens as if to scream, but no sound \n emerges. They take her down from the cart and lead her towards the ladder and ","\t\tshe brings the Devil with her wherever she \n \t\tgoes. \n \n \t\t\t\tJONS \n \t\tYou are eight brave men, then. \n \n \t\t\t\tSOLDIER \n \t\tWell, we've been paid. And this is a volunteer \n \t\tjob. \n \n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \n \n \t\t\t\tKNIGHT ","\t\t\t\tTYAN \n \t\tNo one, nothing, no one? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tNo. \n \n \t\t\t\tTYAN \n \t\tCan't you see him behind your back? \n \n \t\t\t\tKNIGHT \n \t\t\t(looks around) \n \t\tNo, there is no one there. \n","grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","\t\t\t\tKNIGHT \n \t\tI have my reasons. \n \n \t\t\t\tDEATH \n \t\tThat is your privilege. \n \n \t\t\t\tKNIGHT \n \t\tThe condition is that I may live as long as I \n \t\thold out against you. If I win, you will \n \t\trelease me. Is it agreed? \n \n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. ","the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \n \n \t\t\t\tKNIGHT \n \t\tWhat have you done with the child? \n \n DEATH turns around and looks at him. \n \n \t\t\t\tDEATH \n \t\tDon't you ever stop asking questions? \n \n \t\t\t\tKNIGHT \n \t\tNo, I'll never stop. \n","\t\t\t\tSOLDIER \n \t\tIt's the best remedy: blood mixed with the bile \n \t\tof a big black dog. The Devil can't stand the \n \t\tsmell. \n \n \t\t\t\tJONS \n \t\tNeither can I. \n \n JONS walks over towards the horses. The KNIGHT stands for a few, moments \n looking at the young girl. She is almost a child. Slowly she turns her eyes ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","He turns his face away and looks out towards the sea and the colorless gray \n sky. \n \n \t\t\t\tKNIGHT \n \t\tAnd it will be an adequate sign -- it will be \n \t\tenough for me. \n \n He rises, nods to the others and walks down towards the forest. JOF continues \n to play on his lyre. MIA stretches out on the grass. \n \n The KNIGHT picks up his chess game and carries it towards the beach. It is "],["\t\tthe tricks of the theatre. \n \n \t\t\t\tJOF \n \t\tAnd that turned out to be her misfortune. \n \n \t\t\t\tPLOG \n \t\tHer misfortune, but not mine, because a person \n \t\twho's born unfortunate can hardly suffer from \n \t\tany further misfortune. Isn't that true? \n \n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \n and evil.","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","dressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \n his face perspiring heavily. RAVAL rolls an armlet out on the table. \n \n \t\t\t\tRAVAL \n \t\tDo you want this armlet? You can have it \n \t\tcheap. \n \n \t\t\t\tJOF \n \t\tI can't afford it. \n \n \t\t\t\tRAVAL \n \t\tIt's real silver.","PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \n him. \n \n \t\t\t\tRAVAL \n \t\tDon't lie there moaning. Get up and dance. \n \n \t\t\t\tJOF \n \t\tI don't want to. I can't. \n \n \t\t\t\tRAVEL \n \t\tShow us how you imitate a bear. \n \n \t\t\t\tJOF ","out. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \n each other. \n \n \t\t\t\tJONS \n \t\tDo you remember what I was going to do to you \n \t\tif we met again? \n \n RAVAL steps back without speaking. \n \n \t\t\t\tJONS \n \t\tI'm a man who keeps his word. \n","\t\t\t\tRAVAL \n \t\tDo you have some water? \n \n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \n but his voice is heard again. \n \n \t\t\t\tRAVAL \n \t\tCan't you give me a little water? \n \t\t\t(pause) \n \t\tI have the plague. \n \n \t\t\t\tJONS ","\t\tnow and never come back. \n \n JOF looks from one face to another, but no one seems ready to help him or \n come to his defense. \n \n \t\t\t\tRAVAL \n \t\tGet up so everyone can hear you. Talk louder. \n \n Trembling, JOF rises. He opens his mouth as if to say something, but not a \n word comes out. \n \n \t\t\t\tRAVAL ","With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \n kick so that he falls on the floor and is about to finish him off. Suddenly \n the GIRL screams. JONS stops and makes a gesture of generosity with his hand. \n \n \t\t\t\tJONS \n \t\tBy all means. I'm not bloodthirsty. \n \n He bends over RAVAL. \n \n \t\t\t\tRAVEL ","\t\tI can't play a bear. \n \n \t\t\t\tRAVAL \n \t\tLet's see if you can't after all. \n \n RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \n his cheeks and forehead, frightened half to death. He begins to jump and hop \n on top of the tables, swinging his arms and legs and making grotesque faces. \n Some laugh, but most of the people sit silently. JOF gasps as if his lungs ","\t\t\t\tRAVAL \n \t\tI am going to die. I. I. I! What will happen to \n \t\tme! Can no one console me? Haven't you any \n \t\tcompassion? Can't you see that I ... \n \n His words are choked off by a gurgling sound. He disappears in the darkness \n behind the fallen tree. It becomes quiet for a few moments. \n \n \t\t\t\tRAVAL \n \t\t\t(whispers) ","RAVAL smiles anxiously. \n \n \t\t\t\tJONS \n \t\tWhen I see you, I suddenly understand the \n \t\tmeaning of these ten years, which previously \n \t\tseemed to me such a waste. Our life was too \n \t\tgood and we were too satisfied with ourselves. \n \t\tThe Lord wanted to punish us for our \n \t\tcomplacency. That is why He sent you to spew ","He has picked up the juggling balls and slowly begins to toss them. Then he \n stands on his head and cackles like a hen. Suddenly he stops and sits down \n with a look of utter astonishment on his face. The wind causes the trees to \n sway slightly. The leaves stir and there is a soft murmur. The flowers and \n the grass bend gracefully, and somewhere a bird raises its voice in a long \n warble. \n \n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed ","\t\tI don't want to die! I don't want to! \n \n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \n eyes bulge wildly and his mouth is ringed with foam. \n \n \t\t\t\tRAVAL \n \t\tCan't you have pity on me? Help me! At least \n \t\ttalk to me. \n \n No one answers. The trees sigh. RAVAL begins to cry. \n","ride past an inlet and along verdant groves. In the shade of some large trees \n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \n under the shade of the trees but continue riding until they disappear at the \n bend of the road. \n \n \n \n In his sleep, JOF the juggler hears the neighing of his horse and the answer "," \n \t\t\t\tRAVAL \n \t\tListen, you! You sit there and lie to the \n \t\tsmith. \n \n \t\t\t\tJOF \n \t\tI! A liar! \n \n \t\t\t\tRAVAL \n \t\tYou're an actor too and it's probably your \n \t\tpartner who's run off with Plog's old lady. \n \n \t\t\t\tPLOG ","\t\t\t\tJOF \n \t\tMikael will grow up to be a great acrobat -- or \n \t\ta juggler who can do the one impossible trick. \n \n \t\t\t\tMIA \n \t\tWhat's that? \n \n \t\t\t\tJOF \n \t\tTo make one of the balls stand absolutely still \n \t\tin the air. \n \n \t\t\t\tMIA \n \t\tBut that's impossible.","trees. He takes a drink of water, gargles, stretches and talks to his scrawny \n old horse. \n \n \t\t\t\tJOF \n \t\tGood morning. Have you had breakfast? I can't \n \t\teat grass, worse luck. Can't you teach me how? \n \t\tWe're a little hard up. People aren't very \n \t\tinterested in juggling in this part of the \n \t\tcountry. \n","\t\tstart doing tricks again and that's more \n \t\ttrouble than it's worth. \n \n \t\t\t\tKNIGHT \n \t\tDo you do tricks also? \n \n \t\t\t\tMIA \n \t\tWe certainly do. And Jof is a very skillful \n \t\tjuggler. \n \n \t\t\t\tKNIGHT \n \t\tIs Mikael going to be an acrobat? \n","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","\t\tDon't come here. If you do I'll slit your \n \t\tthroat. Keep to the other side of the tree. \n \n \t\t\t\tRAVEL \n \t\tI'm afraid of death. \n \n No one answers. There is complete silence. RAVAL gasps heavily for air. The \n dry leaves rustle with his movements. \n \n \t\t\t\tRAVEL "],["grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","ride past an inlet and along verdant groves. In the shade of some large trees \n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \n under the shade of the trees but continue riding until they disappear at the \n bend of the road. \n \n \n \n In his sleep, JOF the juggler hears the neighing of his horse and the answer ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","\t\t\t\tKNIGHT \n \t\tThank you, I don't want anything. \n \n \t\t\t\tMIA \n \t\t\t(housewifely) \n \t\tI picked a basket of wild strawberries this \n \t\tafternoon. And we have a drop of milk fresh \n \t\tfrom a cow ... \n \n \t\t\t\tJOF \n \t\t... that we were allowed to milk. So, if you ","He turns his face away and looks out towards the sea and the colorless gray \n sky. \n \n \t\t\t\tKNIGHT \n \t\tAnd it will be an adequate sign -- it will be \n \t\tenough for me. \n \n He rises, nods to the others and walks down towards the forest. JOF continues \n to play on his lyre. MIA stretches out on the grass. \n \n The KNIGHT picks up his chess game and carries it towards the beach. It is ","glance and breathes heavily. SKAT doesn't neglect to press kisses on her \n small, chubby hands. The sun shines brightly and small birds make noises in \n the bushes. \n \n Now she is forced to sit back; her legs seem unwilling to support her any \n longer. Bewildered, she singles out another chicken leg from the large sack \n of food and holds it up in front of SKAT with an appealing and triumphant \n expression, as if it were her maidenhood being offered as a prize.","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\tWe were newly married and we played together. \n \t\tWe laughed a great deal. I wrote songs to her \n \t\teyes, to her nose, to her beautiful little \n \t\tears. We went hunting together and at night we \n \t\tdanced. The house was full of life ... \n \n \t\t\t\tMIA \n \t\tDo you want some more strawberries? \n \n \t\t\t\tKNIGHT ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","\t\tThese are wild strawberries from the forest. I \n \t\thave never seen such large ones. They grow up \n \t\tthere on the hillside. Notice how they smell! \n \n She points with a spoon and smiles. The KNIGHT nods, as if he were pondering \n some profound thought. JOF eats heartily. \n \n \t\t\t\tJOF \n \t\tYour suggestion is good, but I must think it \n \t\tover. \n","\t\talready. \n \n One of the soldiers approaches. Thick smoke wells down from the pyre and \n sweeps over the quiet shadows near the crossroads and the hill. \n \n \t\t\t\tSOLDIER \n \t\tI've told you to be careful. Don't go too close \n \t\tto her. \n \n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \n horse and picks up the heavy pack. \n \n The KNIGHT slowly rides away from the sea, into the forest near the beach and \n up towards the road. He pretends not to hear the morning prayers of his \n squire. JONS soon overtakes him. \n \n \t\t\t\tJONS \n \t\t\t(sings)","\t\tremains of corpses scattered all over the \n \t\tplace. Yesterday afternoon there were as many \n \t\tas four suns in the heavens. \n \n The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \n towards its master, who is sleeping in a sitting position in the blazing hot \n sun. A black cloud of flies clusters around his head and shoulders. The ","\t\t\t\tKNIGHT \n \t\tDo you, really? \n \n \t\t\t\tMIA \n \t\tYes, I understand rather well. I have often \n \t\twondered why people torture themselves as often \n \t\tas they can. Isn't that so? \n \n She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \n the noise from the inn become louder. Black figures flicker across the grass ","his horse. The travelers depart from the crossroads. TYAN finally closes her \n eyes. \n \n \n \n The forest is now very dark. The road winds between the trees. The wagon \n squeaks and rattles over stones and roots. A bird suddenly shrieks. \n \n JOF lifts his head and wakes up. He has been asleep with his arms around \n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \n","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been "],["He has picked up the juggling balls and slowly begins to toss them. Then he \n stands on his head and cackles like a hen. Suddenly he stops and sits down \n with a look of utter astonishment on his face. The wind causes the trees to \n sway slightly. The leaves stir and there is a soft murmur. The flowers and \n the grass bend gracefully, and somewhere a bird raises its voice in a long \n warble. \n \n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed ","\t\t\t\tJOF \n \t\tMia, wake up. Wake up! Mia, I've just seen \n \t\tsomething. I've got to tell you about it! \n \n \t\t\t\tMIA \n \t\t\t(sits up, terrified) \n \t\tWhat is it? What's happened? \n \n \t\t\t\tJOF \n \t\tListen, I've had a vision. No, it wasn't a ","\t\tvision. It was real, absolutely real. \n \n \t\t\t\tMIA \n \t\tOh, so you've had a vision again! \n \n MIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \n the shoulders. \n \n \t\t\t\tJOF \n \t\tBut I did see her! \n \n \t\t\t\tMIA \n \t\tWhom did you see? \n","\t\t\t\tJOF \n \t\tMikael will grow up to be a great acrobat -- or \n \t\ta juggler who can do the one impossible trick. \n \n \t\t\t\tMIA \n \t\tWhat's that? \n \n \t\t\t\tJOF \n \t\tTo make one of the balls stand absolutely still \n \t\tin the air. \n \n \t\t\t\tMIA \n \t\tBut that's impossible.","ride past an inlet and along verdant groves. In the shade of some large trees \n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \n under the shade of the trees but continue riding until they disappear at the \n bend of the road. \n \n \n \n In his sleep, JOF the juggler hears the neighing of his horse and the answer ","\t\tas far as I know. But, come to think of it, I'm \n \t\tnot so sure about that. \n \n \t\t\t\tJOF \n \t\t\t(angry) \n \t\tI didn't ask to have visions. I can't help it \n \t\tif voices speak to me, if the Holy Virgin \n \t\tappears before me and angels and devils like my \n \t\tcompany. \n","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \n arms and receives him. He holds his hands in front of his face, moaning like \n a child, and his body sways. He kneels. MIA holds him close to her and \n sprinkles him with small, anxious questions: What have you done? How are you? \n What is it? Does it hurt? What can I do? Have they been cruel to you? She ","PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \n him. \n \n \t\t\t\tRAVAL \n \t\tDon't lie there moaning. Get up and dance. \n \n \t\t\t\tJOF \n \t\tI don't want to. I can't. \n \n \t\t\t\tRAVEL \n \t\tShow us how you imitate a bear. \n \n \t\t\t\tJOF ","\t\tstart doing tricks again and that's more \n \t\ttrouble than it's worth. \n \n \t\t\t\tKNIGHT \n \t\tDo you do tricks also? \n \n \t\t\t\tMIA \n \t\tWe certainly do. And Jof is a very skillful \n \t\tjuggler. \n \n \t\t\t\tKNIGHT \n \t\tIs Mikael going to be an acrobat? \n","trees. He takes a drink of water, gargles, stretches and talks to his scrawny \n old horse. \n \n \t\t\t\tJOF \n \t\tGood morning. Have you had breakfast? I can't \n \t\teat grass, worse luck. Can't you teach me how? \n \t\tWe're a little hard up. People aren't very \n \t\tinterested in juggling in this part of the \n \t\tcountry. \n","\t\tThe rump behind you, the rump behind you \n \t\tthere's a profound truth. \n \n JONS paints a small figure which is supposed to represent himself. \n \n \t\t\t\tJONS \n \t\tThis is squire Jns. He grins at Death, mocks \n \t\tthe Lord, laughs at himself and leers at the \n \t\tgirls. His world is a Jnsworld, believable ","\t\thide behind the curtain for the time being. \n \t\t\t(he wipes the sweat \n \t\t\tfrom his forehead) \n \t\tIt's damned hot. I think we'll have a \n \t\tthunderstorm. \n \n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \n makes a face as if he could see all the wonders of the world underneath it, \n and disappears behind the gaudily patched curtains.","\t\t\t\tMIA \n \t\tWhat an imagination you have. \n \n \t\t\t\tJOF \n \t\tYou don't believe me! But it was real, I tell \n \t\tyou, not the kind of reality you see every day, \n \t\tbut a different kind. \n \n \t\t\t\tMIA \n \t\tPerhaps it was the kind of reality you told us \n \t\tabout when you saw the Devil painting our wagon ","from a distance. He tries to go on sleeping, but it is stifling inside the \n wagon. The rays of the sun filtering through the canvas cast streaks of light \n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \n snores loudly. \n \n JOF crawls out of the wagon. There is still a spot of shade under the big ","were about to burst. He sinks to his knees, and someone pours beer over him. \n \n \t\t\t\tRAVEL \n \t\tUp again! Be a good bear. \n \n \t\t\t\tJOF \n \t\tI haven't done any harm. I haven't got the \n \t\tstrength to play a bear any more. \n \n At that moment the door opens and JONS enters. JOF sees his chance and steals","JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \n KNIGHT and DEATH together. He becomes very frightened and awakens MIA. \n \n \t\t\t\tJOF \n \t\tMia! \n \n \t\t\t\tMIA \n \t\tYes, what is it? \n \n \t\t\t\tJOF \n \t\tI see something terrible. Something I almost \n \t\tcan't talk about.","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\twe're really in a hurry. \n \n JOF climbs up on the wagon seat quickly and clucks at the horse. \n \n \n \n The small company is on its way towards the forest and the night. \n \n It is dark in the forest. \n \n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \n close to each other in the juggler's wagon. MIA holds her son in her arms. ","\t\t\t\tJOF \n \t\tI only become frightened and angry. I never get \n \t\ta chance to hit back. I can get angry, you know \n \t\tthat. I roared like a lion. \n \n \t\t\t\tMIA \n \t\tWere they frightened? \n \n \t\t\t\tJOF \n \t\tNo, they just laughed. \n \n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls "],["SKAT looks at the travelers with a pained expression and then lifts his eyes \n towards the night sky. \n \n \t\t\t\tSKAT \n \t\tI forgive all of you. Pray for me sometimes. \n \n SKAT sinks the dagger into his breast and slowly falls to the ground. The \n travelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands. \n \n \t\t\t\tPLOG ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\tGod in heaven, isn't this Plog, the smith? \n \n \t\t\t\tPLOG \n \t\tGood evening. \n \n \t\t\t\tJONS \n \t\tAre you sitting here sniveling in loneliness? \n \n \t\t\t\tPLOG \n \t\tYes, yes, look at the smith. He moans like a \n \t\trabbit. \n \n \t\t\t\tJONS ","\t\teven though I curse Him and want to tear Him \n \t\tout of my heart? Why, in spite of everything, \n \t\tis He a baffling reality that I can't shake \n \t\toff? Do you hear me? \n \n \t\t\t\tDEATH \n \t\tYes, I hear you. \n \n \t\t\t\tKNIGHT \n \t\tI want knowledge, not faith, not suppositions, ","miserable-looking dog whines incessantly as it lies flat on its stomach, \n wagging its tail. \n \n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \n When he doesn't receive an answer, he walks up to the man in order to shake \n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \n his hand. The man falls backward on the heath, his face turned towards JONS. ","\t\t\t\tLISA \n \t\tCome on, let's go. This is nothing to mourn \n \t\tover. He has only himself to blame. \n \n \t\t\t\tPLOG \n \t\tAnd I have to be married to her. \n \n \t\t\t\tJONS \n \t\tWe must go on. \n \n SKAT lies in the grass and keeps the dagger pressed tightly to his breast. ","\t \tfire and died from it, but the priests say that \n \t\tit's better to die pure than to live for hell. \n \n \t\t\t\tMERCHANT \n \t\tThis is the end, yes, it is. No one says it out \n \t\tloud, but all of us know that it's the end. And \n \t\tpeople are going mad from fear. \n \n \t\t\t\tFARMER \n \t\tSo you're afraid too. \n","\t\tlast moment of life and look towards the \n \t\tdarkness. \n \n \t\t\t\tDEATH \n \t\tWhen that day comes ... \n \n \t\t\t\tKNIGHT \n \t\tIn our fear, we make an image, and that image \n \t\twe call God. \n \n \t\t\t\tDEATH \n \t\tYou are worrying ... \n \n \t\t\t\tKNIGHT ","\t\tI don't want to die! I don't want to! \n \n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \n eyes bulge wildly and his mouth is ringed with foam. \n \n \t\t\t\tRAVAL \n \t\tCan't you have pity on me? Help me! At least \n \t\ttalk to me. \n \n No one answers. The trees sigh. RAVAL begins to cry. \n","A large square monk rises from his knees and reveals his face, which is red- \n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \n \n \t\t\t\tMONK \n \t\tGod has sentenced us to punishment. We shall \n \t\tall perish in the black death. You, standing \n \t\tthere like gaping cattle, you who sit there in \n \t\tyour glutted complacency, do you know that this ","\t\t\t\tRAVAL \n \t\tDo you have some water? \n \n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \n but his voice is heard again. \n \n \t\t\t\tRAVAL \n \t\tCan't you give me a little water? \n \t\t\t(pause) \n \t\tI have the plague. \n \n \t\t\t\tJONS ","His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \n and support each other. Suddenly PLOG has to sit down. He puts his hands over \n his face and howls piteously. \n \n \t\t\t\tPLOG \n \t\tOh, now it came over me again! \n \n \t\t\t\tJONS \n \t\tDon't scream. What came over you? \n \n \t\t\t\tPLOG ","\t\tLord have mercy on us in our humiliation! Don't \n \t\tturn your face from us in loathing and \n \t\tcontempt, but be merciful to us for the sake of \n \t\tyour son, Jesus Christ. \n \n He makes the sign of the cross over the crowd and then begins a new song in a \n strong voice. The monks rise and join in the song. As if driven by some ","\t\tbut knowledge. I want God to stretch out His \n \t\thand towards me, reveal Himself and speak to \n \t\tme. \n \n \t\t\t\tDEATH \n \t\tBut He remains silent. \n \n \t\t\t\tKNIGHT \n \t\tI call out to Him in the dark but no one seems \n \t\tto be there. \n \n \t\t\t\tDEATH \n \t\tPerhaps no one is there. \n ","\t\t\t\tDEATH \n \t\tWell, there is no shame in that. \n \n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \n it around the KNIGHT'S shoulders. \n \n \t\t\t\tKNIGHT \n \t\tWait a moment. \n \n \t\t\t\tDEATH \n \t\tThat's what they all say. I grant no reprieves. \n","\t\t\t\tPLOG \n \t\tHang on to something, my friends. The hour is \n \t\tnear! Who is that at the edge of the forest if \n \t\tnot my own dearly beloved, with actor attached? \n \n The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \n immediately takes to his heels. PLOG chases him, swinging his sledge and \n bellowing like a wild boar. \n","PLOG'S back. JONS lies on the ground and looks up at the heavens. \n \n \t\t\t\tJONS \n \t\tSoon dawn will come, but the heat continues to \n \t\thang over us like a smothering blanket. \n \n \t\t\t\tLISA \n \t\tI'm so frightened. \n \n \t\t\t\tPLOG \n \t\tWe feel that something is going to happen to ","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","\t\tfor them to look at. I have to make a living \n \t\t-- at least until the plague takes me. \n \n \t\t\t\tJONS \n \t\tThe plague. That sounds horrible. \n \n \t\t\t\tPAINTER \n \t\tYou should see the boils on a diseased man's \n \t\tthroat. You should see how his body shrivels up \n \t\tso that his legs look like knotted strings -- ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he "],["The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","\t\t\t\tKNIGHT \n \t\tHas he said it? \n \n \t\t\t\tTYAN \n \t\tI know it, I know it. You must see him \n \t\tsomewhere, you must. The priests had no \n \t\tdifficulty seeing him, nor did the soldiers. \n \t\tThey are so afraid of him that they don't even \n \t\tdare touch me. \n","\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","towards him. \n \n \t\t\t\tKNIGHT \n \t\tHave you seen the Devil? \n \n The MONK stops reading and raises his head. \n \n \t\t\t\tMONK \n \t\tYou must not talk to her. \n \n \t\t\t\tKNIGHT \n \t\tCan that be so dangerous? \n \n \t\t\t\tMONK \n \t\tI don't know, but she is believed to have ","\t\tYes, yes. \n \n \t\t\t\tJONS \n \t\tEven the ghost stories about God the Father, \n \t\tthe angels, Jesus Christ and the Holy Ghost -- \n \t\tall these I've accepted without too much \n \t\temotion. \n \n He leans down over the GIRL as she crouches at his feet and pats her on the \n head. The KNIGHT drinks his beer silently. \n","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","He lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \n remembering the knight's presence. \n \n \t\t\t\tMIA \n \t\tYes, this is my husband, Jof. \n \n \t\t\t\tJOF \n \t\tGood evening. \n \n \t\t\t\tKNIGHT \n \t\tGood evening. \n \n JOF becomes a little embarrassed and rises. All three of them look at one ","\t\t\t\tTYAN \n \t\tNo one, nothing, no one? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tNo. \n \n \t\t\t\tTYAN \n \t\tCan't you see him behind your back? \n \n \t\t\t\tKNIGHT \n \t\t\t(looks around) \n \t\tNo, there is no one there. \n","\t\t\t\tKNIGHT \n \t\tDo you, really? \n \n \t\t\t\tMIA \n \t\tYes, I understand rather well. I have often \n \t\twondered why people torture themselves as often \n \t\tas they can. Isn't that so? \n \n She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \n the noise from the inn become louder. Black figures flicker across the grass ","Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","\t\t\t\tMIA \n \t\tDon't say anything. \n \n \t\t\t\tJOF \n \t\tI'm as silent as a grave. \n \n \t\t\t\tMIA \n \t\tShh! I love you. \n \n \n \n Waves of heat envelop the gray stone church in a strange white mist. The \n KNIGHT dismounts and enters. After tying up the horses, JONS slowly follows ","\t\tI have no secrets. \n \n \t\t\t\tKNIGHT \n \t\tSo you know nothing. \n \n \t\t\t\tDEATH \n \t\tI have nothing to tell. \n \n The KNIGHT wants to answer, but DEATH is already gone. \n \n A murmur is heard in the tree tops. Dawn comes, a flickering light without \n life, making the forest seem threatening and evil. JOF drives over the ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","She walks closer and looks searchingly into his face. The smile lingers in \n her eyes and she touches his hand lightly. \n \n \t\t\t\tKARIN \n \t\tNow I can see that it's you. Somewhere in your \n \t\teyes, somewhere in your face, but hidden and \n \t\tfrightened, is that boy who went away so many \n \t\tyears ago. \n \n \t\t\t\tKNIGHT ","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","\t\t\t\tKNIGHT \n \t\tYes, I did. \n \n \t\t\t\tDEATH \n \t\tI'm happy to hear that. Now I'll be leaving you. \n \t\tWhen we meet again, you and your companions' \n \t\ttime will be up. \n \n \t\t\t\tKNIGHT \n \t\tAnd you will divulge your secrets. \n \n \t\t\t\tDEATH "],["\t\tdoesn't wake up. \n \n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \n his game. \n \n \t\t\t\tDEATH \n \t\tIt is your move, Antonius Block. \n \n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \n wagon. JOF bends down to pick up the pack and follows at a distance. \n \n \t\t\t\tDEATH ","\t\t\t(laughs contentedly) \n \t\tBut I have not forgotten. You can't get away \n \t\tthat easily. \n \n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \n him towards the road. MIA has just climbed up on the wagon. JOF takes the \n horse by the bridle and leads it down the road. DEATH notices nothing; he is \n completely occupied with reconstructing the game. \n","\t\t\t\tDEATH \n \t\tWell, there is no shame in that. \n \n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \n it around the KNIGHT'S shoulders. \n \n \t\t\t\tKNIGHT \n \t\tWait a moment. \n \n \t\t\t\tDEATH \n \t\tThat's what they all say. I grant no reprieves. \n","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","\t\tI have no secrets. \n \n \t\t\t\tKNIGHT \n \t\tSo you know nothing. \n \n \t\t\t\tDEATH \n \t\tI have nothing to tell. \n \n The KNIGHT wants to answer, but DEATH is already gone. \n \n A murmur is heard in the tree tops. Dawn comes, a flickering light without \n life, making the forest seem threatening and evil. JOF drives over the ","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","\t\tIt is the end. \n \n \n \n JOF and MIA sit close together and listen to the rain tapping lightly on the \n wagon canvas, a sound which diminishes until finally there are only single \n drops. \n \n They crawl out of their hiding place. The wagon stands on a height above a \n slope, protected by an enormous tree. They look across ridges, forests, the \n wide plains, and the sea, which glistens in the sunlight breaking through the \n clouds. \n ","\t\tI don't want to die! I don't want to! \n \n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \n eyes bulge wildly and his mouth is ringed with foam. \n \n \t\t\t\tRAVAL \n \t\tCan't you have pity on me? Help me! At least \n \t\ttalk to me. \n \n No one answers. The trees sigh. RAVAL begins to cry. \n","The sawing continues without a pause. SKAT becomes more frightened. \n \n \t\t\t\tSKAT \n \t\tCan't you at least answer me? Politeness costs \n \t\tso little. Who are you? \n \n DEATH straightens his back and squints up at him. SKAT cries out in terror. \n \n \t\t\t\tDEATH \n \t\tI'm sawing down your tree because your time is \n \t\tup. \n ","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","\t\tNothing escapes me. No one escapes from me. \n \n \t\t\t\tKNIGHT \n \t\tIt's true that I'm worried. \n \n He pretends to be clumsy and knocks the chess pieces over with the hem of his \n coat. He looks up at DEATH. \n \n \t\t\t\tKNIGHT \n \t\tI've forgotten how the pieces stood. \n \n \t\t\t\tDEATH ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","\t\t\t\tTYAN \n \t\tNo one, nothing, no one? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tNo. \n \n \t\t\t\tTYAN \n \t\tCan't you see him behind your back? \n \n \t\t\t\tKNIGHT \n \t\t\t(looks around) \n \t\tNo, there is no one there. \n","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t\tRAVAL \n \t\tI am going to die. I. I. I! What will happen to \n \t\tme! Can no one console me? Haven't you any \n \t\tcompassion? Can't you see that I ... \n \n His words are choked off by a gurgling sound. He disappears in the darkness \n behind the fallen tree. It becomes quiet for a few moments. \n \n \t\t\t\tRAVAL \n \t\t\t(whispers) ","the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \n \n \t\t\t\tKNIGHT \n \t\tWhat have you done with the child? \n \n DEATH turns around and looks at him. \n \n \t\t\t\tDEATH \n \t\tDon't you ever stop asking questions? \n \n \t\t\t\tKNIGHT \n \t\tNo, I'll never stop. \n","\t\t\t\tMIA \n \t\tHe is alone. You mustn't frighten me this way. \n \n \t\t\t\tJOF \n \t\tNo, no, he isn't alone. \n \n \t\t\t\tMIA \n \t\tWho is it, then? \n \n \t\t\t\tJOF \n \t\tDeath. He is sitting there playing chess with \n \t\tDeath himself. \n","\t\twith fear and disgust. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThrough my indifference to my fellow men, I \n \t\thave isolated myself from their company. Now I \n \t\tlive in a world of phantoms. I am imprisoned in \n \t\tmy dreams and fantasies. \n \n \t\t\t\tDEATH \n \t\tAnd yet you don't want to die. ","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n "],["\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been "," \n \n \n The morning breeze has died down. The restless movement of the sea has \n ceased, the water is silent. The sun rises from the haze and its glow \n whitens. The sea gull floats under the dark cloud, frozen in space. The day \n is already scorchingly hot. \n \n The squire JONS is awakened by a kick in the rear. Opening his eyes, he ","from the skin and gives it to TYAN. Then he gives her a potion. \n \n \t\t\t\tKNIGHT \n \t\tTake this and it will stop the pain. \n \n Smoke billows down over them and they begin to cough. The soldiers step \n forward and raise the ladder against a nearby fir tree. TYAN hangs there \n motionlessly, her eyes wide open. \n \n The KNIGHT straightens up and stands immobile. JONS is behind him, his voice ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","\t\talready. \n \n One of the soldiers approaches. Thick smoke wells down from the pyre and \n sweeps over the quiet shadows near the crossroads and the hill. \n \n \t\t\t\tSOLDIER \n \t\tI've told you to be careful. Don't go too close \n \t\tto her. \n \n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water ","\t\tof us has to save his own skin. It's as simple \n \t\tas that. \n \n \t\t\t\tGIRL \n \t\tDon't touch me. \n \n \t\t\t\tRAVAL \n \t\tDon't try to scream. There's no one around to \n \t\thear you, neither God nor man. \n \n Slowly he closes the door behind the GIRL. The stuffy room is now in almost ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t\tMIA \n \t\tDo you want some strawberries? \n \n \t\t\t\tJOF \n \t\tThis man saved my life. Sit down, my friend, \n \t\tand let us be together. \n \n \t\t\t\tMIA \n \t\t\t(stretches herself) \n \t\tOh, how nice this is. \n \n \t\t\t\tKNIGHT \n \t\tFor a short while. \n ","his horse. The travelers depart from the crossroads. TYAN finally closes her \n eyes. \n \n \n \n The forest is now very dark. The road winds between the trees. The wagon \n squeaks and rattles over stones and roots. A bird suddenly shrieks. \n \n JOF lifts his head and wakes up. He has been asleep with his arms around \n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \n","\t\t\t(laughs contentedly) \n \t\tBut I have not forgotten. You can't get away \n \t\tthat easily. \n \n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \n him towards the road. MIA has just climbed up on the wagon. JOF takes the \n horse by the bridle and leads it down the road. DEATH notices nothing; he is \n completely occupied with reconstructing the game. \n","The GIRL sinks down and hides her face in her hands. JONS places his hand on \n her shoulder. \n \n \n 16 \n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \n \n \t\t\t\tDEATH \n \t\tShall we play our game to the end? \n \n \t\t\t\tKNIGHT \n \t\tYour move! \n","\t\tI have dull company. \n \n \t\t\t\tMIA \n \t\tDo you mean your squire? \n \n \t\t\t\tKNIGHT \n \t\tNo, not him. \n \n \t\t\t\tMIA \n \t\tWho do you mean, then? \n \n \t\t\t\tKNIGHT \n \t\tMyself. \n \n \t\t\t\tMIA \n \t\tI understand. \n","\t\twe're really in a hurry. \n \n JOF climbs up on the wagon seat quickly and clucks at the horse. \n \n \n \n The small company is on its way towards the forest and the night. \n \n It is dark in the forest. \n \n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \n close to each other in the juggler's wagon. MIA holds her son in her arms. ","grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \n horse and picks up the heavy pack. \n \n The KNIGHT slowly rides away from the sea, into the forest near the beach and \n up towards the road. He pretends not to hear the morning prayers of his \n squire. JONS soon overtakes him. \n \n \t\t\t\tJONS \n \t\t\t(sings)","shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a "],["shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \n she doesn't appear to be fully conscious. \n \n JONS and the KNIGHT stop and watch in silence. The soldiers are working \n quickly and skillfully, but they seem frightened and dejected. The monk \n mumbles from a small book. One of the soldiers picks up a wooden bucket and \n with his hand begins to smear a bloody paste on the wall of the church and ","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","him in. When he comes onto the church porch he stops in surprise. To the \n right of the entrance there is a large fresco on the wall, not quite \n finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \n paint-stained clothes. He has one brush in his mouth, while with another in \n his hand he outlines a small, terrified human face amidst a sea of other \n faces. \n \n \t\t\t\tJONS "," \n \n \n The morning breeze has died down. The restless movement of the sea has \n ceased, the water is silent. The sun rises from the haze and its glow \n whitens. The sea gull floats under the dark cloud, frozen in space. The day \n is already scorchingly hot. \n \n The squire JONS is awakened by a kick in the rear. Opening his eyes, he ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","\t\tThe rump behind you, the rump behind you \n \t\tthere's a profound truth. \n \n JONS paints a small figure which is supposed to represent himself. \n \n \t\t\t\tJONS \n \t\tThis is squire Jns. He grins at Death, mocks \n \t\tthe Lord, laughs at himself and leers at the \n \t\tgirls. His world is a Jnsworld, believable ","grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","A large square monk rises from his knees and reveals his face, which is red- \n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \n \n \t\t\t\tMONK \n \t\tGod has sentenced us to punishment. We shall \n \t\tall perish in the black death. You, standing \n \t\tthere like gaping cattle, you who sit there in \n \t\tyour glutted complacency, do you know that this ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","miserable-looking dog whines incessantly as it lies flat on its stomach, \n wagging its tail. \n \n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \n When he doesn't receive an answer, he walks up to the man in order to shake \n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \n his hand. The man falls backward on the heath, his face turned towards JONS. ","glance and breathes heavily. SKAT doesn't neglect to press kisses on her \n small, chubby hands. The sun shines brightly and small birds make noises in \n the bushes. \n \n Now she is forced to sit back; her legs seem unwilling to support her any \n longer. Bewildered, she singles out another chicken leg from the large sack \n of food and holds it up in front of SKAT with an appealing and triumphant \n expression, as if it were her maidenhood being offered as a prize.","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\tlike the man I've painted over there. \n \n The PAINTER points with his brush. JONS sees a small human form writhing in \n the grass, its eyes turned upwards in a frenzied look of horror and pain. \n \n \t\t\t\tJONS \n \t\tThat looks terrible. \n \n \t\t\t\tPAINTER \n \t\tIt certainly does. He tries to rip out the ","He soon finds a likely tree and climbs up into its thick foliage. He sits \n down as comfortably as possible and reaches for his food pouch. \n \n \t\t\t\tSKAT \n \t\t\t(yawns) \n \t\tTomorrow I'll find Jof and Mia and then we'll \n \t\tgo to the saints' feast in Elsinore. We'll make \n \t\tlots of money there. \n \t\t\t(yawns)","no one appears he enters. It is very dark inside and his foot touches a soft \n object. He looks down. Beside the whitewashed fireplace, a woman is lying \n with her face to the ground. \n \n At the sound of approaching steps, JONS quickly hides behind the door. A man \n comes down a ladder from the loft. He is broad and thick-set. His eyes are \n black and his face is pale and puffy. His clothes are well cut but dirty and "],["Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","\t\tthink the pestilence is the Lord's punishment. \n \t\tMobs of people who call themselves Slaves of \n \t\tSin are swarming over the country, flagellating \n \t\tthemselves and others, all for the glory of God. \n \n \t\t\t\tJONS \n \t\tDo they really whip themselves? \n \n \t\t\t\tPAINTER \n \t\tYes, it's a terrible sight. I crawl into a ","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","\t\tlose our crops. \n \n \t\t\t\tMERCHANT \n \t\tAnd people are acting crazy, I'd say. They flee \n \t\tthe country and carry the plague with them \n \t\twherever they go. \n \n \t\t\t\tOLD MAN \n \t\tThe day of judgment. Just think, just think! \n \n \t\t\t\tFARMER \n \t\tIf it's as they say, I suppose a person should ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","ride across a mossy heath which stretches towards the horizon. Beyond it, the \n sea lies shimmering in the white glitter of the sun. \n \n \t\t\t\tJONS \n \t\tIn Frjestad everyone was talking about evil \n \t\tomens and other horrible things. Two horses had \n \t\teaten each other in the night, and, in the \n \t\tchurchyard, graves had been opened and the ","RAVAL smiles anxiously. \n \n \t\t\t\tJONS \n \t\tWhen I see you, I suddenly understand the \n \t\tmeaning of these ten years, which previously \n \t\tseemed to me such a waste. Our life was too \n \t\tgood and we were too satisfied with ourselves. \n \t\tThe Lord wanted to punish us for our \n \t\tcomplacency. That is why He sent you to spew ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","\t\tPrecisely. For ten years we sat in the Holy \n \t\tLand and let snakes bite us, flies sting us, \n \t\twild animals eat us, heathens butcher us, the \n \t\twine poison us, the women give us lice, the \n \t\tlice devour us, the fevers rot us, all for the \n \t\tGlory of God. Our crusade was such madness that ","\t\t\t\tRAVAL \n \t\tDo you have some water? \n \n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \n but his voice is heard again. \n \n \t\t\t\tRAVAL \n \t\tCan't you give me a little water? \n \t\t\t(pause) \n \t\tI have the plague. \n \n \t\t\t\tJONS ","The Embarrassment Inn lies in the eastern section of the province. The plague \n has not yet reached this area on its way along the coast. \n \n The actors have placed their wagon under a tree in the yard of the inn. \n Dressed in colorful costumes, they perform a farce. \n \n The spectators watch the performance, commenting on it noisily. There are \n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands ","A large square monk rises from his knees and reveals his face, which is red- \n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \n \n \t\t\t\tMONK \n \t\tGod has sentenced us to punishment. We shall \n \t\tall perish in the black death. You, standing \n \t\tthere like gaping cattle, you who sit there in \n \t\tyour glutted complacency, do you know that this ","DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n DEATH. \n \n \t\t\t\tDEATH \n \t\tNow I take your queen. \n \n \t\t\t\tKNIGHT \n \t\tI didn't notice that. \n \n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \n which seem to have a life of their own. \n","from a distance. He tries to go on sleeping, but it is stifling inside the \n wagon. The rays of the sun filtering through the canvas cast streaks of light \n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \n snores loudly. \n \n JOF crawls out of the wagon. There is still a spot of shade under the big ","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","\t\tUp to the saints' feast at Elsinore. \n \n \t\t\t\tKNIGHT \n \t\tI wouldn't advise you to go there. \n \n \t\t\t\tJOF \n \t\tWhy not, if I may ask? \n \n \t\t\t\tKNIGHT \n \t\tThe plague has spread in that direction, \n \t\tfollowing the coast line south. It's said that ","of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \n yard have fallen on their knees, others hide their faces, many begin to \n mutter half-forgotten prayers. \n \n All have turned their faces towards the white road. Now a shrill song is \n heard. It is frenzied, almost a scream. A crucified Christ sways above the \n hilltop. \n","\t\twith his scythe and hourglass, but Skat dangles \n \t\tat the end with his lyre. They dance away from \n \t\tthe dawn and it's a solemn dance towards the \n \t\tdark lands, while the rain washes their faces \n \t\tand cleans the salt of the tears from their \n \t\tcheeks. \n \n He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.","JOF is a bit offended and glances over at his son, MIKAEL, but he is also \n sleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \n yawns; he is very tired and in a bad humor. In his hands he holds a crudely \n made death mask. \n \n \t\t\t\tSKAT \n \t\tIs this supposed to be a mask for an actor? If "],["Antonius Block has brought his companions with him to the castle. But it \n seems deserted. They walk from room to room. There is only emptiness and \n quiet echoes. Outside, the rain is heard roaring noisily. \n \n Suddenly the KNIGHT stands face to face with his wife. They look at each \n other quietly. \n \n \t\t\t\tKARIN \n \t\tI heard from people who came from the crusade \n \t\tthat you were on your way home. I've been ","The Seventh Seal \n \n The night had brought little relief from the heat, and at dawn a hot gust of \n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \n prostrate on some spruce branches spread over the fine sand. His eyes are \n wide-open and bloodshot from lack of sleep. \n \n Nearby his squire JONS is snoring loudly. He has fallen asleep where he ","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","from a distance. He tries to go on sleeping, but it is stifling inside the \n wagon. The rays of the sun filtering through the canvas cast streaks of light \n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \n snores loudly. \n \n JOF crawls out of the wagon. There is still a spot of shade under the big ","\t\t\t\tJOF \n \t\tI only become frightened and angry. I never get \n \t\ta chance to hit back. I can get angry, you know \n \t\tthat. I roared like a lion. \n \n \t\t\t\tMIA \n \t\tWere they frightened? \n \n \t\t\t\tJOF \n \t\tNo, they just laughed. \n \n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls ","Meanwhile, JONS and the PAINTER have got drunk and are talking animatedly \n together. \n \n \t\t\t\tJONS \n \t\tMe and my master have been abroad and have just \n \t\tcome home. Do you understand, you little \n \t\tpictor? \n \n \t\t\t\tPAINTER \n \t\tThe Crusade. \n \n \t\t\t\tJONS \n \t\t\t(drunk)","She walks closer and looks searchingly into his face. The smile lingers in \n her eyes and she touches his hand lightly. \n \n \t\t\t\tKARIN \n \t\tNow I can see that it's you. Somewhere in your \n \t\teyes, somewhere in your face, but hidden and \n \t\tfrightened, is that boy who went away so many \n \t\tyears ago. \n \n \t\t\t\tKNIGHT ","For a few confusing moments the two rivals stumble among the stones and \n bushes in the gray gloom of the forest. The duel begins to look senseless, \n because both of them are equally frightened. \n \n The travelers silently observe this confused performance. LISA screams once \n in a while, more out of duty than out of impulse. \n \n \t\t\t\tSKAT \n \t\t\t(panting) \n \t\tYou miserable stubbleheaded bastard of seven ","restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \n Block turns around. \n \n Behind him stands a man in black. His face is very pale and he keeps his \n hands hidden in the wide folds of his cloak. \n \n \t\t\t\tKNIGHT \n \t\tWho are you? \n \n \t\t\t\tDEATH \n \t\tI am Death. \n \n \t\t\t\tKNIGHT ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","\t\tdoesn't wake up. \n \n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \n his game. \n \n \t\t\t\tDEATH \n \t\tIt is your move, Antonius Block. \n \n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \n wagon. JOF bends down to pick up the pack and follows at a distance. \n \n \t\t\t\tDEATH "," \n \n \n The morning breeze has died down. The restless movement of the sea has \n ceased, the water is silent. The sun rises from the haze and its glow \n whitens. The sea gull floats under the dark cloud, frozen in space. The day \n is already scorchingly hot. \n \n The squire JONS is awakened by a kick in the rear. Opening his eyes, he ","\t\twith his scythe and hourglass, but Skat dangles \n \t\tat the end with his lyre. They dance away from \n \t\tthe dawn and it's a solemn dance towards the \n \t\tdark lands, while the rain washes their faces \n \t\tand cleans the salt of the tears from their \n \t\tcheeks. \n \n He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.","\t\tJns is my name. I am a pleasant and talkative \n \t\tyoung man who has never had anything but kind \n \t\tthoughts and has only done beautiful and noble \n \t\tdeeds. I'm kindest of all to young women. With \n \t\tthem, there is no limit to my kindness. \n \n He embraces her and tries to kiss her, but she holds herself back. Almost ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","JOF is a bit offended and glances over at his son, MIKAEL, but he is also \n sleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \n yawns; he is very tired and in a bad humor. In his hands he holds a crudely \n made death mask. \n \n \t\t\t\tSKAT \n \t\tIs this supposed to be a mask for an actor? If ","His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \n and support each other. Suddenly PLOG has to sit down. He puts his hands over \n his face and howls piteously. \n \n \t\t\t\tPLOG \n \t\tOh, now it came over me again! \n \n \t\t\t\tJONS \n \t\tDon't scream. What came over you? \n \n \t\t\t\tPLOG ","DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n DEATH. \n \n \t\t\t\tDEATH \n \t\tNow I take your queen. \n \n \t\t\t\tKNIGHT \n \t\tI didn't notice that. \n \n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \n which seem to have a life of their own. \n","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","SKAT is very handsome, now that he can see himself in the reflection of a tin \n washbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \n glittering earrings vie for equal attention with his teeth, and his cheeks \n are flushed rose red. \n \n He sits out in back on the tailboard of the wagon, dangling his legs and \n whistling to himself. \n \n In the meantime JOF and MIA play their tragedy; it is not, however, received "],["DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \n Block turns around. \n \n Behind him stands a man in black. His face is very pale and he keeps his \n hands hidden in the wide folds of his cloak. \n \n \t\t\t\tKNIGHT \n \t\tWho are you? \n \n \t\t\t\tDEATH \n \t\tI am Death. \n \n \t\t\t\tKNIGHT ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t(laughs contentedly) \n \t\tBut I have not forgotten. You can't get away \n \t\tthat easily. \n \n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \n him towards the road. MIA has just climbed up on the wagon. JOF takes the \n horse by the bridle and leads it down the road. DEATH notices nothing; he is \n completely occupied with reconstructing the game. \n","\t\t\t\tDEATH \n \t\tWell, there is no shame in that. \n \n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \n it around the KNIGHT'S shoulders. \n \n \t\t\t\tKNIGHT \n \t\tWait a moment. \n \n \t\t\t\tDEATH \n \t\tThat's what they all say. I grant no reprieves. \n","The sawing continues without a pause. SKAT becomes more frightened. \n \n \t\t\t\tSKAT \n \t\tCan't you at least answer me? Politeness costs \n \t\tso little. Who are you? \n \n DEATH straightens his back and squints up at him. SKAT cries out in terror. \n \n \t\t\t\tDEATH \n \t\tI'm sawing down your tree because your time is \n \t\tup. \n ","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n ","\t\t\t\tMIA \n \t\tHe is alone. You mustn't frighten me this way. \n \n \t\t\t\tJOF \n \t\tNo, no, he isn't alone. \n \n \t\t\t\tMIA \n \t\tWho is it, then? \n \n \t\t\t\tJOF \n \t\tDeath. He is sitting there playing chess with \n \t\tDeath himself. \n","\t\tI have no secrets. \n \n \t\t\t\tKNIGHT \n \t\tSo you know nothing. \n \n \t\t\t\tDEATH \n \t\tI have nothing to tell. \n \n The KNIGHT wants to answer, but DEATH is already gone. \n \n A murmur is heard in the tree tops. Dawn comes, a flickering light without \n life, making the forest seem threatening and evil. JOF drives over the ","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","\t\t\t\tTYAN \n \t\tNo one, nothing, no one? \n \n \t\t\t\tKNIGHT \n \t\t\t(shakes his head) \n \t\tNo. \n \n \t\t\t\tTYAN \n \t\tCan't you see him behind your back? \n \n \t\t\t\tKNIGHT \n \t\t\t(looks around) \n \t\tNo, there is no one there. \n","\t\twith fear and disgust. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThrough my indifference to my fellow men, I \n \t\thave isolated myself from their company. Now I \n \t\tlive in a world of phantoms. I am imprisoned in \n \t\tmy dreams and fantasies. \n \n \t\t\t\tDEATH \n \t\tAnd yet you don't want to die. ","\t\tThere he comes in the moonlight, \n \t\tHis white legs shining bright. \n \t\tQuiet as a mouse, here I'll lie, \n \t\tTell him not that he's about to die. \n \n JOF hides himself. MIA immediately ends her snoring and sits up, looking to \n the left. \n \n \t\t\t\tMIA \n \t\tLook, there he comes in the night \n \t\tMy lover, my heart's delight.","\t\tNothing escapes me. No one escapes from me. \n \n \t\t\t\tKNIGHT \n \t\tIt's true that I'm worried. \n \n He pretends to be clumsy and knocks the chess pieces over with the hem of his \n coat. He looks up at DEATH. \n \n \t\t\t\tKNIGHT \n \t\tI've forgotten how the pieces stood. \n \n \t\t\t\tDEATH ","\t\tDeath visited me this morning. We are playing \n \t\tchess together. This reprieve gives me the \n \t\tchance to arrange an urgent matter. \n \n \t\t\t\tDEATH \n \t\tWhat matter is that? \n \n \t\t\t\tKNIGHT \n \t\tMy life has been a futile pursuit, a wandering, \n \t\ta great deal of talk without meaning. I feel no ","quiet and deserted; the sea is still. \n \n \t\t\t\tDEATH \n \t\tI have been waiting for you. \n \n \t\t\t\tKNIGHT \n \t\tPardon me. I was detained for a few moments. \n \t\tBecause I revealed my tactics to you, I'm in \n \t\tretreat. It's your move. \n \n \t\t\t\tDEATH \n \t\tWhy do you look so satisfied? \n","SKAT, grinning, holds the mask in front of his face and recites dramatically. \n \n \t\t\t\tSKAT \n \t\tBear this in mind, you fool. Your life hangs by \n \t\ta thread. Your time is short. \n \t\t\t(in his usual voice) \n \t\tAre the women going to like me in this getup? \n \t\tWill I make a hit? No! I feel as if I were dead \n \t\talready. \n","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","\t\tThe rump behind you, the rump behind you \n \t\tthere's a profound truth. \n \n JONS paints a small figure which is supposed to represent himself. \n \n \t\t\t\tJONS \n \t\tThis is squire Jns. He grins at Death, mocks \n \t\tthe Lord, laughs at himself and leers at the \n \t\tgirls. His world is a Jnsworld, believable "],["\t\t\t\tDEATH \n \t\tIt's your move. Hurry up. I'm a little pressed \n \t\tfor time. \n \n \t\t\t\tKNIGHT \n \t\tI understand that you've a lot to do, but you \n \t\tcan't get out of our game. It takes time. \n \n DEATH is about to answer him but stops and leans over the board. The KNIGHT \n smiles. \n","\t\t\t\tKNIGHT \n \t\tYou play chess, don't you? \n \n A gleam of interest kindles in DEATH'S eyes. \n \n \t\t\t\tDEATH \n \t\tHow did you know that? \n \n \t\t\t\tKNIGHT \n \t\tI have seen it in paintings and heard it sung \n \t\tin ballads. \n \n \t\t\t\tDEATH ","\t\t\t\tKNIGHT \n \t\tI have my reasons. \n \n \t\t\t\tDEATH \n \t\tThat is your privilege. \n \n \t\t\t\tKNIGHT \n \t\tThe condition is that I may live as long as I \n \t\thold out against you. If I win, you will \n \t\trelease me. Is it agreed? \n \n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. ","\t\tYes, in fact I'm quite a good chess player. \n \n \t\t\t\tKNIGHT \n \t\tBut you can't be better than I am. \n \n The KNIGHT rummages in the big black bag which he keeps beside him and takes \n out a small chessboard. He places it carefully on the ground and begins \n setting up the pieces. \n \n \t\t\t\tDEATH \n \t\tWhy do you want to play chess with me? \n","DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \n \n \t\t\t\tKNIGHT \n \t\tYou drew black! \n \n \t\t\t\tDEATH \n \t\tVery appropriate. Don't you think so? \n \n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \n pawn.","DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n DEATH. \n \n \t\t\t\tDEATH \n \t\tNow I take your queen. \n \n \t\t\t\tKNIGHT \n \t\tI didn't notice that. \n \n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \n which seem to have a life of their own. \n","\t\t\t\tDEATH \n \t\tHow will you outwit Death in your game? \n \n \t\t\t\tKNIGHT \n \t\tI use a combination of the bishop and the \n \t\tknight which he hasn't yet discovered. In the \n \t\tnext move I'll shatter one of his flanks. \n \n \t\t\t\tDEATH \n \t\tI'll remember that. \n","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","quiet and deserted; the sea is still. \n \n \t\t\t\tDEATH \n \t\tI have been waiting for you. \n \n \t\t\t\tKNIGHT \n \t\tPardon me. I was detained for a few moments. \n \t\tBecause I revealed my tactics to you, I'm in \n \t\tretreat. It's your move. \n \n \t\t\t\tDEATH \n \t\tWhy do you look so satisfied? \n","\t\tbitterness or self-reproach because the lives \n \t\tof most people are very much like this. But I \n \t\twill use my reprieve for one meaningful deed. \n \n \t\t\t\tDEATH \n \t\tIs that why you are playing chess with Death? \n \n \t\t\t\tKNIGHT \n \t\tHe is a clever opponent, but up to now I \n \t\thaven't lost a single man. \n","\t\t\t\tKNIGHT \n \t\tThat's my secret. \n \n \t\t\t\tDEATH \n \t\tOf course. Now I take your knight. \n \n \t\t\t\tKNIGHT \n \t\tYou did the right thing. \n \n \t\t\t\tDEATH \n \t\tHave you tricked me? \n \n \t\t\t\tKNIGHT ","\t\tOf course. You fell right in the trap. Check! \n \n \t\t\t\tDEATH \n \t\tWhat are you laughing at? \n \n \t\t\t\tKNIGHT \n \t\tDon't worry about my laughter; save your king \n \t\tinstead. \n \n \t\t\t\tDEATH \n \t\tYou're rather arrogant. \n \n \t\t\t\tKNIGHT \n \t\tOur game amuses me. \n","\t\tHave you lost interest in our game? \n \n The KNIGHT'S eyes become alarmed. DEATH looks at him intently. \n \n \t\t\t\tKNIGHT \n \t\tLost interest? On the contrary. \n \n \t\t\t\tDEATH \n \t\tYou seem anxious. Are you hiding anything? \n \n \t\t\t\tKNIGHT \n \t\tNothing escapes you -- or does it? \n \n \t\t\t\tDEATH ","The GIRL sinks down and hides her face in her hands. JONS places his hand on \n her shoulder. \n \n \n 16 \n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \n \n \t\t\t\tDEATH \n \t\tShall we play our game to the end? \n \n \t\t\t\tKNIGHT \n \t\tYour move! \n","\t\tDeath visited me this morning. We are playing \n \t\tchess together. This reprieve gives me the \n \t\tchance to arrange an urgent matter. \n \n \t\t\t\tDEATH \n \t\tWhat matter is that? \n \n \t\t\t\tKNIGHT \n \t\tMy life has been a futile pursuit, a wandering, \n \t\ta great deal of talk without meaning. I feel no ","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","\t\tNothing escapes me. No one escapes from me. \n \n \t\t\t\tKNIGHT \n \t\tIt's true that I'm worried. \n \n He pretends to be clumsy and knocks the chess pieces over with the hem of his \n coat. He looks up at DEATH. \n \n \t\t\t\tKNIGHT \n \t\tI've forgotten how the pieces stood. \n \n \t\t\t\tDEATH ","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the "],["\t\tbitterness or self-reproach because the lives \n \t\tof most people are very much like this. But I \n \t\twill use my reprieve for one meaningful deed. \n \n \t\t\t\tDEATH \n \t\tIs that why you are playing chess with Death? \n \n \t\t\t\tKNIGHT \n \t\tHe is a clever opponent, but up to now I \n \t\thaven't lost a single man. \n","\t\t\t\tDEATH \n \t\tIt's your move. Hurry up. I'm a little pressed \n \t\tfor time. \n \n \t\t\t\tKNIGHT \n \t\tI understand that you've a lot to do, but you \n \t\tcan't get out of our game. It takes time. \n \n DEATH is about to answer him but stops and leans over the board. The KNIGHT \n smiles. \n","The KNIGHT raises his hand and looks at it in the sunlight which comes \n through the tiny window. \n \n \t\t\t\tKNIGHT \n \t\tThis is my hand. I can move it, feel the blood \n \t\tpulsing through it. The sun is still high in \n \t\tthe sky and I, Antonius Block, am playing \n \t\tchess with Death. \n \n He makes a fist of his hand and lifts it to his temple. \n \n \n","He turns his face away and looks out towards the sea and the colorless gray \n sky. \n \n \t\t\t\tKNIGHT \n \t\tAnd it will be an adequate sign -- it will be \n \t\tenough for me. \n \n He rises, nods to the others and walks down towards the forest. JOF continues \n to play on his lyre. MIA stretches out on the grass. \n \n The KNIGHT picks up his chess game and carries it towards the beach. It is ","\t\t\t\tKNIGHT \n \t\tI have my reasons. \n \n \t\t\t\tDEATH \n \t\tThat is your privilege. \n \n \t\t\t\tKNIGHT \n \t\tThe condition is that I may live as long as I \n \t\thold out against you. If I win, you will \n \t\trelease me. Is it agreed? \n \n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. ","\t\t\t\tKNIGHT \n \t\tYou play chess, don't you? \n \n A gleam of interest kindles in DEATH'S eyes. \n \n \t\t\t\tDEATH \n \t\tHow did you know that? \n \n \t\t\t\tKNIGHT \n \t\tI have seen it in paintings and heard it sung \n \t\tin ballads. \n \n \t\t\t\tDEATH ","\t\tDeath visited me this morning. We are playing \n \t\tchess together. This reprieve gives me the \n \t\tchance to arrange an urgent matter. \n \n \t\t\t\tDEATH \n \t\tWhat matter is that? \n \n \t\t\t\tKNIGHT \n \t\tMy life has been a futile pursuit, a wandering, \n \t\ta great deal of talk without meaning. I feel no ","DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \n \n \t\t\t\tKNIGHT \n \t\tYou drew black! \n \n \t\t\t\tDEATH \n \t\tVery appropriate. Don't you think so? \n \n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \n pawn.","grazes on the dry grass. MIA has sat down in front of the wagon with her son \n in her arms. They play together and laugh happily. \n \n Now, a soft gleam of light strokes the hilltops, a last reflection from the \n red clouds over the sea. \n \n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \n lifts his head. \n \n The evening light moves across the heavy wagon wheels, across the woman and ","\t\tYes, in fact I'm quite a good chess player. \n \n \t\t\t\tKNIGHT \n \t\tBut you can't be better than I am. \n \n The KNIGHT rummages in the big black bag which he keeps beside him and takes \n out a small chessboard. He places it carefully on the ground and begins \n setting up the pieces. \n \n \t\t\t\tDEATH \n \t\tWhy do you want to play chess with me? \n","DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \n DEATH. \n \n \t\t\t\tDEATH \n \t\tNow I take your queen. \n \n \t\t\t\tKNIGHT \n \t\tI didn't notice that. \n \n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \n which seem to have a life of their own. \n","\t\tNothing escapes me. No one escapes from me. \n \n \t\t\t\tKNIGHT \n \t\tIt's true that I'm worried. \n \n He pretends to be clumsy and knocks the chess pieces over with the hem of his \n coat. He looks up at DEATH. \n \n \t\t\t\tKNIGHT \n \t\tI've forgotten how the pieces stood. \n \n \t\t\t\tDEATH ","\t\t\t\tDEATH \n \t\tNow I see something interesting. \n \n \t\t\t\tKNIGHT \n \t\tWhat do you see? \n \n \t\t\t\tDEATH \n \t\tYou are mated on the next move, Antonius Block. \n \n \t\t\t\tKNIGHT \n \t\tThat's true. \n \n \t\t\t\tDEATH \n \t\tDid you enjoy your reprieve? \n","quiet and deserted; the sea is still. \n \n \t\t\t\tDEATH \n \t\tI have been waiting for you. \n \n \t\t\t\tKNIGHT \n \t\tPardon me. I was detained for a few moments. \n \t\tBecause I revealed my tactics to you, I'm in \n \t\tretreat. It's your move. \n \n \t\t\t\tDEATH \n \t\tWhy do you look so satisfied? \n","\t\tHave you lost interest in our game? \n \n The KNIGHT'S eyes become alarmed. DEATH looks at him intently. \n \n \t\t\t\tKNIGHT \n \t\tLost interest? On the contrary. \n \n \t\t\t\tDEATH \n \t\tYou seem anxious. Are you hiding anything? \n \n \t\t\t\tKNIGHT \n \t\tNothing escapes you -- or does it? \n \n \t\t\t\tDEATH ","grille for an instant, but the KNIGHT doesn't see him. \n \n \t\t\t\tKNIGHT \n \t\tI want to talk to you as openly as I can, but \n \t\tmy heart is empty. \n \n DEATH doesn't answer. \n \n \t\t\t\tKNIGHT \n \t\tThe emptiness is a mirror turned towards my \n \t\town face. I see myself in it, and I am filled ","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t\tMIA \n \t\tHe is alone. You mustn't frighten me this way. \n \n \t\t\t\tJOF \n \t\tNo, no, he isn't alone. \n \n \t\t\t\tMIA \n \t\tWho is it, then? \n \n \t\t\t\tJOF \n \t\tDeath. He is sitting there playing chess with \n \t\tDeath himself. \n","\t\t\t\tKNIGHT \n \t\tThat's my secret. \n \n \t\t\t\tDEATH \n \t\tOf course. Now I take your knight. \n \n \t\t\t\tKNIGHT \n \t\tYou did the right thing. \n \n \t\t\t\tDEATH \n \t\tHave you tricked me? \n \n \t\t\t\tKNIGHT "],["He lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \n remembering the knight's presence. \n \n \t\t\t\tMIA \n \t\tYes, this is my husband, Jof. \n \n \t\t\t\tJOF \n \t\tGood evening. \n \n \t\t\t\tKNIGHT \n \t\tGood evening. \n \n JOF becomes a little embarrassed and rises. All three of them look at one ","\t\t\t\tJOF \n \t\tMia, wake up. Wake up! Mia, I've just seen \n \t\tsomething. I've got to tell you about it! \n \n \t\t\t\tMIA \n \t\t\t(sits up, terrified) \n \t\tWhat is it? What's happened? \n \n \t\t\t\tJOF \n \t\tListen, I've had a vision. No, it wasn't a ","mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \n arms and receives him. He holds his hands in front of his face, moaning like \n a child, and his body sways. He kneels. MIA holds him close to her and \n sprinkles him with small, anxious questions: What have you done? How are you? \n What is it? Does it hurt? What can I do? Have they been cruel to you? She ","his son on top of him. MIA gets down on her hands and knees and playfully \n sniffs at MIKAEL. \n \n \t\t\t\tMIA \n \t\tDo you notice how good he smells? \n \n \t\t\t\tJOF \n \t\tAnd he is so compact to hold. You're a sturdy \n \t\tone. A real acrobat's body. \n","\t\t\t\tJOF \n \t\tI only become frightened and angry. I never get \n \t\ta chance to hit back. I can get angry, you know \n \t\tthat. I roared like a lion. \n \n \t\t\t\tMIA \n \t\tWere they frightened? \n \n \t\t\t\tJOF \n \t\tNo, they just laughed. \n \n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls ","SKAT is very handsome, now that he can see himself in the reflection of a tin \n washbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \n glittering earrings vie for equal attention with his teeth, and his cheeks \n are flushed rose red. \n \n He sits out in back on the tailboard of the wagon, dangling his legs and \n whistling to himself. \n \n In the meantime JOF and MIA play their tragedy; it is not, however, received ","from a distance. He tries to go on sleeping, but it is stifling inside the \n wagon. The rays of the sun filtering through the canvas cast streaks of light \n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \n snores loudly. \n \n JOF crawls out of the wagon. There is still a spot of shade under the big ","\t\tvision. It was real, absolutely real. \n \n \t\t\t\tMIA \n \t\tOh, so you've had a vision again! \n \n MIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \n the shoulders. \n \n \t\t\t\tJOF \n \t\tBut I did see her! \n \n \t\t\t\tMIA \n \t\tWhom did you see? \n","\t\tIt is the end. \n \n \n \n JOF and MIA sit close together and listen to the rain tapping lightly on the \n wagon canvas, a sound which diminishes until finally there are only single \n drops. \n \n They crawl out of their hiding place. The wagon stands on a height above a \n slope, protected by an enormous tree. They look across ridges, forests, the \n wide plains, and the sea, which glistens in the sunlight breaking through the \n clouds. \n ","\t\t\t\tKNIGHT \n \t\tIs that your husband? \n \n \t\t\t\tMIA \n \t\t\t(laughs) \n \t\tJonas! The other man is my husband. His name is \n \t\tJof. \n \n \t\t\t\tKNIGHT \n \t\tOh, that one. \n \n \t\t\t\tMIA \n \t\tAnd now there's only him and me. We'll have to ","JOF stretches his arms and legs. MIA dries the wagon seat and sits down next \n to her husband. MIKAEL crawls between JOF'S knees. \n \n A lone bird tests its voice after the storm. The trees and bushes drip. From \n the sea comes a strong and fragrant wind. \n \n JOF points to the dark, retreating sky where summer lightning glitters like \n silver needles over the horizon. \n \n \t\t\t\tJOF ","twisting road. MIA sits beside him. \n \n \t\t\t\tMIA \n \t\tWhat a strange light. \n \n \t\t\t\tJOF \n \t\tI guess it's the thunderstorm which comes with \n \t\tdawn. \n \n \t\t\t\tMIA \n \t\tNo, it's something else. Something terrible. Do \n \t\tyou hear the roar in the forest? \n \n \t\t\t\tJOF ","left off. MIA and JOF decide that it would be wisest to leave the wagon. They \n sit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \n vigorously. JOF sits close to his wife. Slumped over, he still looks dazed \n and astonished. A dry, hot wind blows from the sea. \n \n \t\t\t\tMIA \n \t\tIf we would only get some rain. Everything is ","another silently. \n \n \t\t\t\tKNIGHT \n \t\tI have just told your wife that you have a \n \t\tsplendid son. He'll bring great joy to you. \n \n \t\t\t\tJOF \n \t\tYes, he's fine. \n \n They become silent again. \n \n \t\t\t\tJOF \n \t\tHave we nothing to offer the knight, Mia? \n","JOF gets up carefully and disappears into the darkness behind the trees. MIA \n remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \n and the chess game. She holds her son in her arms. Now JOF returns. \n \n \t\t\t\tJOF \n \t\tI have harnessed the horse. The wagon is \n \t\tstanding near the big tree. You go first and \n \t\tI'll follow you with the packs. See that Mikael ","JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \n to be asleep on a bench which has been pulled forward on the stage. \n \n \t\t\t\tJOF \n \t\tNight and moonlight now prevail \n \t\tHere sleeps my wife so frail ... \n \n \t\t\t\tVOICE FROM THE PUBLIC \n \t\tDoes she snore? \n \n \t\t\t\tJOF ","\t\t\t\tJOF \n \t\tMikael will grow up to be a great acrobat -- or \n \t\ta juggler who can do the one impossible trick. \n \n \t\t\t\tMIA \n \t\tWhat's that? \n \n \t\t\t\tJOF \n \t\tTo make one of the balls stand absolutely still \n \t\tin the air. \n \n \t\t\t\tMIA \n \t\tBut that's impossible.","He stumbles into the wagon muttering furiously. JOF sits, leaning forward. \n MIA lies beside him on the grass. \n \n \t\t\t\tMIA \n \t\tJof! \n \n \t\t\t\tJOF \n \t\tWhat is it? \n \n \t\t\t\tMIA \n \t\tSit still. Don't move. \n \n \t\t\t\tJOF \n \t\tWhat do you mean? \n","JOF has come out with his lyre, sits on a small, gaudy box and plucks at the \n instrument, humming quietly, searching for his melody. JONS yawns and lies \n down. \n \n \t\t\t\tKNIGHT \n \t\tPeople are troubled by so much. \n \n \t\t\t\tMIA \n \t\tIt's always better when one is two. Have you no \n \t\tone of your own? \n","expression he sits flat on his behind while the grass rustles softly, and \n bees and butterflies hum around his head. The unseen bird continues to sing. \n \n Suddenly the breeze stops blowing, the bird stops singing, JOF'S smile fades, \n the flowers and grass wilt in the heat. The old horse is still walking around \n grazing and swishing its tail to ward off the flies. \n \n JOF comes to life. He rushes into the wagon and shakes MIA awake. \n"],["SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","no one appears he enters. It is very dark inside and his foot touches a soft \n object. He looks down. Beside the whitewashed fireplace, a woman is lying \n with her face to the ground. \n \n At the sound of approaching steps, JONS quickly hides behind the door. A man \n comes down a ladder from the loft. He is broad and thick-set. His eyes are \n black and his face is pale and puffy. His clothes are well cut but dirty and ","\t\tthe tricks of the theatre. \n \n \t\t\t\tJOF \n \t\tAnd that turned out to be her misfortune. \n \n \t\t\t\tPLOG \n \t\tHer misfortune, but not mine, because a person \n \t\twho's born unfortunate can hardly suffer from \n \t\tany further misfortune. Isn't that true? \n \n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \n and evil.","MIA and JOF have quickly changed costumes and again step out on the stage. \n They bow, to the public. \n \n \t\t\t\tSKAT \n \t\tHere is the husband. Here is the wife. If \n \t\tyou'll shut up over there, you'll see something \n \t\tsplendid. As I said, I play the lover and I \n \t\thaven't entered yet. That's why I'm going to ","wagon, he supports himself against a nearby tree, crosses his legs and bows. \n \n The woman quietly bites into a chicken leg dripping with fat. At this moment \n the actor is stricken by a radiant glance full of lustful appetites. \n \n When he sees this look, SKAT makes an instantaneous decision, jumps down from \n the wagon and kneels in front of the blushing damsel. \n \n She becomes weak and faint from his nearness, looks at him with a glassy ","generous bosom to burst out of its prison -- no more than honor and chastity \n allow, but still enough so that the actor with his experienced eye \n immediately sees that there are ample rewards to be had here. \n \n Now she comes a little closer, kneels down and opens a bundle containing \n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \n not to fall off the wagon in his excitement. Standing on the steps of the ","\t\tlook after his house and try to enjoy life as \n \t\tlong as he can. \n \n \t\t\t\tWOMAN \n \t\tBut there have been other things too, such \n \t\tthings that can't even be spoken of. \n \t\t\t(whispers) \n \t\tThings that mustn't be named -- but the priests \n \t\tsay that the woman carries it between her legs ","JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \n to be asleep on a bench which has been pulled forward on the stage. \n \n \t\t\t\tJOF \n \t\tNight and moonlight now prevail \n \t\tHere sleeps my wife so frail ... \n \n \t\t\t\tVOICE FROM THE PUBLIC \n \t\tDoes she snore? \n \n \t\t\t\tJOF ","immediately he loses interest, hoists the waterbag on his shoulder and pats \n the GIRL on the cheek. \n \n \t\t\t\tJONS \n \t\tGoodbye, my girl. I could very well have raped \n \t\tyou, but between you and me, I'm tired of that \n \t\tkind of love. It runs a little dry in the end. \n \n He laughs kindly and walks away from her. When he has walked a short distance ","finished SKAT comes forward and bows. \n \n \t\t\t\tSKAT \n \t\tNoble ladies and gentlemen, I thank you for \n \t\tyour interest. Please remain standing for a \n \t\tlittle longer, or sit on the ground, because \n \t\twe are now going to perform a tragedia about \n \t\tan unfaithful wife, her jealous husband, and \n \t\tthe handsome lover -- that's me. \n"," \n \t\t\t\tRAVAL \n \t\tListen, you! You sit there and lie to the \n \t\tsmith. \n \n \t\t\t\tJOF \n \t\tI! A liar! \n \n \t\t\t\tRAVAL \n \t\tYou're an actor too and it's probably your \n \t\tpartner who's run off with Plog's old lady. \n \n \t\t\t\tPLOG ","with great acclaim. SKAT suddenly discovers that someone is watching him as \n he gazes contentedly into the tin bowl. A woman stands there, stately in both \n height and volume. \n \n SKAT frowns, toys with his small dagger and occasionally throws a roguish but \n fiery glance at the beautiful visitor. She suddenly discovers that one of her \n shoes doesn't quite fit. She leans down to fix it and in doing so allows her ","The Embarrassment Inn lies in the eastern section of the province. The plague \n has not yet reached this area on its way along the coast. \n \n The actors have placed their wagon under a tree in the yard of the inn. \n Dressed in colorful costumes, they perform a farce. \n \n The spectators watch the performance, commenting on it noisily. There are \n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands ","\t\tJns is my name. I am a pleasant and talkative \n \t\tyoung man who has never had anything but kind \n \t\tthoughts and has only done beautiful and noble \n \t\tdeeds. I'm kindest of all to young women. With \n \t\tthem, there is no limit to my kindness. \n \n He embraces her and tries to kiss her, but she holds herself back. Almost ","mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \n arms and receives him. He holds his hands in front of his face, moaning like \n a child, and his body sways. He kneels. MIA holds him close to her and \n sprinkles him with small, anxious questions: What have you done? How are you? \n What is it? Does it hurt? What can I do? Have they been cruel to you? She ","\t \tBetween a strumpet's legs to lie \n \t\tIs the life for which I sigh. \n \n He stops and looks at his master, but the KNIGHT hasn't heard JON'S song, or \n he pretends that he hasn't. To give further vent to his irritation, JONS \n sings even louder. \n \n \t\t\t\tJONS \n \t\t\t(sings) \n \t\tUp above is God Almighty ","he turns; the GIRL is still there. \n \n \t\t\t\tJONS \n \t\tNow that I think of it, I will need a \n \t\thousekeeper. Can you prepare good food? \n \t\t\t(the GIRL nods) \n \t\tAs far as I know, I'm still a married man, but \n \t\tI have high hopes that my wife is dead by now. \n \t\tThat's why I need a housekeeper. ","glance and breathes heavily. SKAT doesn't neglect to press kisses on her \n small, chubby hands. The sun shines brightly and small birds make noises in \n the bushes. \n \n Now she is forced to sit back; her legs seem unwilling to support her any \n longer. Bewildered, she singles out another chicken leg from the large sack \n of food and holds it up in front of SKAT with an appealing and triumphant \n expression, as if it were her maidenhood being offered as a prize.","\t\thide behind the curtain for the time being. \n \t\t\t(he wipes the sweat \n \t\t\tfrom his forehead) \n \t\tIt's damned hot. I think we'll have a \n \t\tthunderstorm. \n \n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \n makes a face as if he could see all the wonders of the world underneath it, \n and disappears behind the gaudily patched curtains.","\t\tWatch out, you perfumed slob, that I don't fart \n \t\ton you and immediately blow you down to the \n \t\tactor's own red-hot hell, where you can sit and \n \t\trecite monologues to each other until the dust \n \t\tcomes out of the Devil's ears. \n \n Then LISA throws herself around her husband's neck. \n \n \t\t\t\tLISA "],["The Embarrassment Inn lies in the eastern section of the province. The plague \n has not yet reached this area on its way along the coast. \n \n The actors have placed their wagon under a tree in the yard of the inn. \n Dressed in colorful costumes, they perform a farce. \n \n The spectators watch the performance, commenting on it noisily. There are \n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands ","\t\tcaused the pestilence with which we are \n \t\taffected. \n \n \t\t\t\tKNIGHT \n \t\tI understand. \n \n He nods resignedly and walks away. The young woman starts to moan as though \n she were having a horrible nightmare. The sound of her cries follows the two \n riders for a considerable distance down the road. \n \n \n","\t\tUp to the saints' feast at Elsinore. \n \n \t\t\t\tKNIGHT \n \t\tI wouldn't advise you to go there. \n \n \t\t\t\tJOF \n \t\tWhy not, if I may ask? \n \n \t\t\t\tKNIGHT \n \t\tThe plague has spread in that direction, \n \t\tfollowing the coast line south. It's said that ","\t\twaiting for you here. All the others have fled \n \t\tfrom the plague. \n \n The KNIGHT is silent. He looks at her. \n \n \t\t\t\tKARIN \n \t\tDon't you recognize me any more? \n \n The KNIGHT nods, silent. \n \n \t\t\t\tKARIN \n \t\tYou also have changed. \n","ride past an inlet and along verdant groves. In the shade of some large trees \n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \n under the shade of the trees but continue riding until they disappear at the \n bend of the road. \n \n \n \n In his sleep, JOF the juggler hears the neighing of his horse and the answer ","He turns his face away and looks out towards the sea and the colorless gray \n sky. \n \n \t\t\t\tKNIGHT \n \t\tAnd it will be an adequate sign -- it will be \n \t\tenough for me. \n \n He rises, nods to the others and walks down towards the forest. JOF continues \n to play on his lyre. MIA stretches out on the grass. \n \n The KNIGHT picks up his chess game and carries it towards the beach. It is ","collapsed, at the edge of the forest among the wind-gnarled fir trees. His \n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \n At the sudden gust of wind, the horses stir, stretching their parched muzzles \n towards the sea. They are as thin and worn as their masters. \n \n The KNIGHT has risen and waded into the shallow water, where he rinses his ","They all lift their heads, and when they see who is coming towards them \n through the twilight of the large room, they rise from the table and stand \n close together. \n \n \t\t\t\tKNIGHT \n \t\tGood morning, noble lord. \n \n \t\t\t\tKARIN \n \t\tI am Karin, the knight's wife, and welcome you \n \t\tcourteously to my house. \n \n \t\t\t\tPLOG ","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\twe're really in a hurry. \n \n JOF climbs up on the wagon seat quickly and clucks at the horse. \n \n \n \n The small company is on its way towards the forest and the night. \n \n It is dark in the forest. \n \n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \n close to each other in the juggler's wagon. MIA holds her son in her arms. ","\t\tonly to himself, ridiculous to all including \n \t\thimself, meaningless to Heaven and of no \n \t\tinterest to Hell. \n \n The KNIGHT walks by, calls to his squire and goes out into the bright \n sunshine. JONS manages to set himself down from the scaffolding. \n \n Outside the church, four soldiers and a monk are in the process of putting a \n woman in the stocks. Her face is pale and child-like, her head has been ","\t\t\t\tKNIGHT \n \t\tMust you sing? \n \n \t\t\t\tJONS \n \t\tNo. \n \n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \n while. The sun burns down on them cruelly, and beads of perspiration trickle \n down their faces. There is a cloud of dust around the horses' hooves. They ","\t\tfor them to look at. I have to make a living \n \t\t-- at least until the plague takes me. \n \n \t\t\t\tJONS \n \t\tThe plague. That sounds horrible. \n \n \t\t\t\tPAINTER \n \t\tYou should see the boils on a diseased man's \n \t\tthroat. You should see how his body shrivels up \n \t\tso that his legs look like knotted strings -- ","and milkmaids. A whole flock of children perch in the trees around the wagon. \n \n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \n beer and doze in the midday heat. The GIRL from the deserted village sleeps \n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \n and lively dance. They perspire under the hot white sun. When they have ","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n ","\t\t\t(the GIRL doesn't \n \t\t\tanswer but gets up) \n \t\tThe devil with it! Come along and don't stand \n \t\tthere staring. I've saved your life, so you owe \n \t\tme a great deal. \n \n She begins walking towards him, her head bent. He doesn't wait for her but \n walks towards the KNIGHT, who patiently awaits his squire. \n \n \n","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","\t\t\t\tKNIGHT \n \t\tI have a potion that will stop your pain. \n \n She shakes her head again. \n \n \t\t\t\tJONS \n \t\tWhy do you burn her at this time of night? \n \t\tPeople have so few diversions these days. \n \n \t\t\t\tSOLDIER \n \t\tSaints preserve us, be quiet! It's said that "],["The sawing continues without a pause. SKAT becomes more frightened. \n \n \t\t\t\tSKAT \n \t\tCan't you at least answer me? Politeness costs \n \t\tso little. Who are you? \n \n DEATH straightens his back and squints up at him. SKAT cries out in terror. \n \n \t\t\t\tDEATH \n \t\tI'm sawing down your tree because your time is \n \t\tup. \n ","\t\t\t\tDEATH \n \t\tYour contract is terminated. \n \n \t\t\t\tSKAT \n \t\tMy children, my family. \n \n \t\t\t\tDEATH \n \t\tShame on you, Skat! \n \n \t\t\t\tSKAT \n \t\tYes, I'm ashamed. \n \n DEATH begins to saw again. The tree creaks. \n \n \t\t\t\tSKAT ","JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \n towards the wall. \n \n \n \n The hot day has become night. Singing and howling can be heard from the inn. \n In a hollow near the forest, the light still lingers. Hidden in the grass and \n the shrubbery, nightingales sing and their voices echo through the stillness. \n \n The players' wagon stands in a small ravine, and not far away the horse ","\t\t\t\tSKAT \n \t\tIt won't do. I haven't got time. \n \n \t\t\t\tDEATH \n \t\tSo you haven't got time. \n \n \t\t\t\tSKAT \n \t\tNo, I have my performance. \n \n \t\t\t\tDEATH \n \t\tThen it's canceled because of death. \n \n \t\t\t\tSKAT \n \t\tMy contract. \n ","\t\t\t\tDEATH \n \t\tAre you going to escort the juggler and his \n \t\twife through the forest? Those whose names are \n \t\tJof and Mia and who have a small son? \n \n \t\t\t\tKNIGHT \n \t\tWhy do you ask? \n \n \t\t\t\tDEATH \n \t\tOh, no reason at all. \n ","\t\t\t(laughs contentedly) \n \t\tBut I have not forgotten. You can't get away \n \t\tthat easily. \n \n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \n him towards the road. MIA has just climbed up on the wagon. JOF takes the \n horse by the bridle and leads it down the road. DEATH notices nothing; he is \n completely occupied with reconstructing the game. \n","She becomes silent and looks wide-eyed in front of her. The mood in the yard \n in front of the inn has, up to now, been rather lighthearted despite the \n heat. \n \n Now a rapid change occurs. People who had been laughing and chattering fall \n silent. Their faces seem to pale under their sunbrowned skins, the children \n stop their games and stand with gaping mouths and frightened eyes. \n \n JOF steps out in front of the curtain. His painted face bears an expression ","SKAT hesitates momentarily, but he is still the strategist. He lets the \n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \n \n His words seem to please her. She puts her arms around the actor's neck and \n pulls him to her with such fierceness that both of them lose their balance \n and tumble down on the soft grass. The small birds take to their wings with \n frightened shrieks. \n \n \n","The Embarrassment Inn lies in the eastern section of the province. The plague \n has not yet reached this area on its way along the coast. \n \n The actors have placed their wagon under a tree in the yard of the inn. \n Dressed in colorful costumes, they perform a farce. \n \n The spectators watch the performance, commenting on it noisily. There are \n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands ","\t\tI see them, Mia! I see them! Over there against \n \t\tthe dark, stormy sky. They are all there. The \n \t\tsmith and Lisa and the knight and Raval and \n \t\tJns and Skat. And Death, the severe master, \n \t\tinvites them to dance. He tells them to hold \n \t\teach other's hands and then they must tread the \n \t\tdance in a long row. And first goes the master ","\t\tOh dear, dear, I didn't mean it that way! Look, \n \t\tthere's no life left in him. I was beginning to \n \t\tlike him, and in my opinion Lisa was much too \n \t\tspiteful. \n \n JOF leans over his colleague. \n \n \t\t\t\tJOF \n \t\tHe's dead, totally, enormously dead. In fact, \n \t\tI've never seen such a dead actor. \n","\t\tthe tricks of the theatre. \n \n \t\t\t\tJOF \n \t\tAnd that turned out to be her misfortune. \n \n \t\t\t\tPLOG \n \t\tHer misfortune, but not mine, because a person \n \t\twho's born unfortunate can hardly suffer from \n \t\tany further misfortune. Isn't that true? \n \n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \n and evil.","\t\t\t\tDEATH \n \t\tWell, there is no shame in that. \n \n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \n it around the KNIGHT'S shoulders. \n \n \t\t\t\tKNIGHT \n \t\tWait a moment. \n \n \t\t\t\tDEATH \n \t\tThat's what they all say. I grant no reprieves. \n","\t\tHey, what the devil ... it's my tree they're \n \t\tcutting down. \n \n He peers through the foliage. Below him stands a dark figure diligently \n sawing away at the base of the tree. SKAT becomes frightened and angry. \n \n \t\t\t\tSKAT \n \t\tHey, you! Do you hear me, you tricky bastard? \n \t\tWhat are you doing with my tree? \n","The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \n The air is cool and musty. Pictures of saints look down on him with stony \n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \n anguish. On the ceiling beam there is a representation of a hideous devil \n spying on a miserable human being. The KNIGHT hears a sound from the \n confession booth and approaches it. The face of DEATH appears behind the ","\t\t\t(sings) \n \t\tThe terrible night doesn't frighten me ... \n \n He interrupts himself and listens. The sound of industrious sawing is heard \n through the silence. \n \n \t\t\t\tSKAT \n \t\tWorkmen in the forest. Oh, well! \n \t\t\t(sings) \n \t\tThe terrible night doesn't frighten me ... \n \t\t\t(speaks)","The travelers depart and soon they have disappeared into the dark forest on \n the other side of the meadow. When SKAT is sure that no one can see him, he \n sits up and lifts the dagger from his breast. It is a stage dagger with a \n blade that pushes into the handle. SKAT laughs to himself. \n \n \t\t\t\tSKAT \n \t\tNow that was a good scene. I'm really a good "," \n \t\t\t\tSKAT \n \t\tHelp! \n \n DEATH saws. \n \n \t\t\t\tSKAT \n \t\tHelp! Help! \n \n The tree falls. The forest becomes silent again. \n \n \n \n Night and then dawn. \n \n The travelers have come to a sort of clearing and have collapsed on the moss. \n They lie quietly and listen to their own breathing, their heartbeats, and the ","The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \n \n \n \n Immediately after sundown, the little company gathers in the yard of the inn. \n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \n \n JONS goes into the inn to get provisions for the night journey and to have a ","DEATH shows his face at the grill of the confession booth for a moment but \n disappears instantly. \n \n \t\t\t\tKNIGHT \n \t\tYou've tricked and cheated me! But we'll meet \n \t\tagain, and I'll find a way. \n \n \t\t\t\tDEATH \n \t\t\t(invisible) \n \t\tWe'll meet at the inn, and there we'll continue \n \t\tplaying. \n"]],"string":"[\n [\n \"him in. When he comes onto the church porch he stops in surprise. To the \\n right of the entrance there is a large fresco on the wall, not quite \\n finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \\n paint-stained clothes. He has one brush in his mouth, while with another in \\n his hand he outlines a small, terrified human face amidst a sea of other \\n faces. \\n \\n \\t\\t\\t\\tJONS \",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"\\t\\tlike the man I've painted over there. \\n \\n The PAINTER points with his brush. JONS sees a small human form writhing in \\n the grass, its eyes turned upwards in a frenzied look of horror and pain. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThat looks terrible. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tIt certainly does. He tries to rip out the \",\n \"\\t\\tYou're only painting your Dance of Death. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tI'm only painting things as they are. Everyone \\n \\t\\telse can do as he likes. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tJust think how some people will curse you. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tMaybe. But then I'll paint something amusing \",\n \"\\t\\tWhat is this supposed to represent? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThe Dance of Death. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tAnd that one is Death? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYes, he dances off with all of them. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhy do you paint such nonsense? \\n \\n \\t\\t\\t\\tPAINTER \",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"but the suffering Jesus with the sores, the blood, the hammered nails and the \\n face in convulsive pain. The Son of God, nailed on the wood of the cross, \\n suffering scorn and shame. \\n \\n The penitents have now sunk down in the dirt of the road. They collapse where \\n they stood like slaughtered cattle. Their screams rise with the song of the \\n monks, through misty clouds of incense, towards the white fire of the sun. \\n \",\n \"\\t\\tboil, he bites his hands, tears his veins open \\n \\t\\twith his fingernails and his screams can be \\n \\t\\theard everywhere. Does that scare you? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tScare? Me? You don't know me. What are the \\n \\t\\thorrors you've painted over there? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThe remarkable thing is that the poor creatures\",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"\\t\\tThe rump behind you, the rump behind you \\n \\t\\tthere's a profound truth. \\n \\n JONS paints a small figure which is supposed to represent himself. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThis is squire Jns. He grins at Death, mocks \\n \\t\\tthe Lord, laughs at himself and leers at the \\n \\t\\tgirls. His world is a Jnsworld, believable \",\n \"\\t\\tI thought it would serve to remind people that \\n \\t\\tthey must die. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWell, it's not going to make them feel any \\n \\t\\thappier. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tWhy should one always make people happy? It \\n \\t\\tmight not be a bad idea to scare them a little \\n \\t\\tonce in a while. \\n\",\n \"Meanwhile, JONS and the PAINTER have got drunk and are talking animatedly \\n together. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tMe and my master have been abroad and have just \\n \\t\\tcome home. Do you understand, you little \\n \\t\\tpictor? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThe Crusade. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(drunk)\",\n \"\\t\\t\\t\\tMIA \\n \\t\\tWhat an imagination you have. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tYou don't believe me! But it was real, I tell \\n \\t\\tyou, not the kind of reality you see every day, \\n \\t\\tbut a different kind. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tPerhaps it was the kind of reality you told us \\n \\t\\tabout when you saw the Devil painting our wagon \",\n \"bursting throats. Many sway and fall, lift themselves up again, support each \\n other and help each other to intensify the scourging. \\n \\n Now the procession pauses at the crossroads in front of the inn. The monks \\n fall on their knees, hiding their faces with clenched hands, arms pressed \\n tightly together. Their song never stops. The Christ figure on its timbered \\n cross is raised above the heads of the crowd. It is not Christ triumphant, \",\n \"of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \\n yard have fallen on their knees, others hide their faces, many begin to \\n mutter half-forgotten prayers. \\n \\n All have turned their faces towards the white road. Now a shrill song is \\n heard. It is frenzied, almost a scream. A crucified Christ sways above the \\n hilltop. \\n\",\n \"walls. Silently they eat the hard bread and the salt-darkened meat. KARIN \\n sits at the head of the table and reads aloud from a thick book. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\t\\\"And when the Lamb broke the seventh seal, \\n \\t\\tthere was silence in heaven for about the space \\n \\t\\tof half an hour. And I saw the seven angels \\n \\t\\twhich stood before God; and to them were given \",\n \"\\t\\tthink the pestilence is the Lord's punishment. \\n \\t\\tMobs of people who call themselves Slaves of \\n \\t\\tSin are swarming over the country, flagellating \\n \\t\\tthemselves and others, all for the glory of God. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo they really whip themselves? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYes, it's a terrible sight. I crawl into a \",\n \"\\t\\t\\t\\tJONS \\n \\t\\tAnd if they think ... \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThey'll become still more scared. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tAnd then they'll run right into the arms of the \\n \\t\\tpriests. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThat's not my business. \\n \\n \\t\\t\\t\\tJONS \",\n \"nearly choked with rage. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhat does she see? Can you tell me? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tShe feels no more pain. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou don't answer my question. Who watches over \\n \\t\\tthat child? Is it the angels, or God, or the \"\n ],\n [\n \"towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHave you seen the Devil? \\n \\n The MONK stops reading and raises his head. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tYou must not talk to her. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCan that be so dangerous? \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tI don't know, but she is believed to have \",\n \"\\t\\tshe brings the Devil with her wherever she \\n \\t\\tgoes. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou are eight brave men, then. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tWell, we've been paid. And this is a volunteer \\n \\t\\tjob. \\n \\n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\tDevil, or only the emptiness? Emptiness, my \\n \\t\\tlord! \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis cannot be. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tLook at her eyes, my lord. Her poor brain has \\n \\t\\tjust made a discovery. Emptiness under the \\n \\t\\tmoon. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo. \\n\",\n \"\\t\\tJns is my name. I am a pleasant and talkative \\n \\t\\tyoung man who has never had anything but kind \\n \\t\\tthoughts and has only done beautiful and noble \\n \\t\\tdeeds. I'm kindest of all to young women. With \\n \\t\\tthem, there is no limit to my kindness. \\n \\n He embraces her and tries to kiss her, but she holds herself back. Almost \",\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"bound to this like an eelskin stretched out to dry. \\n \\n The sound of the hammering echoes through the forest. The KNIGHT has \\n dismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes, \\n touches her very lightly as if to waken her. Slowly she turns her face \\n towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThey say that you have been in league with the \\n \\t\\tDevil. \\n\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"\\t\\tlook after his house and try to enjoy life as \\n \\t\\tlong as he can. \\n \\n \\t\\t\\t\\tWOMAN \\n \\t\\tBut there have been other things too, such \\n \\t\\tthings that can't even be spoken of. \\n \\t\\t\\t(whispers) \\n \\t\\tThings that mustn't be named -- but the priests \\n \\t\\tsay that the woman carries it between her legs \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"generous bosom to burst out of its prison -- no more than honor and chastity \\n allow, but still enough so that the actor with his experienced eye \\n immediately sees that there are ample rewards to be had here. \\n \\n Now she comes a little closer, kneels down and opens a bundle containing \\n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \\n not to fall off the wagon in his excitement. Standing on the steps of the \",\n \"\\t\\tWatch out, you perfumed slob, that I don't fart \\n \\t\\ton you and immediately blow you down to the \\n \\t\\tactor's own red-hot hell, where you can sit and \\n \\t\\trecite monologues to each other until the dust \\n \\t\\tcomes out of the Devil's ears. \\n \\n Then LISA throws herself around her husband's neck. \\n \\n \\t\\t\\t\\tLISA \",\n \"\\t\\teven though I curse Him and want to tear Him \\n \\t\\tout of my heart? Why, in spite of everything, \\n \\t\\tis He a baffling reality that I can't shake \\n \\t\\toff? Do you hear me? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYes, I hear you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want knowledge, not faith, not suppositions, \",\n \"\\t\\t\\t\\tSOLDIER \\n \\t\\tIt's the best remedy: blood mixed with the bile \\n \\t\\tof a big black dog. The Devil can't stand the \\n \\t\\tsmell. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNeither can I. \\n \\n JONS walks over towards the horses. The KNIGHT stands for a few, moments \\n looking at the young girl. She is almost a child. Slowly she turns her eyes \",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"\\t\\tthe tricks of the theatre. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd that turned out to be her misfortune. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tHer misfortune, but not mine, because a person \\n \\t\\twho's born unfortunate can hardly suffer from \\n \\t\\tany further misfortune. Isn't that true? \\n \\n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \\n and evil.\",\n \"restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \\n Block turns around. \\n \\n Behind him stands a man in black. His face is very pale and he keeps his \\n hands hidden in the wide folds of his cloak. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWho are you? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI am Death. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"wagon, he supports himself against a nearby tree, crosses his legs and bows. \\n \\n The woman quietly bites into a chicken leg dripping with fat. At this moment \\n the actor is stricken by a radiant glance full of lustful appetites. \\n \\n When he sees this look, SKAT makes an instantaneous decision, jumps down from \\n the wagon and kneels in front of the blushing damsel. \\n \\n She becomes weak and faint from his nearness, looks at him with a glassy \",\n \"\\t\\tcries or be touched by Your sufferings. Wash \\n \\t\\tYour tears and mirror Yourself in Your \\n \\t\\tindifference. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGod, You who are somewhere, who must be \\n \\t\\tsomewhere, have mercy upon us. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tI could have given you an herb to purge you of \\n \\t\\tyour worries about eternity. Now it seems to be \",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\"\n ],\n [\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \" \\n \\n \\n The morning breeze has died down. The restless movement of the sea has \\n ceased, the water is silent. The sun rises from the haze and its glow \\n whitens. The sea gull floats under the dark cloud, frozen in space. The day \\n is already scorchingly hot. \\n \\n The squire JONS is awakened by a kick in the rear. Opening his eyes, he \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"miserable-looking dog whines incessantly as it lies flat on its stomach, \\n wagging its tail. \\n \\n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \\n When he doesn't receive an answer, he walks up to the man in order to shake \\n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \\n his hand. The man falls backward on the heath, his face turned towards JONS. \",\n \"grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \\n horse and picks up the heavy pack. \\n \\n The KNIGHT slowly rides away from the sea, into the forest near the beach and \\n up towards the road. He pretends not to hear the morning prayers of his \\n squire. JONS soon overtakes him. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(sings)\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"his horse. The travelers depart from the crossroads. TYAN finally closes her \\n eyes. \\n \\n \\n \\n The forest is now very dark. The road winds between the trees. The wagon \\n squeaks and rattles over stones and roots. A bird suddenly shrieks. \\n \\n JOF lifts his head and wakes up. He has been asleep with his arms around \\n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \\n\",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\tThe rump behind you, the rump behind you \\n \\t\\tthere's a profound truth. \\n \\n JONS paints a small figure which is supposed to represent himself. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThis is squire Jns. He grins at Death, mocks \\n \\t\\tthe Lord, laughs at himself and leers at the \\n \\t\\tgirls. His world is a Jnsworld, believable \",\n \"\\t\\talready. \\n \\n One of the soldiers approaches. Thick smoke wells down from the pyre and \\n sweeps over the quiet shadows near the crossroads and the hill. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tI've told you to be careful. Don't go too close \\n \\t\\tto her. \\n \\n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water \",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"glance and breathes heavily. SKAT doesn't neglect to press kisses on her \\n small, chubby hands. The sun shines brightly and small birds make noises in \\n the bushes. \\n \\n Now she is forced to sit back; her legs seem unwilling to support her any \\n longer. Bewildered, she singles out another chicken leg from the large sack \\n of food and holds it up in front of SKAT with an appealing and triumphant \\n expression, as if it were her maidenhood being offered as a prize.\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"He turns his face away and looks out towards the sea and the colorless gray \\n sky. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd it will be an adequate sign -- it will be \\n \\t\\tenough for me. \\n \\n He rises, nods to the others and walks down towards the forest. JOF continues \\n to play on his lyre. MIA stretches out on the grass. \\n \\n The KNIGHT picks up his chess game and carries it towards the beach. It is \",\n \"It is a corpse, staring at JONS with empty eye sockets and white teeth. \\n \\n JONS remounts and overtakes his master. He takes a drink from his waterskin \\n and hands the bag to the knight. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWell, did he show you the way? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNot exactly. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"JONS follows them with his heavily laden horse. He has the smith in tow. The \\n GIRL sits on top of the load on the horse's back, hunched over as if asleep. \\n \\n The footsteps, the horses' heavy tramp on the soft path, the human breathing \\n -- yet it is quiet. \\n \\n Then the moon sails out of the clouds. The forest suddenly becomes alive with \\n the night's unreality. The dazzling light pours through the thick foliage of \"\n ],\n [\n \"He has picked up the juggling balls and slowly begins to toss them. Then he \\n stands on his head and cackles like a hen. Suddenly he stops and sits down \\n with a look of utter astonishment on his face. The wind causes the trees to \\n sway slightly. The leaves stir and there is a soft murmur. The flowers and \\n the grass bend gracefully, and somewhere a bird raises its voice in a long \\n warble. \\n \\n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed \",\n \"\\t\\twe're really in a hurry. \\n \\n JOF climbs up on the wagon seat quickly and clucks at the horse. \\n \\n \\n \\n The small company is on its way towards the forest and the night. \\n \\n It is dark in the forest. \\n \\n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \\n close to each other in the juggler's wagon. MIA holds her son in her arms. \",\n \"trees. He takes a drink of water, gargles, stretches and talks to his scrawny \\n old horse. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tGood morning. Have you had breakfast? I can't \\n \\t\\teat grass, worse luck. Can't you teach me how? \\n \\t\\tWe're a little hard up. People aren't very \\n \\t\\tinterested in juggling in this part of the \\n \\t\\tcountry. \\n\",\n \"JOF gets up carefully and disappears into the darkness behind the trees. MIA \\n remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \\n and the chess game. She holds her son in her arms. Now JOF returns. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI have harnessed the horse. The wagon is \\n \\t\\tstanding near the big tree. You go first and \\n \\t\\tI'll follow you with the packs. See that Mikael \",\n \"ride past an inlet and along verdant groves. In the shade of some large trees \\n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \\n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \\n under the shade of the trees but continue riding until they disappear at the \\n bend of the road. \\n \\n \\n \\n In his sleep, JOF the juggler hears the neighing of his horse and the answer \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tI only become frightened and angry. I never get \\n \\t\\ta chance to hit back. I can get angry, you know \\n \\t\\tthat. I roared like a lion. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWere they frightened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, they just laughed. \\n \\n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls \",\n \"left off. MIA and JOF decide that it would be wisest to leave the wagon. They \\n sit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \\n vigorously. JOF sits close to his wife. Slumped over, he still looks dazed \\n and astonished. A dry, hot wind blows from the sea. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tIf we would only get some rain. Everything is \",\n \"from a distance. He tries to go on sleeping, but it is stifling inside the \\n wagon. The rays of the sun filtering through the canvas cast streaks of light \\n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \\n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \\n snores loudly. \\n \\n JOF crawls out of the wagon. There is still a spot of shade under the big \",\n \"\\t\\thide behind the curtain for the time being. \\n \\t\\t\\t(he wipes the sweat \\n \\t\\t\\tfrom his forehead) \\n \\t\\tIt's damned hot. I think we'll have a \\n \\t\\tthunderstorm. \\n \\n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \\n makes a face as if he could see all the wonders of the world underneath it, \\n and disappears behind the gaudily patched curtains.\",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"immediately he loses interest, hoists the waterbag on his shoulder and pats \\n the GIRL on the cheek. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tGoodbye, my girl. I could very well have raped \\n \\t\\tyou, but between you and me, I'm tired of that \\n \\t\\tkind of love. It runs a little dry in the end. \\n \\n He laughs kindly and walks away from her. When he has walked a short distance \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"\\t\\tditch and hide when they pass by. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo you have any brandy? I've been drinking \\n \\t\\twater all day and it's made me as thirsty as a \\n \\t\\tcamel in the desert. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tI think I frightened you after all. \\n \\n JONS sits down with the PAINTER, who produces a jug of brandy. \\n \\n\",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"\\t\\tIt is the end. \\n \\n \\n \\n JOF and MIA sit close together and listen to the rain tapping lightly on the \\n wagon canvas, a sound which diminishes until finally there are only single \\n drops. \\n \\n They crawl out of their hiding place. The wagon stands on a height above a \\n slope, protected by an enormous tree. They look across ridges, forests, the \\n wide plains, and the sea, which glistens in the sunlight breaking through the \\n clouds. \\n \",\n \"\\t\\t\\t\\tJONS \\n \\t\\tWe stand powerless, our arms hanging at our \\n \\t\\tsides, because we see what she sees, and our \\n \\t\\tterror and hers are the same. \\n \\t\\t\\t(an outburst) \\n \\t\\tThat poor little child. I can't stand it, I \\n \\t\\tcan't stand it ... \\n \\n His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\",\n \"\\t\\tstart doing tricks again and that's more \\n \\t\\ttrouble than it's worth. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tDo you do tricks also? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWe certainly do. And Jof is a very skillful \\n \\t\\tjuggler. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIs Mikael going to be an acrobat? \\n\",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMikael will grow up to be a great acrobat -- or \\n \\t\\ta juggler who can do the one impossible trick. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhat's that? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tTo make one of the balls stand absolutely still \\n \\t\\tin the air. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tBut that's impossible.\",\n \"\\t \\tfire and died from it, but the priests say that \\n \\t\\tit's better to die pure than to live for hell. \\n \\n \\t\\t\\t\\tMERCHANT \\n \\t\\tThis is the end, yes, it is. No one says it out \\n \\t\\tloud, but all of us know that it's the end. And \\n \\t\\tpeople are going mad from fear. \\n \\n \\t\\t\\t\\tFARMER \\n \\t\\tSo you're afraid too. \\n\"\n ],\n [\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tI am going to die. I. I. I! What will happen to \\n \\t\\tme! Can no one console me? Haven't you any \\n \\t\\tcompassion? Can't you see that I ... \\n \\n His words are choked off by a gurgling sound. He disappears in the darkness \\n behind the fallen tree. It becomes quiet for a few moments. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\t\\t(whispers) \",\n \"\\t\\tI don't want to die! I don't want to! \\n \\n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \\n eyes bulge wildly and his mouth is ringed with foam. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you have pity on me? Help me! At least \\n \\t\\ttalk to me. \\n \\n No one answers. The trees sigh. RAVAL begins to cry. \\n\",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tDo you have some water? \\n \\n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \\n but his voice is heard again. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you give me a little water? \\n \\t\\t\\t(pause) \\n \\t\\tI have the plague. \\n \\n \\t\\t\\t\\tJONS \",\n \"RAVAL smiles anxiously. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhen I see you, I suddenly understand the \\n \\t\\tmeaning of these ten years, which previously \\n \\t\\tseemed to me such a waste. Our life was too \\n \\t\\tgood and we were too satisfied with ourselves. \\n \\t\\tThe Lord wanted to punish us for our \\n \\t\\tcomplacency. That is why He sent you to spew \",\n \"\\t\\tnow and never come back. \\n \\n JOF looks from one face to another, but no one seems ready to help him or \\n come to his defense. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tGet up so everyone can hear you. Talk louder. \\n \\n Trembling, JOF rises. He opens his mouth as if to say something, but not a \\n word comes out. \\n \\n \\t\\t\\t\\tRAVAL \",\n \"\\t\\tthe tricks of the theatre. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd that turned out to be her misfortune. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tHer misfortune, but not mine, because a person \\n \\t\\twho's born unfortunate can hardly suffer from \\n \\t\\tany further misfortune. Isn't that true? \\n \\n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \\n and evil.\",\n \"With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \\n kick so that he falls on the floor and is about to finish him off. Suddenly \\n the GIRL screams. JONS stops and makes a gesture of generosity with his hand. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tBy all means. I'm not bloodthirsty. \\n \\n He bends over RAVAL. \\n \\n \\t\\t\\t\\tRAVEL \",\n \"dressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \\n his face perspiring heavily. RAVAL rolls an armlet out on the table. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDo you want this armlet? You can have it \\n \\t\\tcheap. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI can't afford it. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tIt's real silver.\",\n \"out. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \\n each other. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo you remember what I was going to do to you \\n \\t\\tif we met again? \\n \\n RAVAL steps back without speaking. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tI'm a man who keeps his word. \\n\",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \\n him. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDon't lie there moaning. Get up and dance. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI don't want to. I can't. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tShow us how you imitate a bear. \\n \\n \\t\\t\\t\\tJOF \",\n \"\\t\\tmeaningless. I tell you that it's meaningless. \\n \\t\\tCan't you hear that I'm consoling you? \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tHelp me, help me! \\n \\n No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \\n frightened child's. His sudden scream is cut off in the middle. Then it \\n becomes quiet. \\n \",\n \"\\t\\tof us has to save his own skin. It's as simple \\n \\t\\tas that. \\n \\n \\t\\t\\t\\tGIRL \\n \\t\\tDon't touch me. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDon't try to scream. There's no one around to \\n \\t\\thear you, neither God nor man. \\n \\n Slowly he closes the door behind the GIRL. The stuffy room is now in almost \",\n \"\\t\\tDon't come here. If you do I'll slit your \\n \\t\\tthroat. Keep to the other side of the tree. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tI'm afraid of death. \\n \\n No one answers. There is complete silence. RAVAL gasps heavily for air. The \\n dry leaves rustle with his movements. \\n \\n \\t\\t\\t\\tRAVEL \",\n \" \\n \\t\\t\\t\\tRAVAL \\n \\t\\tListen, you! You sit there and lie to the \\n \\t\\tsmith. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI! A liar! \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tYou're an actor too and it's probably your \\n \\t\\tpartner who's run off with Plog's old lady. \\n \\n \\t\\t\\t\\tPLOG \",\n \"\\t\\t\\t\\tRAVEL \\n \\t\\tWhy do you look so surprised? I steal from the \\n \\t\\tdead. These days it's quite a lucrative \\n \\t\\tenterprise. \\n \\n The GIRL makes a movement as if to run away. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tYou're thinking of running to the village and \\n \\t\\ttelling. That wouldn't serve any purpose. Each \",\n \"\\t\\tWe have a deep well with cool, fresh water. \\n \\t\\tCome, I'll show you. \\n \\n They walk out of the house. RAVAL lies still for a few moments, then he rises \\n slowly and looks around. When no one is in sight, he takes his bag and steals \\n away. JONS quenches his thirst and fills his bag with water. The GIRL helps \\n him. \\n \\n \\t\\t\\t\\tJONS \",\n \"\\t\\tI can't play a bear. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tLet's see if you can't after all. \\n \\n RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \\n his cheeks and forehead, frightened half to death. He begins to jump and hop \\n on top of the tables, swinging his arms and legs and making grotesque faces. \\n Some laugh, but most of the people sit silently. JOF gasps as if his lungs \",\n \"\\t\\tAm I not right? \\n \\n The GIRL stands immobile. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou were the one who, ten years ago, convinced \\n \\t\\tmy master of the necessity to join a better- \\n \\t\\tclass crusade to the Holy Land. \\n \\n RAVAL looks around. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou look uncomfortable. Do you have a stomach- \\n \\t\\tache? \\n\",\n \"\\t\\tHow strange -- you've turned pale. Have you \\n \\t\\tanything on your conscience? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tYou're funny. Don't you think he's funny? \\n \\t\\t\\t(to Plog) \\n \\t\\tOh, you don't. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tMaybe we should mark you up a little with a \"\n ],\n [\n \"restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \\n Block turns around. \\n \\n Behind him stands a man in black. His face is very pale and he keeps his \\n hands hidden in the wide folds of his cloak. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWho are you? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI am Death. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tWell, there is no shame in that. \\n \\n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \\n it around the KNIGHT'S shoulders. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWait a moment. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat's what they all say. I grant no reprieves. \\n\",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \",\n \"DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \\n DEATH. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tNow I take your queen. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI didn't notice that. \\n \\n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \\n which seem to have a life of their own. \\n\",\n \"DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou drew black! \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tVery appropriate. Don't you think so? \\n \\n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \\n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \\n pawn.\",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tYes, I do. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat are you waiting for? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want knowledge. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou want guarantees? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCall it whatever you like. Is it so cruelly \",\n \"the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat have you done with the child? \\n \\n DEATH turns around and looks at him. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDon't you ever stop asking questions? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo, I'll never stop. \\n\",\n \"The sawing continues without a pause. SKAT becomes more frightened. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tCan't you at least answer me? Politeness costs \\n \\t\\tso little. Who are you? \\n \\n DEATH straightens his back and squints up at him. SKAT cries out in terror. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'm sawing down your tree because your time is \\n \\t\\tup. \\n \",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"\\t\\twith fear and disgust. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThrough my indifference to my fellow men, I \\n \\t\\thave isolated myself from their company. Now I \\n \\t\\tlive in a world of phantoms. I am imprisoned in \\n \\t\\tmy dreams and fantasies. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tAnd yet you don't want to die. \",\n \"\\t\\teven though I curse Him and want to tear Him \\n \\t\\tout of my heart? Why, in spite of everything, \\n \\t\\tis He a baffling reality that I can't shake \\n \\t\\toff? Do you hear me? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYes, I hear you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want knowledge, not faith, not suppositions, \",\n \"\\t\\tDeath visited me this morning. We are playing \\n \\t\\tchess together. This reprieve gives me the \\n \\t\\tchance to arrange an urgent matter. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat matter is that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tMy life has been a futile pursuit, a wandering, \\n \\t\\ta great deal of talk without meaning. I feel no \",\n \"\\t\\tlast moment of life and look towards the \\n \\t\\tdarkness. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhen that day comes ... \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIn our fear, we make an image, and that image \\n \\t\\twe call God. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are worrying ... \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tHe is alone. You mustn't frighten me this way. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, no, he isn't alone. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho is it, then? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tDeath. He is sitting there playing chess with \\n \\t\\tDeath himself. \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tI have my reasons. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat is your privilege. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe condition is that I may live as long as I \\n \\t\\thold out against you. If I win, you will \\n \\t\\trelease me. Is it agreed? \\n \\n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \",\n \"\\t\\tdoesn't wake up. \\n \\n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \\n his game. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIt is your move, Antonius Block. \\n \\n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \\n wagon. JOF bends down to pick up the pack and follows at a distance. \\n \\n \\t\\t\\t\\tDEATH \"\n ],\n [\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tNo one, nothing, no one? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tNo. \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tCan't you see him behind your back? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(looks around) \\n \\t\\tNo, there is no one there. \\n\",\n \"no one appears he enters. It is very dark inside and his foot touches a soft \\n object. He looks down. Beside the whitewashed fireplace, a woman is lying \\n with her face to the ground. \\n \\n At the sound of approaching steps, JONS quickly hides behind the door. A man \\n comes down a ladder from the loft. He is broad and thick-set. His eyes are \\n black and his face is pale and puffy. His clothes are well cut but dirty and \",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"She shivers as if she had a fever. They pull the blankets over them and lie \\n closely together. The wagon canvas flutters and beats in the wind. The roar \\n outside is like a giant bellowing. \\n \\n \\n \\n The castle is silhouetted like a black boulder against the heavy dawn. Now \\n the storm moves there, throwing itself powerfully against walls and \\n abutments. The sky darkens; it is almost like night. \\n\",\n \"\\t\\tDevil, or only the emptiness? Emptiness, my \\n \\t\\tlord! \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis cannot be. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tLook at her eyes, my lord. Her poor brain has \\n \\t\\tjust made a discovery. Emptiness under the \\n \\t\\tmoon. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo. \\n\",\n \"\\t\\tgreat mountain burning with fire was cast into \\n \\t\\tthe sea; and a third part of the sea became \\n \\t\\tblood ...\\\" \\n \\n Steps are heard on the stairs. JONS returns and sits down silently at his \\n place but does not continue to eat. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWas someone there? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo, my lord. I saw no one. \\n\",\n \"restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \\n Block turns around. \\n \\n Behind him stands a man in black. His face is very pale and he keeps his \\n hands hidden in the wide folds of his cloak. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWho are you? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI am Death. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\tJns is my name. I am a pleasant and talkative \\n \\t\\tyoung man who has never had anything but kind \\n \\t\\tthoughts and has only done beautiful and noble \\n \\t\\tdeeds. I'm kindest of all to young women. With \\n \\t\\tthem, there is no limit to my kindness. \\n \\n He embraces her and tries to kiss her, but she holds herself back. Almost \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tHe is alone. You mustn't frighten me this way. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, no, he isn't alone. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho is it, then? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tDeath. He is sitting there playing chess with \\n \\t\\tDeath himself. \\n\",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"They all lift their heads, and when they see who is coming towards them \\n through the twilight of the large room, they rise from the table and stand \\n close together. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood morning, noble lord. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI am Karin, the knight's wife, and welcome you \\n \\t\\tcourteously to my house. \\n \\n \\t\\t\\t\\tPLOG \",\n \"towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHave you seen the Devil? \\n \\n The MONK stops reading and raises his head. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tYou must not talk to her. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCan that be so dangerous? \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tI don't know, but she is believed to have \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"wind in the tree tops. Here the forest is wild and impenetrable. Huge \\n boulders stick up out of the ground like the heads of black giants. A fallen \\n tree lies like a mighty barrier between light and shadow. \\n \\n MIA, JOF and their child have sat down apart from the others. They look at \\n the light of the moon, which is no longer full and dead but mysterious and \\n unstable. The KNIGHT sits bent over his chess game. LISA cries quietly behind \",\n \"\\t\\tdoesn't wake up. \\n \\n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \\n his game. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIt is your move, Antonius Block. \\n \\n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \\n wagon. JOF bends down to pick up the pack and follows at a distance. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\t\\t(sings) \\n \\t\\tThe terrible night doesn't frighten me ... \\n \\n He interrupts himself and listens. The sound of industrious sawing is heard \\n through the silence. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tWorkmen in the forest. Oh, well! \\n \\t\\t\\t(sings) \\n \\t\\tThe terrible night doesn't frighten me ... \\n \\t\\t\\t(speaks)\",\n \"last mug of beer. The inn is now empty and quiet except for a few farmhands \\n and maidens who are eating their evening meal in a corner. At one of the \\n small windows sits a lonely, hunched-over fellow, with a jug of brandy in his \\n hands. His expression is very sad. Once in a while he is shaken by a gigantic \\n sob. It is PLOG, the smith, who sits there and whimpers. \\n \\n \\t\\t\\t\\tJONS \"\n ],\n [\n \"towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHave you seen the Devil? \\n \\n The MONK stops reading and raises his head. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tYou must not talk to her. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCan that be so dangerous? \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tI don't know, but she is believed to have \",\n \"generous bosom to burst out of its prison -- no more than honor and chastity \\n allow, but still enough so that the actor with his experienced eye \\n immediately sees that there are ample rewards to be had here. \\n \\n Now she comes a little closer, kneels down and opens a bundle containing \\n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \\n not to fall off the wagon in his excitement. Standing on the steps of the \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"nearly choked with rage. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhat does she see? Can you tell me? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tShe feels no more pain. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou don't answer my question. Who watches over \\n \\t\\tthat child? Is it the angels, or God, or the \",\n \"from the skin and gives it to TYAN. Then he gives her a potion. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tTake this and it will stop the pain. \\n \\n Smoke billows down over them and they begin to cough. The soldiers step \\n forward and raise the ladder against a nearby fir tree. TYAN hangs there \\n motionlessly, her eyes wide open. \\n \\n The KNIGHT straightens up and stands immobile. JONS is behind him, his voice \",\n \"but the suffering Jesus with the sores, the blood, the hammered nails and the \\n face in convulsive pain. The Son of God, nailed on the wood of the cross, \\n suffering scorn and shame. \\n \\n The penitents have now sunk down in the dirt of the road. They collapse where \\n they stood like slaughtered cattle. Their screams rise with the song of the \\n monks, through misty clouds of incense, towards the white fire of the sun. \\n \",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"\\t\\tcries or be touched by Your sufferings. Wash \\n \\t\\tYour tears and mirror Yourself in Your \\n \\t\\tindifference. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGod, You who are somewhere, who must be \\n \\t\\tsomewhere, have mercy upon us. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tI could have given you an herb to purge you of \\n \\t\\tyour worries about eternity. Now it seems to be \",\n \"\\t\\tJns is my name. I am a pleasant and talkative \\n \\t\\tyoung man who has never had anything but kind \\n \\t\\tthoughts and has only done beautiful and noble \\n \\t\\tdeeds. I'm kindest of all to young women. With \\n \\t\\tthem, there is no limit to my kindness. \\n \\n He embraces her and tries to kiss her, but she holds herself back. Almost \",\n \"mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \\n arms and receives him. He holds his hands in front of his face, moaning like \\n a child, and his body sways. He kneels. MIA holds him close to her and \\n sprinkles him with small, anxious questions: What have you done? How are you? \\n What is it? Does it hurt? What can I do? Have they been cruel to you? She \",\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"with great acclaim. SKAT suddenly discovers that someone is watching him as \\n he gazes contentedly into the tin bowl. A woman stands there, stately in both \\n height and volume. \\n \\n SKAT frowns, toys with his small dagger and occasionally throws a roguish but \\n fiery glance at the beautiful visitor. She suddenly discovers that one of her \\n shoes doesn't quite fit. She leans down to fix it and in doing so allows her \",\n \"\\t\\tlook after his house and try to enjoy life as \\n \\t\\tlong as he can. \\n \\n \\t\\t\\t\\tWOMAN \\n \\t\\tBut there have been other things too, such \\n \\t\\tthings that can't even be spoken of. \\n \\t\\t\\t(whispers) \\n \\t\\tThings that mustn't be named -- but the priests \\n \\t\\tsay that the woman carries it between her legs \",\n \"wagon, he supports himself against a nearby tree, crosses his legs and bows. \\n \\n The woman quietly bites into a chicken leg dripping with fat. At this moment \\n the actor is stricken by a radiant glance full of lustful appetites. \\n \\n When he sees this look, SKAT makes an instantaneous decision, jumps down from \\n the wagon and kneels in front of the blushing damsel. \\n \\n She becomes weak and faint from his nearness, looks at him with a glassy \",\n \"glance and breathes heavily. SKAT doesn't neglect to press kisses on her \\n small, chubby hands. The sun shines brightly and small birds make noises in \\n the bushes. \\n \\n Now she is forced to sit back; her legs seem unwilling to support her any \\n longer. Bewildered, she singles out another chicken leg from the large sack \\n of food and holds it up in front of SKAT with an appealing and triumphant \\n expression, as if it were her maidenhood being offered as a prize.\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \\n yard have fallen on their knees, others hide their faces, many begin to \\n mutter half-forgotten prayers. \\n \\n All have turned their faces towards the white road. Now a shrill song is \\n heard. It is frenzied, almost a scream. A crucified Christ sways above the \\n hilltop. \\n\",\n \"\\t\\tshe brings the Devil with her wherever she \\n \\t\\tgoes. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou are eight brave men, then. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tWell, we've been paid. And this is a volunteer \\n \\t\\tjob. \\n \\n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"bursting throats. Many sway and fall, lift themselves up again, support each \\n other and help each other to intensify the scourging. \\n \\n Now the procession pauses at the crossroads in front of the inn. The monks \\n fall on their knees, hiding their faces with clenched hands, arms pressed \\n tightly together. Their song never stops. The Christ figure on its timbered \\n cross is raised above the heads of the crowd. It is not Christ triumphant, \"\n ],\n [\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\tUp to the saints' feast at Elsinore. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI wouldn't advise you to go there. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tWhy not, if I may ask? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe plague has spread in that direction, \\n \\t\\tfollowing the coast line south. It's said that \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"\\t\\twaiting for you here. All the others have fled \\n \\t\\tfrom the plague. \\n \\n The KNIGHT is silent. He looks at her. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tDon't you recognize me any more? \\n \\n The KNIGHT nods, silent. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tYou also have changed. \\n\",\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"They all lift their heads, and when they see who is coming towards them \\n through the twilight of the large room, they rise from the table and stand \\n close together. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood morning, noble lord. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI am Karin, the knight's wife, and welcome you \\n \\t\\tcourteously to my house. \\n \\n \\t\\t\\t\\tPLOG \",\n \" \\n \\n \\n The morning breeze has died down. The restless movement of the sea has \\n ceased, the water is silent. The sun rises from the haze and its glow \\n whitens. The sea gull floats under the dark cloud, frozen in space. The day \\n is already scorchingly hot. \\n \\n The squire JONS is awakened by a kick in the rear. Opening his eyes, he \",\n \"\\t\\twe're really in a hurry. \\n \\n JOF climbs up on the wagon seat quickly and clucks at the horse. \\n \\n \\n \\n The small company is on its way towards the forest and the night. \\n \\n It is dark in the forest. \\n \\n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \\n close to each other in the juggler's wagon. MIA holds her son in her arms. \",\n \"The Embarrassment Inn lies in the eastern section of the province. The plague \\n has not yet reached this area on its way along the coast. \\n \\n The actors have placed their wagon under a tree in the yard of the inn. \\n Dressed in colorful costumes, they perform a farce. \\n \\n The spectators watch the performance, commenting on it noisily. There are \\n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \",\n \"his horse. The travelers depart from the crossroads. TYAN finally closes her \\n eyes. \\n \\n \\n \\n The forest is now very dark. The road winds between the trees. The wagon \\n squeaks and rattles over stones and roots. A bird suddenly shrieks. \\n \\n JOF lifts his head and wakes up. He has been asleep with his arms around \\n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \\n\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\tremains of corpses scattered all over the \\n \\t\\tplace. Yesterday afternoon there were as many \\n \\t\\tas four suns in the heavens. \\n \\n The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \\n towards its master, who is sleeping in a sitting position in the blazing hot \\n sun. A black cloud of flies clusters around his head and shoulders. The \",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"\\t\\tSo very far away, \\n \\t\\tBut your brother the Devil \\n \\t\\tYou will meet on every level. \\n \\n JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \\n horse, JONS'S own horse and JONS himself know all the songs by heart. The \\n long, dusty journey from the Holy Land hasn't made them any cleaner. They \",\n \"\\t\\tthink the pestilence is the Lord's punishment. \\n \\t\\tMobs of people who call themselves Slaves of \\n \\t\\tSin are swarming over the country, flagellating \\n \\t\\tthemselves and others, all for the glory of God. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo they really whip themselves? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYes, it's a terrible sight. I crawl into a \"\n ],\n [\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHave you seen the Devil? \\n \\n The MONK stops reading and raises his head. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tYou must not talk to her. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCan that be so dangerous? \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tI don't know, but she is believed to have \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"The GIRL sinks down and hides her face in her hands. JONS places his hand on \\n her shoulder. \\n \\n \\n 16 \\n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tShall we play our game to the end? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYour move! \\n\",\n \"They all lift their heads, and when they see who is coming towards them \\n through the twilight of the large room, they rise from the table and stand \\n close together. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood morning, noble lord. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI am Karin, the knight's wife, and welcome you \\n \\t\\tcourteously to my house. \\n \\n \\t\\t\\t\\tPLOG \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tYou can see him anytime. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHow? \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tYou must do as I tell you. \\n \\n The KNIGHT grips the wooden rail of the cart so tightly that his knuckles \\n whiten. TYAN leans forward and joins her gaze with his. \\n \\n \\t\\t\\t\\tTYAN \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"\\t\\talready. \\n \\n One of the soldiers approaches. Thick smoke wells down from the pyre and \\n sweeps over the quiet shadows near the crossroads and the hill. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tI've told you to be careful. Don't go too close \\n \\t\\tto her. \\n \\n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tWho did? \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tAsk the monk. \\n \\n The soldiers pull the iron and the chains. TYAN'S shaven head sways, gleaming \\n in the moonlight. Her blackened mouth opens as if to scream, but no sound \\n emerges. They take her down from the cart and lead her towards the ladder and \",\n \"\\t\\tshe brings the Devil with her wherever she \\n \\t\\tgoes. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tYou are eight brave men, then. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tWell, we've been paid. And this is a volunteer \\n \\t\\tjob. \\n \\n The SOLDIER speaks in whispers while glancing anxiously at the WITCH. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tNo one, nothing, no one? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tNo. \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tCan't you see him behind your back? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(looks around) \\n \\t\\tNo, there is no one there. \\n\",\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tI have my reasons. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat is your privilege. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe condition is that I may live as long as I \\n \\t\\thold out against you. If I win, you will \\n \\t\\trelease me. Is it agreed? \\n \\n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \",\n \"the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat have you done with the child? \\n \\n DEATH turns around and looks at him. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDon't you ever stop asking questions? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo, I'll never stop. \\n\",\n \"\\t\\t\\t\\tSOLDIER \\n \\t\\tIt's the best remedy: blood mixed with the bile \\n \\t\\tof a big black dog. The Devil can't stand the \\n \\t\\tsmell. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNeither can I. \\n \\n JONS walks over towards the horses. The KNIGHT stands for a few, moments \\n looking at the young girl. She is almost a child. Slowly she turns her eyes \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"He turns his face away and looks out towards the sea and the colorless gray \\n sky. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd it will be an adequate sign -- it will be \\n \\t\\tenough for me. \\n \\n He rises, nods to the others and walks down towards the forest. JOF continues \\n to play on his lyre. MIA stretches out on the grass. \\n \\n The KNIGHT picks up his chess game and carries it towards the beach. It is \"\n ],\n [\n \"\\t\\tthe tricks of the theatre. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd that turned out to be her misfortune. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tHer misfortune, but not mine, because a person \\n \\t\\twho's born unfortunate can hardly suffer from \\n \\t\\tany further misfortune. Isn't that true? \\n \\n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \\n and evil.\",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"dressed in his costume. Opposite him sits RAVAL, leaning slightly forward, \\n his face perspiring heavily. RAVAL rolls an armlet out on the table. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDo you want this armlet? You can have it \\n \\t\\tcheap. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI can't afford it. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tIt's real silver.\",\n \"PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \\n him. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDon't lie there moaning. Get up and dance. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI don't want to. I can't. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tShow us how you imitate a bear. \\n \\n \\t\\t\\t\\tJOF \",\n \"out. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \\n each other. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo you remember what I was going to do to you \\n \\t\\tif we met again? \\n \\n RAVAL steps back without speaking. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tI'm a man who keeps his word. \\n\",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tDo you have some water? \\n \\n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \\n but his voice is heard again. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you give me a little water? \\n \\t\\t\\t(pause) \\n \\t\\tI have the plague. \\n \\n \\t\\t\\t\\tJONS \",\n \"\\t\\tnow and never come back. \\n \\n JOF looks from one face to another, but no one seems ready to help him or \\n come to his defense. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tGet up so everyone can hear you. Talk louder. \\n \\n Trembling, JOF rises. He opens his mouth as if to say something, but not a \\n word comes out. \\n \\n \\t\\t\\t\\tRAVAL \",\n \"With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \\n kick so that he falls on the floor and is about to finish him off. Suddenly \\n the GIRL screams. JONS stops and makes a gesture of generosity with his hand. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tBy all means. I'm not bloodthirsty. \\n \\n He bends over RAVAL. \\n \\n \\t\\t\\t\\tRAVEL \",\n \"\\t\\tI can't play a bear. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tLet's see if you can't after all. \\n \\n RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \\n his cheeks and forehead, frightened half to death. He begins to jump and hop \\n on top of the tables, swinging his arms and legs and making grotesque faces. \\n Some laugh, but most of the people sit silently. JOF gasps as if his lungs \",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tI am going to die. I. I. I! What will happen to \\n \\t\\tme! Can no one console me? Haven't you any \\n \\t\\tcompassion? Can't you see that I ... \\n \\n His words are choked off by a gurgling sound. He disappears in the darkness \\n behind the fallen tree. It becomes quiet for a few moments. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\t\\t(whispers) \",\n \"RAVAL smiles anxiously. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhen I see you, I suddenly understand the \\n \\t\\tmeaning of these ten years, which previously \\n \\t\\tseemed to me such a waste. Our life was too \\n \\t\\tgood and we were too satisfied with ourselves. \\n \\t\\tThe Lord wanted to punish us for our \\n \\t\\tcomplacency. That is why He sent you to spew \",\n \"He has picked up the juggling balls and slowly begins to toss them. Then he \\n stands on his head and cackles like a hen. Suddenly he stops and sits down \\n with a look of utter astonishment on his face. The wind causes the trees to \\n sway slightly. The leaves stir and there is a soft murmur. The flowers and \\n the grass bend gracefully, and somewhere a bird raises its voice in a long \\n warble. \\n \\n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed \",\n \"\\t\\tI don't want to die! I don't want to! \\n \\n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \\n eyes bulge wildly and his mouth is ringed with foam. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you have pity on me? Help me! At least \\n \\t\\ttalk to me. \\n \\n No one answers. The trees sigh. RAVAL begins to cry. \\n\",\n \"ride past an inlet and along verdant groves. In the shade of some large trees \\n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \\n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \\n under the shade of the trees but continue riding until they disappear at the \\n bend of the road. \\n \\n \\n \\n In his sleep, JOF the juggler hears the neighing of his horse and the answer \",\n \" \\n \\t\\t\\t\\tRAVAL \\n \\t\\tListen, you! You sit there and lie to the \\n \\t\\tsmith. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI! A liar! \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tYou're an actor too and it's probably your \\n \\t\\tpartner who's run off with Plog's old lady. \\n \\n \\t\\t\\t\\tPLOG \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMikael will grow up to be a great acrobat -- or \\n \\t\\ta juggler who can do the one impossible trick. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhat's that? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tTo make one of the balls stand absolutely still \\n \\t\\tin the air. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tBut that's impossible.\",\n \"trees. He takes a drink of water, gargles, stretches and talks to his scrawny \\n old horse. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tGood morning. Have you had breakfast? I can't \\n \\t\\teat grass, worse luck. Can't you teach me how? \\n \\t\\tWe're a little hard up. People aren't very \\n \\t\\tinterested in juggling in this part of the \\n \\t\\tcountry. \\n\",\n \"\\t\\tstart doing tricks again and that's more \\n \\t\\ttrouble than it's worth. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tDo you do tricks also? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWe certainly do. And Jof is a very skillful \\n \\t\\tjuggler. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIs Mikael going to be an acrobat? \\n\",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"\\t\\tDon't come here. If you do I'll slit your \\n \\t\\tthroat. Keep to the other side of the tree. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tI'm afraid of death. \\n \\n No one answers. There is complete silence. RAVAL gasps heavily for air. The \\n dry leaves rustle with his movements. \\n \\n \\t\\t\\t\\tRAVEL \"\n ],\n [\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"ride past an inlet and along verdant groves. In the shade of some large trees \\n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \\n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \\n under the shade of the trees but continue riding until they disappear at the \\n bend of the road. \\n \\n \\n \\n In his sleep, JOF the juggler hears the neighing of his horse and the answer \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tThank you, I don't want anything. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\t\\t(housewifely) \\n \\t\\tI picked a basket of wild strawberries this \\n \\t\\tafternoon. And we have a drop of milk fresh \\n \\t\\tfrom a cow ... \\n \\n \\t\\t\\t\\tJOF \\n \\t\\t... that we were allowed to milk. So, if you \",\n \"He turns his face away and looks out towards the sea and the colorless gray \\n sky. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd it will be an adequate sign -- it will be \\n \\t\\tenough for me. \\n \\n He rises, nods to the others and walks down towards the forest. JOF continues \\n to play on his lyre. MIA stretches out on the grass. \\n \\n The KNIGHT picks up his chess game and carries it towards the beach. It is \",\n \"glance and breathes heavily. SKAT doesn't neglect to press kisses on her \\n small, chubby hands. The sun shines brightly and small birds make noises in \\n the bushes. \\n \\n Now she is forced to sit back; her legs seem unwilling to support her any \\n longer. Bewildered, she singles out another chicken leg from the large sack \\n of food and holds it up in front of SKAT with an appealing and triumphant \\n expression, as if it were her maidenhood being offered as a prize.\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\tWe were newly married and we played together. \\n \\t\\tWe laughed a great deal. I wrote songs to her \\n \\t\\teyes, to her nose, to her beautiful little \\n \\t\\tears. We went hunting together and at night we \\n \\t\\tdanced. The house was full of life ... \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tDo you want some more strawberries? \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"\\t\\tThese are wild strawberries from the forest. I \\n \\t\\thave never seen such large ones. They grow up \\n \\t\\tthere on the hillside. Notice how they smell! \\n \\n She points with a spoon and smiles. The KNIGHT nods, as if he were pondering \\n some profound thought. JOF eats heartily. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tYour suggestion is good, but I must think it \\n \\t\\tover. \\n\",\n \"\\t\\talready. \\n \\n One of the soldiers approaches. Thick smoke wells down from the pyre and \\n sweeps over the quiet shadows near the crossroads and the hill. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tI've told you to be careful. Don't go too close \\n \\t\\tto her. \\n \\n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \\n horse and picks up the heavy pack. \\n \\n The KNIGHT slowly rides away from the sea, into the forest near the beach and \\n up towards the road. He pretends not to hear the morning prayers of his \\n squire. JONS soon overtakes him. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(sings)\",\n \"\\t\\tremains of corpses scattered all over the \\n \\t\\tplace. Yesterday afternoon there were as many \\n \\t\\tas four suns in the heavens. \\n \\n The KNIGHT doesn't answer. Close by, a scrawny dog is whining, crawling \\n towards its master, who is sleeping in a sitting position in the blazing hot \\n sun. A black cloud of flies clusters around his head and shoulders. The \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tDo you, really? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tYes, I understand rather well. I have often \\n \\t\\twondered why people torture themselves as often \\n \\t\\tas they can. Isn't that so? \\n \\n She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \\n the noise from the inn become louder. Black figures flicker across the grass \",\n \"his horse. The travelers depart from the crossroads. TYAN finally closes her \\n eyes. \\n \\n \\n \\n The forest is now very dark. The road winds between the trees. The wagon \\n squeaks and rattles over stones and roots. A bird suddenly shrieks. \\n \\n JOF lifts his head and wakes up. He has been asleep with his arms around \\n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \\n\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \"\n ],\n [\n \"He has picked up the juggling balls and slowly begins to toss them. Then he \\n stands on his head and cackles like a hen. Suddenly he stops and sits down \\n with a look of utter astonishment on his face. The wind causes the trees to \\n sway slightly. The leaves stir and there is a soft murmur. The flowers and \\n the grass bend gracefully, and somewhere a bird raises its voice in a long \\n warble. \\n \\n JOF'S face breaks into a smile and his eyes fill with tears. With a dazed \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMia, wake up. Wake up! Mia, I've just seen \\n \\t\\tsomething. I've got to tell you about it! \\n \\n \\t\\t\\t\\tMIA \\n \\t\\t\\t(sits up, terrified) \\n \\t\\tWhat is it? What's happened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tListen, I've had a vision. No, it wasn't a \",\n \"\\t\\tvision. It was real, absolutely real. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tOh, so you've had a vision again! \\n \\n MIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \\n the shoulders. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tBut I did see her! \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhom did you see? \\n\",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMikael will grow up to be a great acrobat -- or \\n \\t\\ta juggler who can do the one impossible trick. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhat's that? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tTo make one of the balls stand absolutely still \\n \\t\\tin the air. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tBut that's impossible.\",\n \"ride past an inlet and along verdant groves. In the shade of some large trees \\n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \\n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \\n under the shade of the trees but continue riding until they disappear at the \\n bend of the road. \\n \\n \\n \\n In his sleep, JOF the juggler hears the neighing of his horse and the answer \",\n \"\\t\\tas far as I know. But, come to think of it, I'm \\n \\t\\tnot so sure about that. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\t\\t(angry) \\n \\t\\tI didn't ask to have visions. I can't help it \\n \\t\\tif voices speak to me, if the Holy Virgin \\n \\t\\tappears before me and angels and devils like my \\n \\t\\tcompany. \\n\",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \\n arms and receives him. He holds his hands in front of his face, moaning like \\n a child, and his body sways. He kneels. MIA holds him close to her and \\n sprinkles him with small, anxious questions: What have you done? How are you? \\n What is it? Does it hurt? What can I do? Have they been cruel to you? She \",\n \"PLOG beats him so furiously that JOF flies across the table. RAVAL leans over \\n him. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDon't lie there moaning. Get up and dance. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI don't want to. I can't. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tShow us how you imitate a bear. \\n \\n \\t\\t\\t\\tJOF \",\n \"\\t\\tstart doing tricks again and that's more \\n \\t\\ttrouble than it's worth. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tDo you do tricks also? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWe certainly do. And Jof is a very skillful \\n \\t\\tjuggler. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIs Mikael going to be an acrobat? \\n\",\n \"trees. He takes a drink of water, gargles, stretches and talks to his scrawny \\n old horse. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tGood morning. Have you had breakfast? I can't \\n \\t\\teat grass, worse luck. Can't you teach me how? \\n \\t\\tWe're a little hard up. People aren't very \\n \\t\\tinterested in juggling in this part of the \\n \\t\\tcountry. \\n\",\n \"\\t\\tThe rump behind you, the rump behind you \\n \\t\\tthere's a profound truth. \\n \\n JONS paints a small figure which is supposed to represent himself. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThis is squire Jns. He grins at Death, mocks \\n \\t\\tthe Lord, laughs at himself and leers at the \\n \\t\\tgirls. His world is a Jnsworld, believable \",\n \"\\t\\thide behind the curtain for the time being. \\n \\t\\t\\t(he wipes the sweat \\n \\t\\t\\tfrom his forehead) \\n \\t\\tIt's damned hot. I think we'll have a \\n \\t\\tthunderstorm. \\n \\n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \\n makes a face as if he could see all the wonders of the world underneath it, \\n and disappears behind the gaudily patched curtains.\",\n \"\\t\\t\\t\\tMIA \\n \\t\\tWhat an imagination you have. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tYou don't believe me! But it was real, I tell \\n \\t\\tyou, not the kind of reality you see every day, \\n \\t\\tbut a different kind. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tPerhaps it was the kind of reality you told us \\n \\t\\tabout when you saw the Devil painting our wagon \",\n \"from a distance. He tries to go on sleeping, but it is stifling inside the \\n wagon. The rays of the sun filtering through the canvas cast streaks of light \\n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \\n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \\n snores loudly. \\n \\n JOF crawls out of the wagon. There is still a spot of shade under the big \",\n \"were about to burst. He sinks to his knees, and someone pours beer over him. \\n \\n \\t\\t\\t\\tRAVEL \\n \\t\\tUp again! Be a good bear. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI haven't done any harm. I haven't got the \\n \\t\\tstrength to play a bear any more. \\n \\n At that moment the door opens and JONS enters. JOF sees his chance and steals\",\n \"JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \\n KNIGHT and DEATH together. He becomes very frightened and awakens MIA. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tMia! \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tYes, what is it? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI see something terrible. Something I almost \\n \\t\\tcan't talk about.\",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\twe're really in a hurry. \\n \\n JOF climbs up on the wagon seat quickly and clucks at the horse. \\n \\n \\n \\n The small company is on its way towards the forest and the night. \\n \\n It is dark in the forest. \\n \\n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \\n close to each other in the juggler's wagon. MIA holds her son in her arms. \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tI only become frightened and angry. I never get \\n \\t\\ta chance to hit back. I can get angry, you know \\n \\t\\tthat. I roared like a lion. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWere they frightened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, they just laughed. \\n \\n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls \"\n ],\n [\n \"SKAT looks at the travelers with a pained expression and then lifts his eyes \\n towards the night sky. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tI forgive all of you. Pray for me sometimes. \\n \\n SKAT sinks the dagger into his breast and slowly falls to the ground. The \\n travelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands. \\n \\n \\t\\t\\t\\tPLOG \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\tGod in heaven, isn't this Plog, the smith? \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tGood evening. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tAre you sitting here sniveling in loneliness? \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tYes, yes, look at the smith. He moans like a \\n \\t\\trabbit. \\n \\n \\t\\t\\t\\tJONS \",\n \"\\t\\teven though I curse Him and want to tear Him \\n \\t\\tout of my heart? Why, in spite of everything, \\n \\t\\tis He a baffling reality that I can't shake \\n \\t\\toff? Do you hear me? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYes, I hear you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want knowledge, not faith, not suppositions, \",\n \"miserable-looking dog whines incessantly as it lies flat on its stomach, \\n wagging its tail. \\n \\n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \\n When he doesn't receive an answer, he walks up to the man in order to shake \\n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \\n his hand. The man falls backward on the heath, his face turned towards JONS. \",\n \"\\t\\t\\t\\tLISA \\n \\t\\tCome on, let's go. This is nothing to mourn \\n \\t\\tover. He has only himself to blame. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tAnd I have to be married to her. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWe must go on. \\n \\n SKAT lies in the grass and keeps the dagger pressed tightly to his breast. \",\n \"\\t \\tfire and died from it, but the priests say that \\n \\t\\tit's better to die pure than to live for hell. \\n \\n \\t\\t\\t\\tMERCHANT \\n \\t\\tThis is the end, yes, it is. No one says it out \\n \\t\\tloud, but all of us know that it's the end. And \\n \\t\\tpeople are going mad from fear. \\n \\n \\t\\t\\t\\tFARMER \\n \\t\\tSo you're afraid too. \\n\",\n \"\\t\\tlast moment of life and look towards the \\n \\t\\tdarkness. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhen that day comes ... \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIn our fear, we make an image, and that image \\n \\t\\twe call God. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are worrying ... \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\tI don't want to die! I don't want to! \\n \\n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \\n eyes bulge wildly and his mouth is ringed with foam. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you have pity on me? Help me! At least \\n \\t\\ttalk to me. \\n \\n No one answers. The trees sigh. RAVAL begins to cry. \\n\",\n \"A large square monk rises from his knees and reveals his face, which is red- \\n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tGod has sentenced us to punishment. We shall \\n \\t\\tall perish in the black death. You, standing \\n \\t\\tthere like gaping cattle, you who sit there in \\n \\t\\tyour glutted complacency, do you know that this \",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tDo you have some water? \\n \\n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \\n but his voice is heard again. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you give me a little water? \\n \\t\\t\\t(pause) \\n \\t\\tI have the plague. \\n \\n \\t\\t\\t\\tJONS \",\n \"His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \\n and support each other. Suddenly PLOG has to sit down. He puts his hands over \\n his face and howls piteously. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tOh, now it came over me again! \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDon't scream. What came over you? \\n \\n \\t\\t\\t\\tPLOG \",\n \"\\t\\tLord have mercy on us in our humiliation! Don't \\n \\t\\tturn your face from us in loathing and \\n \\t\\tcontempt, but be merciful to us for the sake of \\n \\t\\tyour son, Jesus Christ. \\n \\n He makes the sign of the cross over the crowd and then begins a new song in a \\n strong voice. The monks rise and join in the song. As if driven by some \",\n \"\\t\\tbut knowledge. I want God to stretch out His \\n \\t\\thand towards me, reveal Himself and speak to \\n \\t\\tme. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tBut He remains silent. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI call out to Him in the dark but no one seems \\n \\t\\tto be there. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tPerhaps no one is there. \\n \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tWell, there is no shame in that. \\n \\n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \\n it around the KNIGHT'S shoulders. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWait a moment. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat's what they all say. I grant no reprieves. \\n\",\n \"\\t\\t\\t\\tPLOG \\n \\t\\tHang on to something, my friends. The hour is \\n \\t\\tnear! Who is that at the edge of the forest if \\n \\t\\tnot my own dearly beloved, with actor attached? \\n \\n The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \\n immediately takes to his heels. PLOG chases him, swinging his sledge and \\n bellowing like a wild boar. \\n\",\n \"PLOG'S back. JONS lies on the ground and looks up at the heavens. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tSoon dawn will come, but the heat continues to \\n \\t\\thang over us like a smothering blanket. \\n \\n \\t\\t\\t\\tLISA \\n \\t\\tI'm so frightened. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tWe feel that something is going to happen to \",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"\\t\\tfor them to look at. I have to make a living \\n \\t\\t-- at least until the plague takes me. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThe plague. That sounds horrible. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYou should see the boils on a diseased man's \\n \\t\\tthroat. You should see how his body shrivels up \\n \\t\\tso that his legs look like knotted strings -- \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \"\n ],\n [\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tHas he said it? \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tI know it, I know it. You must see him \\n \\t\\tsomewhere, you must. The priests had no \\n \\t\\tdifficulty seeing him, nor did the soldiers. \\n \\t\\tThey are so afraid of him that they don't even \\n \\t\\tdare touch me. \\n\",\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"towards him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHave you seen the Devil? \\n \\n The MONK stops reading and raises his head. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tYou must not talk to her. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tCan that be so dangerous? \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tI don't know, but she is believed to have \",\n \"\\t\\tYes, yes. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tEven the ghost stories about God the Father, \\n \\t\\tthe angels, Jesus Christ and the Holy Ghost -- \\n \\t\\tall these I've accepted without too much \\n \\t\\temotion. \\n \\n He leans down over the GIRL as she crouches at his feet and pats her on the \\n head. The KNIGHT drinks his beer silently. \\n\",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"He lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \\n remembering the knight's presence. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tYes, this is my husband, Jof. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tGood evening. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood evening. \\n \\n JOF becomes a little embarrassed and rises. All three of them look at one \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tNo one, nothing, no one? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tNo. \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tCan't you see him behind your back? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(looks around) \\n \\t\\tNo, there is no one there. \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tDo you, really? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tYes, I understand rather well. I have often \\n \\t\\twondered why people torture themselves as often \\n \\t\\tas they can. Isn't that so? \\n \\n She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \\n the noise from the inn become louder. Black figures flicker across the grass \",\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tDon't say anything. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI'm as silent as a grave. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tShh! I love you. \\n \\n \\n \\n Waves of heat envelop the gray stone church in a strange white mist. The \\n KNIGHT dismounts and enters. After tying up the horses, JONS slowly follows \",\n \"\\t\\tI have no secrets. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tSo you know nothing. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have nothing to tell. \\n \\n The KNIGHT wants to answer, but DEATH is already gone. \\n \\n A murmur is heard in the tree tops. Dawn comes, a flickering light without \\n life, making the forest seem threatening and evil. JOF drives over the \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"She walks closer and looks searchingly into his face. The smile lingers in \\n her eyes and she touches his hand lightly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tNow I can see that it's you. Somewhere in your \\n \\t\\teyes, somewhere in your face, but hidden and \\n \\t\\tfrightened, is that boy who went away so many \\n \\t\\tyears ago. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tYes, I did. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'm happy to hear that. Now I'll be leaving you. \\n \\t\\tWhen we meet again, you and your companions' \\n \\t\\ttime will be up. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd you will divulge your secrets. \\n \\n \\t\\t\\t\\tDEATH \"\n ],\n [\n \"\\t\\tdoesn't wake up. \\n \\n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \\n his game. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIt is your move, Antonius Block. \\n \\n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \\n wagon. JOF bends down to pick up the pack and follows at a distance. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\t\\t(laughs contentedly) \\n \\t\\tBut I have not forgotten. You can't get away \\n \\t\\tthat easily. \\n \\n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \\n him towards the road. MIA has just climbed up on the wagon. JOF takes the \\n horse by the bridle and leads it down the road. DEATH notices nothing; he is \\n completely occupied with reconstructing the game. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tWell, there is no shame in that. \\n \\n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \\n it around the KNIGHT'S shoulders. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWait a moment. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat's what they all say. I grant no reprieves. \\n\",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"\\t\\tI have no secrets. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tSo you know nothing. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have nothing to tell. \\n \\n The KNIGHT wants to answer, but DEATH is already gone. \\n \\n A murmur is heard in the tree tops. Dawn comes, a flickering light without \\n life, making the forest seem threatening and evil. JOF drives over the \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"\\t\\tIt is the end. \\n \\n \\n \\n JOF and MIA sit close together and listen to the rain tapping lightly on the \\n wagon canvas, a sound which diminishes until finally there are only single \\n drops. \\n \\n They crawl out of their hiding place. The wagon stands on a height above a \\n slope, protected by an enormous tree. They look across ridges, forests, the \\n wide plains, and the sea, which glistens in the sunlight breaking through the \\n clouds. \\n \",\n \"\\t\\tI don't want to die! I don't want to! \\n \\n No one answers. RAVAL'S face appears suddenly at the base of the tree. His \\n eyes bulge wildly and his mouth is ringed with foam. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you have pity on me? Help me! At least \\n \\t\\ttalk to me. \\n \\n No one answers. The trees sigh. RAVAL begins to cry. \\n\",\n \"The sawing continues without a pause. SKAT becomes more frightened. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tCan't you at least answer me? Politeness costs \\n \\t\\tso little. Who are you? \\n \\n DEATH straightens his back and squints up at him. SKAT cries out in terror. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'm sawing down your tree because your time is \\n \\t\\tup. \\n \",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"\\t\\tNothing escapes me. No one escapes from me. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIt's true that I'm worried. \\n \\n He pretends to be clumsy and knocks the chess pieces over with the hem of his \\n coat. He looks up at DEATH. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI've forgotten how the pieces stood. \\n \\n \\t\\t\\t\\tDEATH \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tNo one, nothing, no one? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tNo. \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tCan't you see him behind your back? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(looks around) \\n \\t\\tNo, there is no one there. \\n\",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tI am going to die. I. I. I! What will happen to \\n \\t\\tme! Can no one console me? Haven't you any \\n \\t\\tcompassion? Can't you see that I ... \\n \\n His words are choked off by a gurgling sound. He disappears in the darkness \\n behind the fallen tree. It becomes quiet for a few moments. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\t\\t(whispers) \",\n \"the stake. The KNIGHT turns to the MONK, who remains seated in the cart. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat have you done with the child? \\n \\n DEATH turns around and looks at him. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDon't you ever stop asking questions? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo, I'll never stop. \\n\",\n \"\\t\\t\\t\\tMIA \\n \\t\\tHe is alone. You mustn't frighten me this way. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, no, he isn't alone. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho is it, then? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tDeath. He is sitting there playing chess with \\n \\t\\tDeath himself. \\n\",\n \"\\t\\twith fear and disgust. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThrough my indifference to my fellow men, I \\n \\t\\thave isolated myself from their company. Now I \\n \\t\\tlive in a world of phantoms. I am imprisoned in \\n \\t\\tmy dreams and fantasies. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tAnd yet you don't want to die. \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \"\n ],\n [\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \" \\n \\n \\n The morning breeze has died down. The restless movement of the sea has \\n ceased, the water is silent. The sun rises from the haze and its glow \\n whitens. The sea gull floats under the dark cloud, frozen in space. The day \\n is already scorchingly hot. \\n \\n The squire JONS is awakened by a kick in the rear. Opening his eyes, he \",\n \"from the skin and gives it to TYAN. Then he gives her a potion. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tTake this and it will stop the pain. \\n \\n Smoke billows down over them and they begin to cough. The soldiers step \\n forward and raise the ladder against a nearby fir tree. TYAN hangs there \\n motionlessly, her eyes wide open. \\n \\n The KNIGHT straightens up and stands immobile. JONS is behind him, his voice \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"\\t\\talready. \\n \\n One of the soldiers approaches. Thick smoke wells down from the pyre and \\n sweeps over the quiet shadows near the crossroads and the hill. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tI've told you to be careful. Don't go too close \\n \\t\\tto her. \\n \\n The KNIGHT doesn't heed this warning. He cups his hand, fills it with water \",\n \"\\t\\tof us has to save his own skin. It's as simple \\n \\t\\tas that. \\n \\n \\t\\t\\t\\tGIRL \\n \\t\\tDon't touch me. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tDon't try to scream. There's no one around to \\n \\t\\thear you, neither God nor man. \\n \\n Slowly he closes the door behind the GIRL. The stuffy room is now in almost \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tDo you want some strawberries? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tThis man saved my life. Sit down, my friend, \\n \\t\\tand let us be together. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\t\\t(stretches herself) \\n \\t\\tOh, how nice this is. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tFor a short while. \\n \",\n \"his horse. The travelers depart from the crossroads. TYAN finally closes her \\n eyes. \\n \\n \\n \\n The forest is now very dark. The road winds between the trees. The wagon \\n squeaks and rattles over stones and roots. A bird suddenly shrieks. \\n \\n JOF lifts his head and wakes up. He has been asleep with his arms around \\n MIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks. \\n\",\n \"\\t\\t\\t(laughs contentedly) \\n \\t\\tBut I have not forgotten. You can't get away \\n \\t\\tthat easily. \\n \\n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \\n him towards the road. MIA has just climbed up on the wagon. JOF takes the \\n horse by the bridle and leads it down the road. DEATH notices nothing; he is \\n completely occupied with reconstructing the game. \\n\",\n \"The GIRL sinks down and hides her face in her hands. JONS places his hand on \\n her shoulder. \\n \\n \\n 16 \\n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tShall we play our game to the end? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYour move! \\n\",\n \"\\t\\tI have dull company. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tDo you mean your squire? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNo, not him. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho do you mean, then? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tMyself. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tI understand. \\n\",\n \"\\t\\twe're really in a hurry. \\n \\n JOF climbs up on the wagon seat quickly and clucks at the horse. \\n \\n \\n \\n The small company is on its way towards the forest and the night. \\n \\n It is dark in the forest. \\n \\n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \\n close to each other in the juggler's wagon. MIA holds her son in her arms. \",\n \"grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \\n horse and picks up the heavy pack. \\n \\n The KNIGHT slowly rides away from the sea, into the forest near the beach and \\n up towards the road. He pretends not to hear the morning prayers of his \\n squire. JONS soon overtakes him. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(sings)\",\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \"\n ],\n [\n \"shaved, and her knuckles are bloody and broken. Her eyes are wide open, yet \\n she doesn't appear to be fully conscious. \\n \\n JONS and the KNIGHT stop and watch in silence. The soldiers are working \\n quickly and skillfully, but they seem frightened and dejected. The monk \\n mumbles from a small book. One of the soldiers picks up a wooden bucket and \\n with his hand begins to smear a bloody paste on the wall of the church and \",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"him in. When he comes onto the church porch he stops in surprise. To the \\n right of the entrance there is a large fresco on the wall, not quite \\n finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \\n paint-stained clothes. He has one brush in his mouth, while with another in \\n his hand he outlines a small, terrified human face amidst a sea of other \\n faces. \\n \\n \\t\\t\\t\\tJONS \",\n \" \\n \\n \\n The morning breeze has died down. The restless movement of the sea has \\n ceased, the water is silent. The sun rises from the haze and its glow \\n whitens. The sea gull floats under the dark cloud, frozen in space. The day \\n is already scorchingly hot. \\n \\n The squire JONS is awakened by a kick in the rear. Opening his eyes, he \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"\\t\\tThe rump behind you, the rump behind you \\n \\t\\tthere's a profound truth. \\n \\n JONS paints a small figure which is supposed to represent himself. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThis is squire Jns. He grins at Death, mocks \\n \\t\\tthe Lord, laughs at himself and leers at the \\n \\t\\tgirls. His world is a Jnsworld, believable \",\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"A large square monk rises from his knees and reveals his face, which is red- \\n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tGod has sentenced us to punishment. We shall \\n \\t\\tall perish in the black death. You, standing \\n \\t\\tthere like gaping cattle, you who sit there in \\n \\t\\tyour glutted complacency, do you know that this \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"miserable-looking dog whines incessantly as it lies flat on its stomach, \\n wagging its tail. \\n \\n JONS dismounts and approaches the sleeping man. JONS addresses him politely. \\n When he doesn't receive an answer, he walks up to the man in order to shake \\n him awake. He bends over the sleeping man's shoulder, but quickly pulls back \\n his hand. The man falls backward on the heath, his face turned towards JONS. \",\n \"glance and breathes heavily. SKAT doesn't neglect to press kisses on her \\n small, chubby hands. The sun shines brightly and small birds make noises in \\n the bushes. \\n \\n Now she is forced to sit back; her legs seem unwilling to support her any \\n longer. Bewildered, she singles out another chicken leg from the large sack \\n of food and holds it up in front of SKAT with an appealing and triumphant \\n expression, as if it were her maidenhood being offered as a prize.\",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\tlike the man I've painted over there. \\n \\n The PAINTER points with his brush. JONS sees a small human form writhing in \\n the grass, its eyes turned upwards in a frenzied look of horror and pain. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThat looks terrible. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tIt certainly does. He tries to rip out the \",\n \"He soon finds a likely tree and climbs up into its thick foliage. He sits \\n down as comfortably as possible and reaches for his food pouch. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\t\\t(yawns) \\n \\t\\tTomorrow I'll find Jof and Mia and then we'll \\n \\t\\tgo to the saints' feast in Elsinore. We'll make \\n \\t\\tlots of money there. \\n \\t\\t\\t(yawns)\",\n \"no one appears he enters. It is very dark inside and his foot touches a soft \\n object. He looks down. Beside the whitewashed fireplace, a woman is lying \\n with her face to the ground. \\n \\n At the sound of approaching steps, JONS quickly hides behind the door. A man \\n comes down a ladder from the loft. He is broad and thick-set. His eyes are \\n black and his face is pale and puffy. His clothes are well cut but dirty and \"\n ],\n [\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"\\t\\tthink the pestilence is the Lord's punishment. \\n \\t\\tMobs of people who call themselves Slaves of \\n \\t\\tSin are swarming over the country, flagellating \\n \\t\\tthemselves and others, all for the glory of God. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDo they really whip themselves? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYes, it's a terrible sight. I crawl into a \",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"\\t\\tlose our crops. \\n \\n \\t\\t\\t\\tMERCHANT \\n \\t\\tAnd people are acting crazy, I'd say. They flee \\n \\t\\tthe country and carry the plague with them \\n \\t\\twherever they go. \\n \\n \\t\\t\\t\\tOLD MAN \\n \\t\\tThe day of judgment. Just think, just think! \\n \\n \\t\\t\\t\\tFARMER \\n \\t\\tIf it's as they say, I suppose a person should \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"ride across a mossy heath which stretches towards the horizon. Beyond it, the \\n sea lies shimmering in the white glitter of the sun. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tIn Frjestad everyone was talking about evil \\n \\t\\tomens and other horrible things. Two horses had \\n \\t\\teaten each other in the night, and, in the \\n \\t\\tchurchyard, graves had been opened and the \",\n \"RAVAL smiles anxiously. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhen I see you, I suddenly understand the \\n \\t\\tmeaning of these ten years, which previously \\n \\t\\tseemed to me such a waste. Our life was too \\n \\t\\tgood and we were too satisfied with ourselves. \\n \\t\\tThe Lord wanted to punish us for our \\n \\t\\tcomplacency. That is why He sent you to spew \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"\\t\\tPrecisely. For ten years we sat in the Holy \\n \\t\\tLand and let snakes bite us, flies sting us, \\n \\t\\twild animals eat us, heathens butcher us, the \\n \\t\\twine poison us, the women give us lice, the \\n \\t\\tlice devour us, the fevers rot us, all for the \\n \\t\\tGlory of God. Our crusade was such madness that \",\n \"\\t\\t\\t\\tRAVAL \\n \\t\\tDo you have some water? \\n \\n RAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \\n but his voice is heard again. \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tCan't you give me a little water? \\n \\t\\t\\t(pause) \\n \\t\\tI have the plague. \\n \\n \\t\\t\\t\\tJONS \",\n \"The Embarrassment Inn lies in the eastern section of the province. The plague \\n has not yet reached this area on its way along the coast. \\n \\n The actors have placed their wagon under a tree in the yard of the inn. \\n Dressed in colorful costumes, they perform a farce. \\n \\n The spectators watch the performance, commenting on it noisily. There are \\n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \",\n \"A large square monk rises from his knees and reveals his face, which is red- \\n brown from the sun. His eyes glitter; his voice is thick with impotent scorn. \\n \\n \\t\\t\\t\\tMONK \\n \\t\\tGod has sentenced us to punishment. We shall \\n \\t\\tall perish in the black death. You, standing \\n \\t\\tthere like gaping cattle, you who sit there in \\n \\t\\tyour glutted complacency, do you know that this \",\n \"DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \\n DEATH. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tNow I take your queen. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI didn't notice that. \\n \\n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \\n which seem to have a life of their own. \\n\",\n \"from a distance. He tries to go on sleeping, but it is stifling inside the \\n wagon. The rays of the sun filtering through the canvas cast streaks of light \\n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \\n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \\n snores loudly. \\n \\n JOF crawls out of the wagon. There is still a spot of shade under the big \",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"\\t\\tUp to the saints' feast at Elsinore. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI wouldn't advise you to go there. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tWhy not, if I may ask? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe plague has spread in that direction, \\n \\t\\tfollowing the coast line south. It's said that \",\n \"of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \\n yard have fallen on their knees, others hide their faces, many begin to \\n mutter half-forgotten prayers. \\n \\n All have turned their faces towards the white road. Now a shrill song is \\n heard. It is frenzied, almost a scream. A crucified Christ sways above the \\n hilltop. \\n\",\n \"\\t\\twith his scythe and hourglass, but Skat dangles \\n \\t\\tat the end with his lyre. They dance away from \\n \\t\\tthe dawn and it's a solemn dance towards the \\n \\t\\tdark lands, while the rain washes their faces \\n \\t\\tand cleans the salt of the tears from their \\n \\t\\tcheeks. \\n \\n He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\",\n \"JOF is a bit offended and glances over at his son, MIKAEL, but he is also \\n sleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \\n yawns; he is very tired and in a bad humor. In his hands he holds a crudely \\n made death mask. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tIs this supposed to be a mask for an actor? If \"\n ],\n [\n \"Antonius Block has brought his companions with him to the castle. But it \\n seems deserted. They walk from room to room. There is only emptiness and \\n quiet echoes. Outside, the rain is heard roaring noisily. \\n \\n Suddenly the KNIGHT stands face to face with his wife. They look at each \\n other quietly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI heard from people who came from the crusade \\n \\t\\tthat you were on your way home. I've been \",\n \"The Seventh Seal \\n \\n The night had brought little relief from the heat, and at dawn a hot gust of \\n wind blows across the colorless sea. The KNIGHT, Antonius Block, lies \\n prostrate on some spruce branches spread over the fine sand. His eyes are \\n wide-open and bloodshot from lack of sleep. \\n \\n Nearby his squire JONS is snoring loudly. He has fallen asleep where he \",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"from a distance. He tries to go on sleeping, but it is stifling inside the \\n wagon. The rays of the sun filtering through the canvas cast streaks of light \\n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \\n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \\n snores loudly. \\n \\n JOF crawls out of the wagon. There is still a spot of shade under the big \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tI only become frightened and angry. I never get \\n \\t\\ta chance to hit back. I can get angry, you know \\n \\t\\tthat. I roared like a lion. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWere they frightened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, they just laughed. \\n \\n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls \",\n \"Meanwhile, JONS and the PAINTER have got drunk and are talking animatedly \\n together. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tMe and my master have been abroad and have just \\n \\t\\tcome home. Do you understand, you little \\n \\t\\tpictor? \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tThe Crusade. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(drunk)\",\n \"She walks closer and looks searchingly into his face. The smile lingers in \\n her eyes and she touches his hand lightly. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tNow I can see that it's you. Somewhere in your \\n \\t\\teyes, somewhere in your face, but hidden and \\n \\t\\tfrightened, is that boy who went away so many \\n \\t\\tyears ago. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"For a few confusing moments the two rivals stumble among the stones and \\n bushes in the gray gloom of the forest. The duel begins to look senseless, \\n because both of them are equally frightened. \\n \\n The travelers silently observe this confused performance. LISA screams once \\n in a while, more out of duty than out of impulse. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\t\\t(panting) \\n \\t\\tYou miserable stubbleheaded bastard of seven \",\n \"restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \\n Block turns around. \\n \\n Behind him stands a man in black. His face is very pale and he keeps his \\n hands hidden in the wide folds of his cloak. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWho are you? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI am Death. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"\\t\\tdoesn't wake up. \\n \\n MIA does what JOF has told her. At the same moment, the KNIGHT looks up from \\n his game. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIt is your move, Antonius Block. \\n \\n The KNIGHT remains silent. He sees MIA go through the moonlight towards the \\n wagon. JOF bends down to pick up the pack and follows at a distance. \\n \\n \\t\\t\\t\\tDEATH \",\n \" \\n \\n \\n The morning breeze has died down. The restless movement of the sea has \\n ceased, the water is silent. The sun rises from the haze and its glow \\n whitens. The sea gull floats under the dark cloud, frozen in space. The day \\n is already scorchingly hot. \\n \\n The squire JONS is awakened by a kick in the rear. Opening his eyes, he \",\n \"\\t\\twith his scythe and hourglass, but Skat dangles \\n \\t\\tat the end with his lyre. They dance away from \\n \\t\\tthe dawn and it's a solemn dance towards the \\n \\t\\tdark lands, while the rain washes their faces \\n \\t\\tand cleans the salt of the tears from their \\n \\t\\tcheeks. \\n \\n He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\",\n \"\\t\\tJns is my name. I am a pleasant and talkative \\n \\t\\tyoung man who has never had anything but kind \\n \\t\\tthoughts and has only done beautiful and noble \\n \\t\\tdeeds. I'm kindest of all to young women. With \\n \\t\\tthem, there is no limit to my kindness. \\n \\n He embraces her and tries to kiss her, but she holds herself back. Almost \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"JOF is a bit offended and glances over at his son, MIKAEL, but he is also \\n sleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He \\n yawns; he is very tired and in a bad humor. In his hands he holds a crudely \\n made death mask. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tIs this supposed to be a mask for an actor? If \",\n \"His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \\n and support each other. Suddenly PLOG has to sit down. He puts his hands over \\n his face and howls piteously. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tOh, now it came over me again! \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tDon't scream. What came over you? \\n \\n \\t\\t\\t\\tPLOG \",\n \"DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \\n DEATH. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tNow I take your queen. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI didn't notice that. \\n \\n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \\n which seem to have a life of their own. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"SKAT is very handsome, now that he can see himself in the reflection of a tin \\n washbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \\n glittering earrings vie for equal attention with his teeth, and his cheeks \\n are flushed rose red. \\n \\n He sits out in back on the tailboard of the wagon, dangling his legs and \\n whistling to himself. \\n \\n In the meantime JOF and MIA play their tragedy; it is not, however, received \"\n ],\n [\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"restless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius \\n Block turns around. \\n \\n Behind him stands a man in black. His face is very pale and he keeps his \\n hands hidden in the wide folds of his cloak. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWho are you? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI am Death. \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t(laughs contentedly) \\n \\t\\tBut I have not forgotten. You can't get away \\n \\t\\tthat easily. \\n \\n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \\n him towards the road. MIA has just climbed up on the wagon. JOF takes the \\n horse by the bridle and leads it down the road. DEATH notices nothing; he is \\n completely occupied with reconstructing the game. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tWell, there is no shame in that. \\n \\n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \\n it around the KNIGHT'S shoulders. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWait a moment. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat's what they all say. I grant no reprieves. \\n\",\n \"The sawing continues without a pause. SKAT becomes more frightened. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tCan't you at least answer me? Politeness costs \\n \\t\\tso little. Who are you? \\n \\n DEATH straightens his back and squints up at him. SKAT cries out in terror. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'm sawing down your tree because your time is \\n \\t\\tup. \\n \",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tHe is alone. You mustn't frighten me this way. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, no, he isn't alone. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho is it, then? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tDeath. He is sitting there playing chess with \\n \\t\\tDeath himself. \\n\",\n \"\\t\\tI have no secrets. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tSo you know nothing. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have nothing to tell. \\n \\n The KNIGHT wants to answer, but DEATH is already gone. \\n \\n A murmur is heard in the tree tops. Dawn comes, a flickering light without \\n life, making the forest seem threatening and evil. JOF drives over the \",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"\\t\\t\\t\\tTYAN \\n \\t\\tNo one, nothing, no one? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(shakes his head) \\n \\t\\tNo. \\n \\n \\t\\t\\t\\tTYAN \\n \\t\\tCan't you see him behind your back? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\t\\t(looks around) \\n \\t\\tNo, there is no one there. \\n\",\n \"\\t\\twith fear and disgust. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThrough my indifference to my fellow men, I \\n \\t\\thave isolated myself from their company. Now I \\n \\t\\tlive in a world of phantoms. I am imprisoned in \\n \\t\\tmy dreams and fantasies. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tAnd yet you don't want to die. \",\n \"\\t\\tThere he comes in the moonlight, \\n \\t\\tHis white legs shining bright. \\n \\t\\tQuiet as a mouse, here I'll lie, \\n \\t\\tTell him not that he's about to die. \\n \\n JOF hides himself. MIA immediately ends her snoring and sits up, looking to \\n the left. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tLook, there he comes in the night \\n \\t\\tMy lover, my heart's delight.\",\n \"\\t\\tNothing escapes me. No one escapes from me. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIt's true that I'm worried. \\n \\n He pretends to be clumsy and knocks the chess pieces over with the hem of his \\n coat. He looks up at DEATH. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI've forgotten how the pieces stood. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\tDeath visited me this morning. We are playing \\n \\t\\tchess together. This reprieve gives me the \\n \\t\\tchance to arrange an urgent matter. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat matter is that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tMy life has been a futile pursuit, a wandering, \\n \\t\\ta great deal of talk without meaning. I feel no \",\n \"quiet and deserted; the sea is still. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have been waiting for you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tPardon me. I was detained for a few moments. \\n \\t\\tBecause I revealed my tactics to you, I'm in \\n \\t\\tretreat. It's your move. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhy do you look so satisfied? \\n\",\n \"SKAT, grinning, holds the mask in front of his face and recites dramatically. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tBear this in mind, you fool. Your life hangs by \\n \\t\\ta thread. Your time is short. \\n \\t\\t\\t(in his usual voice) \\n \\t\\tAre the women going to like me in this getup? \\n \\t\\tWill I make a hit? No! I feel as if I were dead \\n \\t\\talready. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"\\t\\tThe rump behind you, the rump behind you \\n \\t\\tthere's a profound truth. \\n \\n JONS paints a small figure which is supposed to represent himself. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThis is squire Jns. He grins at Death, mocks \\n \\t\\tthe Lord, laughs at himself and leers at the \\n \\t\\tgirls. His world is a Jnsworld, believable \"\n ],\n [\n \"\\t\\t\\t\\tDEATH \\n \\t\\tIt's your move. Hurry up. I'm a little pressed \\n \\t\\tfor time. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand that you've a lot to do, but you \\n \\t\\tcan't get out of our game. It takes time. \\n \\n DEATH is about to answer him but stops and leans over the board. The KNIGHT \\n smiles. \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tYou play chess, don't you? \\n \\n A gleam of interest kindles in DEATH'S eyes. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tHow did you know that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI have seen it in paintings and heard it sung \\n \\t\\tin ballads. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tI have my reasons. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat is your privilege. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe condition is that I may live as long as I \\n \\t\\thold out against you. If I win, you will \\n \\t\\trelease me. Is it agreed? \\n \\n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \",\n \"\\t\\tYes, in fact I'm quite a good chess player. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tBut you can't be better than I am. \\n \\n The KNIGHT rummages in the big black bag which he keeps beside him and takes \\n out a small chessboard. He places it carefully on the ground and begins \\n setting up the pieces. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhy do you want to play chess with me? \\n\",\n \"DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou drew black! \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tVery appropriate. Don't you think so? \\n \\n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \\n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \\n pawn.\",\n \"DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \\n DEATH. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tNow I take your queen. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI didn't notice that. \\n \\n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \\n which seem to have a life of their own. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tHow will you outwit Death in your game? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI use a combination of the bishop and the \\n \\t\\tknight which he hasn't yet discovered. In the \\n \\t\\tnext move I'll shatter one of his flanks. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'll remember that. \\n\",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"quiet and deserted; the sea is still. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have been waiting for you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tPardon me. I was detained for a few moments. \\n \\t\\tBecause I revealed my tactics to you, I'm in \\n \\t\\tretreat. It's your move. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhy do you look so satisfied? \\n\",\n \"\\t\\tbitterness or self-reproach because the lives \\n \\t\\tof most people are very much like this. But I \\n \\t\\twill use my reprieve for one meaningful deed. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIs that why you are playing chess with Death? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHe is a clever opponent, but up to now I \\n \\t\\thaven't lost a single man. \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tThat's my secret. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOf course. Now I take your knight. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou did the right thing. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tHave you tricked me? \\n \\n \\t\\t\\t\\tKNIGHT \",\n \"\\t\\tOf course. You fell right in the trap. Check! \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat are you laughing at? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tDon't worry about my laughter; save your king \\n \\t\\tinstead. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou're rather arrogant. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tOur game amuses me. \\n\",\n \"\\t\\tHave you lost interest in our game? \\n \\n The KNIGHT'S eyes become alarmed. DEATH looks at him intently. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tLost interest? On the contrary. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou seem anxious. Are you hiding anything? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNothing escapes you -- or does it? \\n \\n \\t\\t\\t\\tDEATH \",\n \"The GIRL sinks down and hides her face in her hands. JONS places his hand on \\n her shoulder. \\n \\n \\n 16 \\n The KNIGHT is no longer alone. DEATH has come to him and he raises his hand. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tShall we play our game to the end? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYour move! \\n\",\n \"\\t\\tDeath visited me this morning. We are playing \\n \\t\\tchess together. This reprieve gives me the \\n \\t\\tchance to arrange an urgent matter. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat matter is that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tMy life has been a futile pursuit, a wandering, \\n \\t\\ta great deal of talk without meaning. I feel no \",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"\\t\\tNothing escapes me. No one escapes from me. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIt's true that I'm worried. \\n \\n He pretends to be clumsy and knocks the chess pieces over with the hem of his \\n coat. He looks up at DEATH. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI've forgotten how the pieces stood. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \"\n ],\n [\n \"\\t\\tbitterness or self-reproach because the lives \\n \\t\\tof most people are very much like this. But I \\n \\t\\twill use my reprieve for one meaningful deed. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tIs that why you are playing chess with Death? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tHe is a clever opponent, but up to now I \\n \\t\\thaven't lost a single man. \\n\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tIt's your move. Hurry up. I'm a little pressed \\n \\t\\tfor time. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand that you've a lot to do, but you \\n \\t\\tcan't get out of our game. It takes time. \\n \\n DEATH is about to answer him but stops and leans over the board. The KNIGHT \\n smiles. \\n\",\n \"The KNIGHT raises his hand and looks at it in the sunlight which comes \\n through the tiny window. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThis is my hand. I can move it, feel the blood \\n \\t\\tpulsing through it. The sun is still high in \\n \\t\\tthe sky and I, Antonius Block, am playing \\n \\t\\tchess with Death. \\n \\n He makes a fist of his hand and lifts it to his temple. \\n \\n \\n\",\n \"He turns his face away and looks out towards the sea and the colorless gray \\n sky. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd it will be an adequate sign -- it will be \\n \\t\\tenough for me. \\n \\n He rises, nods to the others and walks down towards the forest. JOF continues \\n to play on his lyre. MIA stretches out on the grass. \\n \\n The KNIGHT picks up his chess game and carries it towards the beach. It is \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tI have my reasons. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat is your privilege. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe condition is that I may live as long as I \\n \\t\\thold out against you. If I win, you will \\n \\t\\trelease me. Is it agreed? \\n \\n The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tYou play chess, don't you? \\n \\n A gleam of interest kindles in DEATH'S eyes. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tHow did you know that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI have seen it in paintings and heard it sung \\n \\t\\tin ballads. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\tDeath visited me this morning. We are playing \\n \\t\\tchess together. This reprieve gives me the \\n \\t\\tchance to arrange an urgent matter. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhat matter is that? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tMy life has been a futile pursuit, a wandering, \\n \\t\\ta great deal of talk without meaning. I feel no \",\n \"DEATH points to one of the KNIGHT'S hands; it contains a black pawn. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou drew black! \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tVery appropriate. Don't you think so? \\n \\n The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \\n Antonius Block opens with his king's pawn. DEATH moves, also using his king's \\n pawn.\",\n \"grazes on the dry grass. MIA has sat down in front of the wagon with her son \\n in her arms. They play together and laugh happily. \\n \\n Now, a soft gleam of light strokes the hilltops, a last reflection from the \\n red clouds over the sea. \\n \\n Not far from the wagon, the KNIGHT sits crouched over his chess game. He \\n lifts his head. \\n \\n The evening light moves across the heavy wagon wheels, across the woman and \",\n \"\\t\\tYes, in fact I'm quite a good chess player. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tBut you can't be better than I am. \\n \\n The KNIGHT rummages in the big black bag which he keeps beside him and takes \\n out a small chessboard. He places it carefully on the ground and begins \\n setting up the pieces. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhy do you want to play chess with me? \\n\",\n \"DEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \\n DEATH. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tNow I take your queen. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI didn't notice that. \\n \\n The KNIGHT leans over the game. The moonlight moves over the chess pieces, \\n which seem to have a life of their own. \\n\",\n \"\\t\\tNothing escapes me. No one escapes from me. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tIt's true that I'm worried. \\n \\n He pretends to be clumsy and knocks the chess pieces over with the hem of his \\n coat. He looks up at DEATH. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI've forgotten how the pieces stood. \\n \\n \\t\\t\\t\\tDEATH \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tNow I see something interesting. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhat do you see? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou are mated on the next move, Antonius Block. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThat's true. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tDid you enjoy your reprieve? \\n\",\n \"quiet and deserted; the sea is still. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI have been waiting for you. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tPardon me. I was detained for a few moments. \\n \\t\\tBecause I revealed my tactics to you, I'm in \\n \\t\\tretreat. It's your move. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tWhy do you look so satisfied? \\n\",\n \"\\t\\tHave you lost interest in our game? \\n \\n The KNIGHT'S eyes become alarmed. DEATH looks at him intently. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tLost interest? On the contrary. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tYou seem anxious. Are you hiding anything? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tNothing escapes you -- or does it? \\n \\n \\t\\t\\t\\tDEATH \",\n \"grille for an instant, but the KNIGHT doesn't see him. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI want to talk to you as openly as I can, but \\n \\t\\tmy heart is empty. \\n \\n DEATH doesn't answer. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe emptiness is a mirror turned towards my \\n \\t\\town face. I see myself in it, and I am filled \",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t\\tMIA \\n \\t\\tHe is alone. You mustn't frighten me this way. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, no, he isn't alone. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWho is it, then? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tDeath. He is sitting there playing chess with \\n \\t\\tDeath himself. \\n\",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tThat's my secret. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOf course. Now I take your knight. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou did the right thing. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tHave you tricked me? \\n \\n \\t\\t\\t\\tKNIGHT \"\n ],\n [\n \"He lifts MIKAEL up and holds him by the legs. MIA looks up suddenly, \\n remembering the knight's presence. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tYes, this is my husband, Jof. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tGood evening. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood evening. \\n \\n JOF becomes a little embarrassed and rises. All three of them look at one \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMia, wake up. Wake up! Mia, I've just seen \\n \\t\\tsomething. I've got to tell you about it! \\n \\n \\t\\t\\t\\tMIA \\n \\t\\t\\t(sits up, terrified) \\n \\t\\tWhat is it? What's happened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tListen, I've had a vision. No, it wasn't a \",\n \"mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \\n arms and receives him. He holds his hands in front of his face, moaning like \\n a child, and his body sways. He kneels. MIA holds him close to her and \\n sprinkles him with small, anxious questions: What have you done? How are you? \\n What is it? Does it hurt? What can I do? Have they been cruel to you? She \",\n \"his son on top of him. MIA gets down on her hands and knees and playfully \\n sniffs at MIKAEL. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tDo you notice how good he smells? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd he is so compact to hold. You're a sturdy \\n \\t\\tone. A real acrobat's body. \\n\",\n \"\\t\\t\\t\\tJOF \\n \\t\\tI only become frightened and angry. I never get \\n \\t\\ta chance to hit back. I can get angry, you know \\n \\t\\tthat. I roared like a lion. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWere they frightened? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNo, they just laughed. \\n \\n Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls \",\n \"SKAT is very handsome, now that he can see himself in the reflection of a tin \\n washbowl. His hair is tightly curled, his eyebrows are beautifully bushy, \\n glittering earrings vie for equal attention with his teeth, and his cheeks \\n are flushed rose red. \\n \\n He sits out in back on the tailboard of the wagon, dangling his legs and \\n whistling to himself. \\n \\n In the meantime JOF and MIA play their tragedy; it is not, however, received \",\n \"from a distance. He tries to go on sleeping, but it is stifling inside the \\n wagon. The rays of the sun filtering through the canvas cast streaks of light \\n across the face of JOF'S wife, MIA, and their one-year-old son, MIKAEL, who \\n are sleeping deeply and peacefully. Near them, JONAS SKAT, an older man, \\n snores loudly. \\n \\n JOF crawls out of the wagon. There is still a spot of shade under the big \",\n \"\\t\\tvision. It was real, absolutely real. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tOh, so you've had a vision again! \\n \\n MIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \\n the shoulders. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tBut I did see her! \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhom did you see? \\n\",\n \"\\t\\tIt is the end. \\n \\n \\n \\n JOF and MIA sit close together and listen to the rain tapping lightly on the \\n wagon canvas, a sound which diminishes until finally there are only single \\n drops. \\n \\n They crawl out of their hiding place. The wagon stands on a height above a \\n slope, protected by an enormous tree. They look across ridges, forests, the \\n wide plains, and the sea, which glistens in the sunlight breaking through the \\n clouds. \\n \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tIs that your husband? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\t\\t(laughs) \\n \\t\\tJonas! The other man is my husband. His name is \\n \\t\\tJof. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tOh, that one. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tAnd now there's only him and me. We'll have to \",\n \"JOF stretches his arms and legs. MIA dries the wagon seat and sits down next \\n to her husband. MIKAEL crawls between JOF'S knees. \\n \\n A lone bird tests its voice after the storm. The trees and bushes drip. From \\n the sea comes a strong and fragrant wind. \\n \\n JOF points to the dark, retreating sky where summer lightning glitters like \\n silver needles over the horizon. \\n \\n \\t\\t\\t\\tJOF \",\n \"twisting road. MIA sits beside him. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhat a strange light. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI guess it's the thunderstorm which comes with \\n \\t\\tdawn. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tNo, it's something else. Something terrible. Do \\n \\t\\tyou hear the roar in the forest? \\n \\n \\t\\t\\t\\tJOF \",\n \"left off. MIA and JOF decide that it would be wisest to leave the wagon. They \\n sit down on a crate. MIA has MIKAEL on her knees. He is naked and squirms \\n vigorously. JOF sits close to his wife. Slumped over, he still looks dazed \\n and astonished. A dry, hot wind blows from the sea. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tIf we would only get some rain. Everything is \",\n \"another silently. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI have just told your wife that you have a \\n \\t\\tsplendid son. He'll bring great joy to you. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tYes, he's fine. \\n \\n They become silent again. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tHave we nothing to offer the knight, Mia? \\n\",\n \"JOF gets up carefully and disappears into the darkness behind the trees. MIA \\n remains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT \\n and the chess game. She holds her son in her arms. Now JOF returns. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI have harnessed the horse. The wagon is \\n \\t\\tstanding near the big tree. You go first and \\n \\t\\tI'll follow you with the packs. See that Mikael \",\n \"JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \\n to be asleep on a bench which has been pulled forward on the stage. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNight and moonlight now prevail \\n \\t\\tHere sleeps my wife so frail ... \\n \\n \\t\\t\\t\\tVOICE FROM THE PUBLIC \\n \\t\\tDoes she snore? \\n \\n \\t\\t\\t\\tJOF \",\n \"\\t\\t\\t\\tJOF \\n \\t\\tMikael will grow up to be a great acrobat -- or \\n \\t\\ta juggler who can do the one impossible trick. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tWhat's that? \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tTo make one of the balls stand absolutely still \\n \\t\\tin the air. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tBut that's impossible.\",\n \"He stumbles into the wagon muttering furiously. JOF sits, leaning forward. \\n MIA lies beside him on the grass. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tJof! \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tWhat is it? \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tSit still. Don't move. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tWhat do you mean? \\n\",\n \"JOF has come out with his lyre, sits on a small, gaudy box and plucks at the \\n instrument, humming quietly, searching for his melody. JONS yawns and lies \\n down. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tPeople are troubled by so much. \\n \\n \\t\\t\\t\\tMIA \\n \\t\\tIt's always better when one is two. Have you no \\n \\t\\tone of your own? \\n\",\n \"expression he sits flat on his behind while the grass rustles softly, and \\n bees and butterflies hum around his head. The unseen bird continues to sing. \\n \\n Suddenly the breeze stops blowing, the bird stops singing, JOF'S smile fades, \\n the flowers and grass wilt in the heat. The old horse is still walking around \\n grazing and swishing its tail to ward off the flies. \\n \\n JOF comes to life. He rushes into the wagon and shakes MIA awake. \\n\"\n ],\n [\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"no one appears he enters. It is very dark inside and his foot touches a soft \\n object. He looks down. Beside the whitewashed fireplace, a woman is lying \\n with her face to the ground. \\n \\n At the sound of approaching steps, JONS quickly hides behind the door. A man \\n comes down a ladder from the loft. He is broad and thick-set. His eyes are \\n black and his face is pale and puffy. His clothes are well cut but dirty and \",\n \"\\t\\tthe tricks of the theatre. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd that turned out to be her misfortune. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tHer misfortune, but not mine, because a person \\n \\t\\twho's born unfortunate can hardly suffer from \\n \\t\\tany further misfortune. Isn't that true? \\n \\n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \\n and evil.\",\n \"MIA and JOF have quickly changed costumes and again step out on the stage. \\n They bow, to the public. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tHere is the husband. Here is the wife. If \\n \\t\\tyou'll shut up over there, you'll see something \\n \\t\\tsplendid. As I said, I play the lover and I \\n \\t\\thaven't entered yet. That's why I'm going to \",\n \"wagon, he supports himself against a nearby tree, crosses his legs and bows. \\n \\n The woman quietly bites into a chicken leg dripping with fat. At this moment \\n the actor is stricken by a radiant glance full of lustful appetites. \\n \\n When he sees this look, SKAT makes an instantaneous decision, jumps down from \\n the wagon and kneels in front of the blushing damsel. \\n \\n She becomes weak and faint from his nearness, looks at him with a glassy \",\n \"generous bosom to burst out of its prison -- no more than honor and chastity \\n allow, but still enough so that the actor with his experienced eye \\n immediately sees that there are ample rewards to be had here. \\n \\n Now she comes a little closer, kneels down and opens a bundle containing \\n several dainty morsels and a skin filled with red wine. JONAS SKAT manages \\n not to fall off the wagon in his excitement. Standing on the steps of the \",\n \"\\t\\tlook after his house and try to enjoy life as \\n \\t\\tlong as he can. \\n \\n \\t\\t\\t\\tWOMAN \\n \\t\\tBut there have been other things too, such \\n \\t\\tthings that can't even be spoken of. \\n \\t\\t\\t(whispers) \\n \\t\\tThings that mustn't be named -- but the priests \\n \\t\\tsay that the woman carries it between her legs \",\n \"JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \\n to be asleep on a bench which has been pulled forward on the stage. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tNight and moonlight now prevail \\n \\t\\tHere sleeps my wife so frail ... \\n \\n \\t\\t\\t\\tVOICE FROM THE PUBLIC \\n \\t\\tDoes she snore? \\n \\n \\t\\t\\t\\tJOF \",\n \"immediately he loses interest, hoists the waterbag on his shoulder and pats \\n the GIRL on the cheek. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tGoodbye, my girl. I could very well have raped \\n \\t\\tyou, but between you and me, I'm tired of that \\n \\t\\tkind of love. It runs a little dry in the end. \\n \\n He laughs kindly and walks away from her. When he has walked a short distance \",\n \"finished SKAT comes forward and bows. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tNoble ladies and gentlemen, I thank you for \\n \\t\\tyour interest. Please remain standing for a \\n \\t\\tlittle longer, or sit on the ground, because \\n \\t\\twe are now going to perform a tragedia about \\n \\t\\tan unfaithful wife, her jealous husband, and \\n \\t\\tthe handsome lover -- that's me. \\n\",\n \" \\n \\t\\t\\t\\tRAVAL \\n \\t\\tListen, you! You sit there and lie to the \\n \\t\\tsmith. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tI! A liar! \\n \\n \\t\\t\\t\\tRAVAL \\n \\t\\tYou're an actor too and it's probably your \\n \\t\\tpartner who's run off with Plog's old lady. \\n \\n \\t\\t\\t\\tPLOG \",\n \"with great acclaim. SKAT suddenly discovers that someone is watching him as \\n he gazes contentedly into the tin bowl. A woman stands there, stately in both \\n height and volume. \\n \\n SKAT frowns, toys with his small dagger and occasionally throws a roguish but \\n fiery glance at the beautiful visitor. She suddenly discovers that one of her \\n shoes doesn't quite fit. She leans down to fix it and in doing so allows her \",\n \"The Embarrassment Inn lies in the eastern section of the province. The plague \\n has not yet reached this area on its way along the coast. \\n \\n The actors have placed their wagon under a tree in the yard of the inn. \\n Dressed in colorful costumes, they perform a farce. \\n \\n The spectators watch the performance, commenting on it noisily. There are \\n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \",\n \"\\t\\tJns is my name. I am a pleasant and talkative \\n \\t\\tyoung man who has never had anything but kind \\n \\t\\tthoughts and has only done beautiful and noble \\n \\t\\tdeeds. I'm kindest of all to young women. With \\n \\t\\tthem, there is no limit to my kindness. \\n \\n He embraces her and tries to kiss her, but she holds herself back. Almost \",\n \"mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \\n arms and receives him. He holds his hands in front of his face, moaning like \\n a child, and his body sways. He kneels. MIA holds him close to her and \\n sprinkles him with small, anxious questions: What have you done? How are you? \\n What is it? Does it hurt? What can I do? Have they been cruel to you? She \",\n \"\\t \\tBetween a strumpet's legs to lie \\n \\t\\tIs the life for which I sigh. \\n \\n He stops and looks at his master, but the KNIGHT hasn't heard JON'S song, or \\n he pretends that he hasn't. To give further vent to his irritation, JONS \\n sings even louder. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\t\\t(sings) \\n \\t\\tUp above is God Almighty \",\n \"he turns; the GIRL is still there. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNow that I think of it, I will need a \\n \\t\\thousekeeper. Can you prepare good food? \\n \\t\\t\\t(the GIRL nods) \\n \\t\\tAs far as I know, I'm still a married man, but \\n \\t\\tI have high hopes that my wife is dead by now. \\n \\t\\tThat's why I need a housekeeper. \",\n \"glance and breathes heavily. SKAT doesn't neglect to press kisses on her \\n small, chubby hands. The sun shines brightly and small birds make noises in \\n the bushes. \\n \\n Now she is forced to sit back; her legs seem unwilling to support her any \\n longer. Bewildered, she singles out another chicken leg from the large sack \\n of food and holds it up in front of SKAT with an appealing and triumphant \\n expression, as if it were her maidenhood being offered as a prize.\",\n \"\\t\\thide behind the curtain for the time being. \\n \\t\\t\\t(he wipes the sweat \\n \\t\\t\\tfrom his forehead) \\n \\t\\tIt's damned hot. I think we'll have a \\n \\t\\tthunderstorm. \\n \\n He places his leg in front of JOF as if to trip him, raises MIA's skirt, \\n makes a face as if he could see all the wonders of the world underneath it, \\n and disappears behind the gaudily patched curtains.\",\n \"\\t\\tWatch out, you perfumed slob, that I don't fart \\n \\t\\ton you and immediately blow you down to the \\n \\t\\tactor's own red-hot hell, where you can sit and \\n \\t\\trecite monologues to each other until the dust \\n \\t\\tcomes out of the Devil's ears. \\n \\n Then LISA throws herself around her husband's neck. \\n \\n \\t\\t\\t\\tLISA \"\n ],\n [\n \"The Embarrassment Inn lies in the eastern section of the province. The plague \\n has not yet reached this area on its way along the coast. \\n \\n The actors have placed their wagon under a tree in the yard of the inn. \\n Dressed in colorful costumes, they perform a farce. \\n \\n The spectators watch the performance, commenting on it noisily. There are \\n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \",\n \"\\t\\tcaused the pestilence with which we are \\n \\t\\taffected. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI understand. \\n \\n He nods resignedly and walks away. The young woman starts to moan as though \\n she were having a horrible nightmare. The sound of her cries follows the two \\n riders for a considerable distance down the road. \\n \\n \\n\",\n \"\\t\\tUp to the saints' feast at Elsinore. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tI wouldn't advise you to go there. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tWhy not, if I may ask? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tThe plague has spread in that direction, \\n \\t\\tfollowing the coast line south. It's said that \",\n \"\\t\\twaiting for you here. All the others have fled \\n \\t\\tfrom the plague. \\n \\n The KNIGHT is silent. He looks at her. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tDon't you recognize me any more? \\n \\n The KNIGHT nods, silent. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tYou also have changed. \\n\",\n \"ride past an inlet and along verdant groves. In the shade of some large trees \\n stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \\n and is answered by the KNIGHT'S horse. The two travelers do not stop to rest \\n under the shade of the trees but continue riding until they disappear at the \\n bend of the road. \\n \\n \\n \\n In his sleep, JOF the juggler hears the neighing of his horse and the answer \",\n \"He turns his face away and looks out towards the sea and the colorless gray \\n sky. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tAnd it will be an adequate sign -- it will be \\n \\t\\tenough for me. \\n \\n He rises, nods to the others and walks down towards the forest. JOF continues \\n to play on his lyre. MIA stretches out on the grass. \\n \\n The KNIGHT picks up his chess game and carries it towards the beach. It is \",\n \"collapsed, at the edge of the forest among the wind-gnarled fir trees. His \\n open mouth gapes towards the dawn, and unearthly sounds come from his throat. \\n At the sudden gust of wind, the horses stir, stretching their parched muzzles \\n towards the sea. They are as thin and worn as their masters. \\n \\n The KNIGHT has risen and waded into the shallow water, where he rinses his \",\n \"They all lift their heads, and when they see who is coming towards them \\n through the twilight of the large room, they rise from the table and stand \\n close together. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tGood morning, noble lord. \\n \\n \\t\\t\\t\\tKARIN \\n \\t\\tI am Karin, the knight's wife, and welcome you \\n \\t\\tcourteously to my house. \\n \\n \\t\\t\\t\\tPLOG \",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\twe're really in a hurry. \\n \\n JOF climbs up on the wagon seat quickly and clucks at the horse. \\n \\n \\n \\n The small company is on its way towards the forest and the night. \\n \\n It is dark in the forest. \\n \\n First comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting \\n close to each other in the juggler's wagon. MIA holds her son in her arms. \",\n \"\\t\\tonly to himself, ridiculous to all including \\n \\t\\thimself, meaningless to Heaven and of no \\n \\t\\tinterest to Hell. \\n \\n The KNIGHT walks by, calls to his squire and goes out into the bright \\n sunshine. JONS manages to set himself down from the scaffolding. \\n \\n Outside the church, four soldiers and a monk are in the process of putting a \\n woman in the stocks. Her face is pale and child-like, her head has been \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tMust you sing? \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tNo. \\n \\n The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \\n while. The sun burns down on them cruelly, and beads of perspiration trickle \\n down their faces. There is a cloud of dust around the horses' hooves. They \",\n \"\\t\\tfor them to look at. I have to make a living \\n \\t\\t-- at least until the plague takes me. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tThe plague. That sounds horrible. \\n \\n \\t\\t\\t\\tPAINTER \\n \\t\\tYou should see the boils on a diseased man's \\n \\t\\tthroat. You should see how his body shrivels up \\n \\t\\tso that his legs look like knotted strings -- \",\n \"and milkmaids. A whole flock of children perch in the trees around the wagon. \\n \\n The KNIGHT and his squire have sat down in the shadow of a wall. They drink \\n beer and doze in the midday heat. The GIRL from the deserted village sleeps \\n at JONS'S side. SKAT beats the drums, JOF blows the flute, MIA performs a gay \\n and lively dance. They perspire under the hot white sun. When they have \",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \",\n \"\\t\\t\\t(the GIRL doesn't \\n \\t\\t\\tanswer but gets up) \\n \\t\\tThe devil with it! Come along and don't stand \\n \\t\\tthere staring. I've saved your life, so you owe \\n \\t\\tme a great deal. \\n \\n She begins walking towards him, her head bent. He doesn't wait for her but \\n walks towards the KNIGHT, who patiently awaits his squire. \\n \\n \\n\",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"\\t\\t\\t\\tKNIGHT \\n \\t\\tI have a potion that will stop your pain. \\n \\n She shakes her head again. \\n \\n \\t\\t\\t\\tJONS \\n \\t\\tWhy do you burn her at this time of night? \\n \\t\\tPeople have so few diversions these days. \\n \\n \\t\\t\\t\\tSOLDIER \\n \\t\\tSaints preserve us, be quiet! It's said that \"\n ],\n [\n \"The sawing continues without a pause. SKAT becomes more frightened. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tCan't you at least answer me? Politeness costs \\n \\t\\tso little. Who are you? \\n \\n DEATH straightens his back and squints up at him. SKAT cries out in terror. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tI'm sawing down your tree because your time is \\n \\t\\tup. \\n \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tYour contract is terminated. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tMy children, my family. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tShame on you, Skat! \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tYes, I'm ashamed. \\n \\n DEATH begins to saw again. The tree creaks. \\n \\n \\t\\t\\t\\tSKAT \",\n \"JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \\n towards the wall. \\n \\n \\n \\n The hot day has become night. Singing and howling can be heard from the inn. \\n In a hollow near the forest, the light still lingers. Hidden in the grass and \\n the shrubbery, nightingales sing and their voices echo through the stillness. \\n \\n The players' wagon stands in a small ravine, and not far away the horse \",\n \"\\t\\t\\t\\tSKAT \\n \\t\\tIt won't do. I haven't got time. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tSo you haven't got time. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tNo, I have my performance. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThen it's canceled because of death. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tMy contract. \\n \",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tAre you going to escort the juggler and his \\n \\t\\twife through the forest? Those whose names are \\n \\t\\tJof and Mia and who have a small son? \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWhy do you ask? \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tOh, no reason at all. \\n \",\n \"\\t\\t\\t(laughs contentedly) \\n \\t\\tBut I have not forgotten. You can't get away \\n \\t\\tthat easily. \\n \\n DEATH leans over the board and rearranges the pieces. The KNIGHT looks past \\n him towards the road. MIA has just climbed up on the wagon. JOF takes the \\n horse by the bridle and leads it down the road. DEATH notices nothing; he is \\n completely occupied with reconstructing the game. \\n\",\n \"She becomes silent and looks wide-eyed in front of her. The mood in the yard \\n in front of the inn has, up to now, been rather lighthearted despite the \\n heat. \\n \\n Now a rapid change occurs. People who had been laughing and chattering fall \\n silent. Their faces seem to pale under their sunbrowned skins, the children \\n stop their games and stand with gaping mouths and frightened eyes. \\n \\n JOF steps out in front of the curtain. His painted face bears an expression \",\n \"SKAT hesitates momentarily, but he is still the strategist. He lets the \\n chicken leg fall to the grass, and murmurs in the woman's rosy ear. \\n \\n His words seem to please her. She puts her arms around the actor's neck and \\n pulls him to her with such fierceness that both of them lose their balance \\n and tumble down on the soft grass. The small birds take to their wings with \\n frightened shrieks. \\n \\n \\n\",\n \"The Embarrassment Inn lies in the eastern section of the province. The plague \\n has not yet reached this area on its way along the coast. \\n \\n The actors have placed their wagon under a tree in the yard of the inn. \\n Dressed in colorful costumes, they perform a farce. \\n \\n The spectators watch the performance, commenting on it noisily. There are \\n merchants with fat, beer-sweaty faces, apprentices and journeymen, farmhands \",\n \"\\t\\tI see them, Mia! I see them! Over there against \\n \\t\\tthe dark, stormy sky. They are all there. The \\n \\t\\tsmith and Lisa and the knight and Raval and \\n \\t\\tJns and Skat. And Death, the severe master, \\n \\t\\tinvites them to dance. He tells them to hold \\n \\t\\teach other's hands and then they must tread the \\n \\t\\tdance in a long row. And first goes the master \",\n \"\\t\\tOh dear, dear, I didn't mean it that way! Look, \\n \\t\\tthere's no life left in him. I was beginning to \\n \\t\\tlike him, and in my opinion Lisa was much too \\n \\t\\tspiteful. \\n \\n JOF leans over his colleague. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tHe's dead, totally, enormously dead. In fact, \\n \\t\\tI've never seen such a dead actor. \\n\",\n \"\\t\\tthe tricks of the theatre. \\n \\n \\t\\t\\t\\tJOF \\n \\t\\tAnd that turned out to be her misfortune. \\n \\n \\t\\t\\t\\tPLOG \\n \\t\\tHer misfortune, but not mine, because a person \\n \\t\\twho's born unfortunate can hardly suffer from \\n \\t\\tany further misfortune. Isn't that true? \\n \\n Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \\n and evil.\",\n \"\\t\\t\\t\\tDEATH \\n \\t\\tWell, there is no shame in that. \\n \\n The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \\n it around the KNIGHT'S shoulders. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tWait a moment. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\tThat's what they all say. I grant no reprieves. \\n\",\n \"\\t\\tHey, what the devil ... it's my tree they're \\n \\t\\tcutting down. \\n \\n He peers through the foliage. Below him stands a dark figure diligently \\n sawing away at the base of the tree. SKAT becomes frightened and angry. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tHey, you! Do you hear me, you tricky bastard? \\n \\t\\tWhat are you doing with my tree? \\n\",\n \"The KNIGHT is kneeling before a small altar. It is dark and quiet around him. \\n The air is cool and musty. Pictures of saints look down on him with stony \\n eyes. Christ's face is turned upwards, His mouth open as if in a cry of \\n anguish. On the ceiling beam there is a representation of a hideous devil \\n spying on a miserable human being. The KNIGHT hears a sound from the \\n confession booth and approaches it. The face of DEATH appears behind the \",\n \"\\t\\t\\t(sings) \\n \\t\\tThe terrible night doesn't frighten me ... \\n \\n He interrupts himself and listens. The sound of industrious sawing is heard \\n through the silence. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tWorkmen in the forest. Oh, well! \\n \\t\\t\\t(sings) \\n \\t\\tThe terrible night doesn't frighten me ... \\n \\t\\t\\t(speaks)\",\n \"The travelers depart and soon they have disappeared into the dark forest on \\n the other side of the meadow. When SKAT is sure that no one can see him, he \\n sits up and lifts the dagger from his breast. It is a stage dagger with a \\n blade that pushes into the handle. SKAT laughs to himself. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tNow that was a good scene. I'm really a good \",\n \" \\n \\t\\t\\t\\tSKAT \\n \\t\\tHelp! \\n \\n DEATH saws. \\n \\n \\t\\t\\t\\tSKAT \\n \\t\\tHelp! Help! \\n \\n The tree falls. The forest becomes silent again. \\n \\n \\n \\n Night and then dawn. \\n \\n The travelers have come to a sort of clearing and have collapsed on the moss. \\n They lie quietly and listen to their own breathing, their heartbeats, and the \",\n \"The KNIGHT suddenly stops smiling. DEATH looks at him scornfully. \\n \\n \\n \\n Immediately after sundown, the little company gathers in the yard of the inn. \\n There is the KNIGHT, JONS and the GIRL, JOF and MIA in their wagon. Their \\n son, MIKAEL, is already asleep. JONAS SKAT is still missing. \\n \\n JONS goes into the inn to get provisions for the night journey and to have a \",\n \"DEATH shows his face at the grill of the confession booth for a moment but \\n disappears instantly. \\n \\n \\t\\t\\t\\tKNIGHT \\n \\t\\tYou've tricked and cheated me! But we'll meet \\n \\t\\tagain, and I'll find a way. \\n \\n \\t\\t\\t\\tDEATH \\n \\t\\t\\t(invisible) \\n \\t\\tWe'll meet at the inn, and there we'll continue \\n \\t\\tplaying. \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What is being painted in a church?","Why does Antonius want the woman to summon Satan?","What does the squire draw?","When does the juggler decide to flee with his family?","What does Raval plead for?","What does Death ask Antonius?","Who is the only occupant of Antonius' castle?","What does Antonius give the woman who summoned Satan as she falls in pain?","What was Sweden being ravaged with upon the Knight and Squires return?","The Knight asks the girl to summon who?","Raval forced the juggler to do what?","The Knight enjoyed a picnic containing what?","Jof who is also a juggler, has visions of what?","The Theolgonian pled for what while on his death bed?","Who was the Knight joined by in the confessional?","Who does not see death in the end?","The Squire saves who?","What did the Squire draw in the church?","What does Antonius discover is ravaging Sweden in the Middle Ages?","What has Antonius been fighting before returning to Sweden?","What is death disguised as?","What type of game does the Knight challenge death to?","What does the Knight hope to prolong by playing chess?","What is Jof's relationship to Mia?","With whom does the entertainers' manager have an affair?","Where does the Knight take the entertainers to escape the plague?","What does death cut down to get to the entertainers' manager?"],"string":"[\n \"What is being painted in a church?\",\n \"Why does Antonius want the woman to summon Satan?\",\n \"What does the squire draw?\",\n \"When does the juggler decide to flee with his family?\",\n \"What does Raval plead for?\",\n \"What does Death ask Antonius?\",\n \"Who is the only occupant of Antonius' castle?\",\n \"What does Antonius give the woman who summoned Satan as she falls in pain?\",\n \"What was Sweden being ravaged with upon the Knight and Squires return?\",\n \"The Knight asks the girl to summon who?\",\n \"Raval forced the juggler to do what?\",\n \"The Knight enjoyed a picnic containing what?\",\n \"Jof who is also a juggler, has visions of what?\",\n \"The Theolgonian pled for what while on his death bed?\",\n \"Who was the Knight joined by in the confessional?\",\n \"Who does not see death in the end?\",\n \"The Squire saves who?\",\n \"What did the Squire draw in the church?\",\n \"What does Antonius discover is ravaging Sweden in the Middle Ages?\",\n \"What has Antonius been fighting before returning to Sweden?\",\n \"What is death disguised as?\",\n \"What type of game does the Knight challenge death to?\",\n \"What does the Knight hope to prolong by playing chess?\",\n \"What is Jof's relationship to Mia?\",\n \"With whom does the entertainers' manager have an affair?\",\n \"Where does the Knight take the entertainers to escape the plague?\",\n \"What does death cut down to get to the entertainers' manager?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["A watercolor painting on the Dance of Death.","A fresco of the Dance of Death "],["To ask Satan about God.","So he can ask Satan about God."],["A figure of himself.","himself in the fresco"],["When he sees Death is busy.","While Death is preoccupied."],["Water.","Water."],["If Antonius has succeeded in his \"one meaningful deed.\"","Did he accomplish his meaningful deed."],["His wife.","Karin"],["Herbs.","Herbs "],["The Plague","the plague"],["Satan","Satan"],["Dance on the tabled like a bear.","Dance on the tables at a public house."],["Milk and wild strawberries","milk and strawberries"],["God and Mary","Jesus and Mary "],["Water","water"],["Death in the robe of a priest.","death"],["Everyone except for Jof","all but Jof and the Juggler"],["A servant girl from being raped by a man robbing a corpse","the servant girl"],["A small figure of himself","a figure of himself"],["The plague.","the plague"],["The Crusades.","the crusades"],["A monk.","a priest"],["A Chess Match.","chess"],["His own death.","his death"],["Jof is Mia's husband.","they are married"],["Lisa, the blacksmith's wife.","The Blacksmith's wife."],["The Knight's castle.","His castle "],["A tree.","a tree"]],"string":"[\n [\n \"A watercolor painting on the Dance of Death.\",\n \"A fresco of the Dance of Death \"\n ],\n [\n \"To ask Satan about God.\",\n \"So he can ask Satan about God.\"\n ],\n [\n \"A figure of himself.\",\n \"himself in the fresco\"\n ],\n [\n \"When he sees Death is busy.\",\n \"While Death is preoccupied.\"\n ],\n [\n \"Water.\",\n \"Water.\"\n ],\n [\n \"If Antonius has succeeded in his \\\"one meaningful deed.\\\"\",\n \"Did he accomplish his meaningful deed.\"\n ],\n [\n \"His wife.\",\n \"Karin\"\n ],\n [\n \"Herbs.\",\n \"Herbs \"\n ],\n [\n \"The Plague\",\n \"the plague\"\n ],\n [\n \"Satan\",\n \"Satan\"\n ],\n [\n \"Dance on the tabled like a bear.\",\n \"Dance on the tables at a public house.\"\n ],\n [\n \"Milk and wild strawberries\",\n \"milk and strawberries\"\n ],\n [\n \"God and Mary\",\n \"Jesus and Mary \"\n ],\n [\n \"Water\",\n \"water\"\n ],\n [\n \"Death in the robe of a priest.\",\n \"death\"\n ],\n [\n \"Everyone except for Jof\",\n \"all but Jof and the Juggler\"\n ],\n [\n \"A servant girl from being raped by a man robbing a corpse\",\n \"the servant girl\"\n ],\n [\n \"A small figure of himself\",\n \"a figure of himself\"\n ],\n [\n \"The plague.\",\n \"the plague\"\n ],\n [\n \"The Crusades.\",\n \"the crusades\"\n ],\n [\n \"A monk.\",\n \"a priest\"\n ],\n [\n \"A Chess Match.\",\n \"chess\"\n ],\n [\n \"His own death.\",\n \"his death\"\n ],\n [\n \"Jof is Mia's husband.\",\n \"they are married\"\n ],\n [\n \"Lisa, the blacksmith's wife.\",\n \"The Blacksmith's wife.\"\n ],\n [\n \"The Knight's castle.\",\n \"His castle \"\n ],\n [\n \"A tree.\",\n \"a tree\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"5806789ebca66b68e86317d0e09b8a433c236280"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":46,"cells":{"text":{"kind":"list like","value":[["causes, with the spontaneous home-life of the country. \n \n I accordingly engaged a room in the house of a lady of pure French \n extraction and education, who supplements the shortcomings of an income \n insufficient to the ever-growing demands of the Parisian system of sense- \n gratification, by providing food and lodging for a limited number of \n distinguished strangers. I should have preferred to have my room alone \n in the house, and to take my meals in a brewery, of very good appearance,","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I \n should not, after all, use that expression, for it is the correlative of \n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \n Conflans? But this establishment is not at all like that: and indeed it","dearest friend kept a regular place of that kind. If she had known I was \n looking out for such a place she would have told me before; she had not \n spoken of it herself, because she didn't wish to injure the hotel by \n being the cause of my going away. She told me this was a charming \n family, who had often received American ladies (and others as well) who \n wished to follow up the language, and she was sure I should be delighted \n with them. So she gave me their address, and offered to go with me to","which I speedily discovered in the same street; but this arrangement, \n though very lucidly proposed by myself; was not acceptable to the \n mistress of the establishment (a woman with a mathematical head), and I \n have consoled myself for the extra expense by fixing my thoughts upon the \n opportunity that conformity to the customs of the house gives me of \n studying the table-manners of my companions, and of observing the French \n nature at a peculiarly physiological moment, the moment when the","it's a kind of coaching place, only kept by women. Mamma had heard it \n was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all \n pleased; but he has been very kind, and has treated me like an angel. He \n is getting on beautifully with his French; for though I don't think the","coeur du vieux Paris_, as they say here. They live only in the Boulevard \n Haussman, which is less picturesque; but in spite of this they have a \n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \n the oldest and proudest families in France; but she has had reverses \n which have compelled her to open an establishment in which a limited \n number of travellers, who are weary of the beaten track, who have the","staying with Madame de Maisonrouge I should not be living in the Faubourg \n St. Germain, I don't know that from the point of view of exclusiveness it \n is any great loss to be here. \n \n Our rooms are very prettily arranged, and the table is remarkably good. \n Mamma thinks the whole thing--the place and the people, the manners and \n customs--very amusing; but mamma is very easily amused. As for me, you","is not at all _bourgeois_; there is something distinguished, something \n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \n _graisseuse_; but this is in quite a different tone, with high, clear, \n lightly-draped windows, tender, subtle, almost morbid, colours, and \n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \n reminds me of Madame Hulot--do you remember \"la belle Madame Hulot?\"--in","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","there being so many persons around me speaking English, and that, as you \n may say, in the very bosom of a French family. It seems as if you heard \n English everywhere; but I certainly didn't expect to find it in a place \n like this. I am not discouraged, however, and I talk French all I can, \n even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and","breathe more freely than I expected, in this place, where we have been \n for about a week. I was sure, before we came, that it would prove to be \n an establishment of the _lowest description_; but I must say that, in \n this respect, I am agreeably disappointed. The French are so clever that \n they know even how to manage a place of this kind. Of course it is very \n disagreeable to live with strangers, but as, after all, if I were not","dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he \n refused to let us stay at the hotel, and insisted that we should go into \n a _family_. I don't know what put such an idea into his head, unless it \n was some advertisement that he saw in one of the American papers that are \n published here. \n \n There are families here who receive American and English people to live","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","has been settled that mamma and the children are coming abroad for a part \n of the winter, and mamma wishes me to go with them to Hyeres, where \n Georgina has been ordered for her lungs. She has not been at all well \n these three months, and now that the damp weather has begun she is very \n poorly indeed; so that last week papa decided to have a consultation, and \n he and mamma went with her up to town and saw some three or four doctors."],["apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the \n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \n said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","adorable miss that you ever, or at least that I ever beheld. She is \n decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a \n confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each","the history of mankind; the arrival of a nation at an ultimate stage of \n evolution without having passed through the mediate one; the passage of \n the fruit, in other words, from crudity to rottenness, without the \n interposition of a period of useful (and ornamental) ripeness. With the \n Americans, indeed, the crudity and the rottenness are identical and \n simultaneous; it is impossible to say, as in the conversation of this \n deplorable young man, which is one and which is the other; they are","that there is an immense number of Americans exactly resembling him, and \n that the city of Boston, indeed, is almost exclusively composed of them. \n (He communicated this fact very proudly, as if it were greatly to the \n credit of his native country; little perceiving the truly sinister \n impression it made upon me.) \n \n What strikes one in it is that it is a phenomenon to the best of my \n knowledge--and you know what my knowledge is--unprecedented and unique in","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for"],["putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n"," GUTENBERG EBOOK A BUNDLE OF LETTERS*** \n \n \n \n \n \n \n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \n \n \n \n \n \n A BUNDLE OF LETTERS \n by Henry James \n \n \n CHAPTER I \n \n","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","enough for to-day. I don't know how much longer I shall stay here; I am \n getting on so fast that it sometimes seems as if I shouldn't need all the \n time I have laid out. I suppose your cold weather has promptly begun, as \n usual; it sometimes makes me envy you. The fall weather here is very \n dull and damp, and I feel very much as if I should like to be braced up. \n \n \n \n \n CHAPTER VI \n \n","FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \n MAINE. \n \n September 5th, 1879. \n \n My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","correct French letters; and, if you don't believe it, I will keep the \n rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found \n out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything!","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","Madame de Maisonrouge all I can (she is the lady of the house, and the \n _real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell \n William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall \n take care to pick out a good one, and to meet plenty of fresh \n experiences. \n \n Dearest mother, my money holds out, and it _is_ most interesting! \n \n \n \n","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","any rate, I don't care if I don't. I didn't come to Europe to lead a \n merely conventional life; I could do that at Bangor. You know I never \n _would_ do it at Bangor, so it isn't likely I am going to make myself \n miserable over here. So long as I accomplish what I desire, and make my \n money hold out, I shall regard the thing as a success. Sometimes I feel \n rather lonely, especially in the evening; but I generally manage to","The conversation in the parlour (from eight to eleven) is often \n remarkably brilliant, and I often wish that you, or some of the Bangor \n folks, could be there to enjoy it. Even though you couldn't understand \n it I think you would like to hear the way they go on; they seem to \n express so much. I sometimes think that at Bangor they don't express \n enough (but it seems as if over there, there was less to express). It","know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and, \n so long as I retain possession of my faculties, I don't suppose I ever \n shall. As I said, however, the place is very well managed, and I succeed \n in doing as I please, which, you know, is my most cherished pursuit. \n Madame de Maisonrouge has a great deal of tact--much more than poor","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \n circle of real friends. Everything has gone on beautifully up to the \n end, and every one has been as kind and attentive as if I were their own \n sister, especially Mr. Verdier, the French gentleman, from whom I have \n gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most","plenty of other ladies alone (mostly French), and they generally seem to \n be enjoying themselves as much as I. But at the theatre every one talks \n so fast that I can scarcely make out what they say; and, besides, there \n are a great many vulgar expressions which it is unnecessary to learn. But \n it was the theatre, nevertheless, that put me on the track. The very \n next day after I wrote to you last I went to the Palais Royal, which is","must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two \n clocks, and five curtains. I was rather disappointed after I arrived to \n find that there are several other Americans here for the same purpose as \n myself. At least there are three Americans and two English people; and \n also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with"],["Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","The fair New Yorker is, sometimes, very amusing; she asks me if every one \n in Boston talks like me--if every one is as \"intellectual\" as your poor \n correspondent. She is for ever throwing Boston up at me; I can't get rid \n of Boston. The other one rubs it into me too; but in a different way; \n she seems to feel about it as a good Mahommedan feels toward Mecca, and \n regards it as a kind of focus of light for the whole human race. Poor","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","somewhere, or I should try and get in with them. They were very smart \n people, that family; after she left, my cousin corresponded with them in \n French. But I mean to find some other crowd, if it takes a lot of \n trouble!\" \n \n I listened to all this with great interest, and when he spoke about his \n cousin I was on the point of turning around to ask him the address of the \n family that she was with; but the next moment he said they had moved","Americans whom I have before me with regard to each other. There is \n another young lady here, who is less abnormally developed than the one I \n have just described, but who yet bears the stamp of this peculiar \n combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only \n is the real, the genuine, the typical American. A type that has lost","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n \n September 21st. \n \n We had hardly got here when father received a telegram saying he would \n have to come right back to New York. It was for something about his \n business--I don't know exactly what; you know I never understand those \n things, never want to. We had just got settled at the hotel, in some","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","that there is an immense number of Americans exactly resembling him, and \n that the city of Boston, indeed, is almost exclusively composed of them. \n (He communicated this fact very proudly, as if it were greatly to the \n credit of his native country; little perceiving the truly sinister \n impression it made upon me.) \n \n What strikes one in it is that it is a phenomenon to the best of my \n knowledge--and you know what my knowledge is--unprecedented and unique in","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a"],["FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \n MAINE. \n \n September 5th, 1879. \n \n My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","Madame de Maisonrouge all I can (she is the lady of the house, and the \n _real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell \n William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n","visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \n circle of real friends. Everything has gone on beautifully up to the \n end, and every one has been as kind and attentive as if I were their own \n sister, especially Mr. Verdier, the French gentleman, from whom I have \n gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall \n take care to pick out a good one, and to meet plenty of fresh \n experiences. \n \n Dearest mother, my money holds out, and it _is_ most interesting! \n \n \n \n","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;"," GUTENBERG EBOOK A BUNDLE OF LETTERS*** \n \n \n \n \n \n \n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \n \n \n \n \n \n A BUNDLE OF LETTERS \n by Henry James \n \n \n CHAPTER I \n \n","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","positive orders to make her stop in-doors. She is very cross (mamma \n writes me) about coming abroad, and doesn't seem at all to mind the \n expense that papa has been put to--talks very ill-naturedly about losing \n the hunting, etc. She expected to begin to hunt in December, and wants \n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \n follow the hounds when her lungs are so bad! But I daresay that when she","know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and, \n so long as I retain possession of my faculties, I don't suppose I ever \n shall. As I said, however, the place is very well managed, and I succeed \n in doing as I please, which, you know, is my most cherished pursuit. \n Madame de Maisonrouge has a great deal of tact--much more than poor"],["is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most \n extraordinary, and which, presenting itself in a young woman of \n considerable education, appears to me to be the judgment of a society. \n \n Another observation which pushes me to the same induction--that of the \n premature vitiation of the American population--is the attitude of the","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","worn out, his triumph is assured. Mother is usually worn out more easily \n than I, and she ends by siding with father; so that, at last, when they \n combine their forces against poor little me, I have to succumb. You \n should have heard the way father went on about this \"family\" plan; he \n talked to every one he saw about it; he used to go round to the banker's \n and talk to the people there--the people in the post-office; he used to","seems as if; over here, I had learned to come out with everything. I \n suppose they will think I am not sincere; but isn't it more sincere to \n come out with things than to conceal them? I have become very good \n friends with every one in the house--that is (you see, I _am_ sincere), \n with _almost_ every one. It is the most interesting circle I ever was \n in. There's a girl here, an American, that I don't like so much as the","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","but the other girl (I mean the nicer one, with the mother) tells me she \n is more respectable than she seems. She has, however, the most \n extraordinary opinions--wishes to do away with the aristocracy, thinks it \n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \n what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;"],["He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","seems as if; over here, I had learned to come out with everything. I \n suppose they will think I am not sincere; but isn't it more sincere to \n come out with things than to conceal them? I have become very good \n friends with every one in the house--that is (you see, I _am_ sincere), \n with _almost_ every one. It is the most interesting circle I ever was \n in. There's a girl here, an American, that I don't like so much as the","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","her. I am angry with her brother too, for she is evidently very much \n afraid of him, and this gives me some further insight into the subject. \n She thinks everything of her brother, and thinks it natural that she \n should be afraid of him, not only physically (for this _is_ natural, as \n he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","adorable miss that you ever, or at least that I ever beheld. She is \n decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a \n confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each","worn out, his triumph is assured. Mother is usually worn out more easily \n than I, and she ends by siding with father; so that, at last, when they \n combine their forces against poor little me, I have to succumb. You \n should have heard the way father went on about this \"family\" plan; he \n talked to every one he saw about it; he used to go round to the banker's \n and talk to the people there--the people in the post-office; he used to","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","violet eye--the very eye itself seems to blush; the great shadowy hat, \n making the brow so quiet; the strange, clinging, clutching, pictured \n raiment! As I say, it is a very gracious, tender type. She has her \n brother with her, who is a beautiful, fair-haired, gray-eyed young \n Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","But she did keep on; she kept on too long; and then I began to feel hurt. \n I couldn't think what I have done, and I can't think yet. It's as if she \n had got some idea about me, or had heard some one say something. If some \n girls should behave like that I shouldn't make any account of it; but \n this one is so refined, and looks as if she might be so interesting if I \n once got to know her, that I think about it a good deal. I am bound to","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","but the other girl (I mean the nicer one, with the mother) tells me she \n is more respectable than she seems. She has, however, the most \n extraordinary opinions--wishes to do away with the aristocracy, thinks it \n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \n what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more"],["see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as \n much as possible, into the circumstances which are in part the \n consequence and in part the cause of its irrepressible activity. It \n seemed to me that there could be no well-grounded knowledge without this \n preliminary operation of placing myself in relations, as slightly as \n possible modified by elements proceeding from a different combination of","to them nine years ago. A German was something disagreeable, which they \n determined to keep out of their conception of things. I therefore think \n that we are wrong to govern ourselves upon the hypothesis of the \n _revanche_; the French nature is too shallow for that large and powerful \n plant to bloom in it. \n \n The English-speaking specimens, too, I have not been willing to neglect \n the opportunity to examine; and among these I have paid special attention \n to the American varieties, of which I find here several singular","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","be treated worse. I have not, as I say, fully explained to myself this \n logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them \n by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","CHAPTER VIII \n \n \n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \n \n My dear brother in Science--I resume my hasty notes, of which I sent you \n the first instalment some weeks ago. I mentioned then that I intended to \n leave my hotel, not finding it sufficiently local and national. It was \n kept by a Pomeranian, and the waiters, without exception, were from the","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","seem to me at all satisfactory, and that is a point, you know, on which I \n feel very strongly. It seems to me that in England they play a very \n faded-out part, and those with whom I conversed had a kind of depressed \n and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","father's theory that we are always running up bills, whereas a little \n observation would show him that we wear the same old _rags_ FOR MONTHS. \n But father has no observation; he has nothing but theories. Mother and \n I, however, have, fortunately, a great deal of _practice_, and we \n succeeded in making him understand that we wouldn't budge from Paris, and \n that we would rather be chopped into small pieces than cross that","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou \n and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n \n","that immense fortunes are being made. We have been economising for the \n last five years, and I supposed we came abroad to reap the benefits of \n it. \n \n As for my French, it is quite as perfect as I want it to be. (I assure \n you I am often surprised at my own fluency, and, when I get a little more \n practice in the genders and the idioms, I shall do very well in this \n respect.) To make a long story short, however, father carried his point,"],["little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most \n extraordinary, and which, presenting itself in a young woman of \n considerable education, appears to me to be the judgment of a society. \n \n Another observation which pushes me to the same induction--that of the \n premature vitiation of the American population--is the attitude of the","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I \n have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","seem to me at all satisfactory, and that is a point, you know, on which I \n feel very strongly. It seems to me that in England they play a very \n faded-out part, and those with whom I conversed had a kind of depressed \n and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","represented (putting myself aside, and I often think that my temperament \n is not at all American) by a young girl and her mother, and another young \n girl without her mother--without her mother or any attendant or appendage \n whatever. These young girls are rather curious types; they have a \n certain interest, they have a certain grace, but they are disappointing \n too; they don't go far; they don't keep all they promise; they don't \n satisfy the imagination. They are cold, slim, sexless; the physique is","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","world, and it only reveals itself to the truly earnest seeker. There is \n a want of earnestness in that life of hotels and railroad trains, which \n so many of our countrymen are content to lead in this strange Old World, \n and I was distressed to find how far I, myself; had been led along the \n dusty, beaten track. I had, however, constantly wanted to turn aside \n into more unfrequented ways; to plunge beneath the surface and see what I","any rate, I don't care if I don't. I didn't come to Europe to lead a \n merely conventional life; I could do that at Bangor. You know I never \n _would_ do it at Bangor, so it isn't likely I am going to make myself \n miserable over here. So long as I accomplish what I desire, and make my \n money hold out, I shall regard the thing as a success. Sometimes I feel \n rather lonely, especially in the evening; but I generally manage to","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","at my universal good fortune. It only shows what a little energy and \n common-sense will accomplish. I have discovered none of these objections \n to a young lady travelling in Europe by herself of which we heard so much \n before I left, and I don't expect I ever shall, for I certainly don't \n mean to look for them. I know what I want, and I always manage to get \n it. \n \n I have received a great deal of politeness--some of it really most","me, so long as that is what I came for. I talk to him as much as I dare \n about Boston, but I do feel as if this were right down wrong--a stolen \n pleasure. \n \n I can get all the Boston culture I want when I go back, if I carry out my \n plan, my happy vision, of going there to reside. I ought to direct all \n my efforts to European culture now, and keep Boston to finish off. But \n it seems as if I couldn't help taking a peep now and then, in","interested over here that I don't seem to find time. It was a real \n providence that brought me to this house, where, in spite of all \n obstacles, I am able to do much good work. I wonder how I find the time \n for all I do; but when I think that I have only got a year in Europe, I \n feel as if I wouldn't sacrifice a single hour. \n \n The obstacles I refer to are the disadvantages I have in learning French,"],["FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","They all of them ordered the south of France, but they didn't agree about \n the place; so that mamma herself decided for Hyeres, because it is the \n most economical. I believe it is very dull, but I hope it will do \n Georgina good. I am afraid, however, that nothing will do her good until \n she consents to take more care of herself; I am afraid she is very wild \n and wilful, and mamma tells me that all this month it has taken papa's","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","it's a kind of coaching place, only kept by women. Mamma had heard it \n was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all \n pleased; but he has been very kind, and has treated me like an angel. He \n is getting on beautifully with his French; for though I don't think the","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \n MAINE. \n \n September 5th, 1879. \n \n My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","This is not such a nice place for a girl as for a young man, and the \n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \n here. As Mrs. Desmond said, it is because she is so very unconventional. \n But you know Paris is so very amusing, and if only Harold remains good- \n natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","dearest friend kept a regular place of that kind. If she had known I was \n looking out for such a place she would have told me before; she had not \n spoken of it herself, because she didn't wish to injure the hotel by \n being the cause of my going away. She told me this was a charming \n family, who had often received American ladies (and others as well) who \n wished to follow up the language, and she was sure I should be delighted \n with them. So she gave me their address, and offered to go with me to","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the"],["FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n \n September 21st. \n \n We had hardly got here when father received a telegram saying he would \n have to come right back to New York. It was for something about his \n business--I don't know exactly what; you know I never understand those \n things, never want to. We had just got settled at the hotel, in some","violet eye--the very eye itself seems to blush; the great shadowy hat, \n making the brow so quiet; the strange, clinging, clutching, pictured \n raiment! As I say, it is a very gracious, tender type. She has her \n brother with her, who is a beautiful, fair-haired, gray-eyed young \n Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","adorable miss that you ever, or at least that I ever beheld. She is \n decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a \n confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","girdles, with something quaint and angular in her step, her carriage \n something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as \n they say here; simpler, softer, rounder, richer than the young girls I \n spoke of just now. Not much talk--a great, sweet silence. Then the","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","cheek, where it passes into the purest and most transparent, most liquid, \n carmine. Occasionally this rosy fluid overflows into the rest of her \n face--by which I mean that she blushes--as softly as the mark of your \n breath on the window-pane. \n \n Like every Anglaise, she is rather pinched and prim in public; but it is \n very easy to see that when no one is looking _elle ne demande qu'a se","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","is not at all _bourgeois_; there is something distinguished, something \n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \n _graisseuse_; but this is in quite a different tone, with high, clear, \n lightly-draped windows, tender, subtle, almost morbid, colours, and \n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \n reminds me of Madame Hulot--do you remember \"la belle Madame Hulot?\"--in","The little one (she has a mother somewhere, out of sight, shut up in a \n closet or a trunk) is a good deal prettier, and, perhaps, on that account \n _elle y met plus de facons_. She doesn't knock about Paris with me by \n the hour; she contents herself with long interviews in the _petit salon_, \n with the curtains half-drawn, beginning at about three o'clock, when \n every one is _a la promenade_. She is admirable, this little one; a","inextricably mingled. I prefer the talk of the French _homunculus_; it \n is at least more amusing. \n \n It is interesting in this manner to perceive, so largely developed, the \n germs of extinction in the so-called powerful Anglo-Saxon family. I find \n them in almost as recognisable a form in a young woman from the State of \n Maine, in the province of New England, with whom I have had a good deal"],["see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","CHAPTER VIII \n \n \n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \n \n My dear brother in Science--I resume my hasty notes, of which I sent you \n the first instalment some weeks ago. I mentioned then that I intended to \n leave my hotel, not finding it sufficiently local and national. It was \n kept by a Pomeranian, and the waiters, without exception, were from the","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou \n and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n \n","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as \n much as possible, into the circumstances which are in part the \n consequence and in part the cause of its irrepressible activity. It \n seemed to me that there could be no well-grounded knowledge without this \n preliminary operation of placing myself in relations, as slightly as \n possible modified by elements proceeding from a different combination of","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people."],["CHAPTER VII \n \n \n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and \n I don't know what puts it into my head to-night to recall myself to your \n affectionate memory. I suppose it is that when we are happy the mind \n reverts instinctively to those with whom formerly we shared our","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","coeur du vieux Paris_, as they say here. They live only in the Boulevard \n Haussman, which is less picturesque; but in spite of this they have a \n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \n the oldest and proudest families in France; but she has had reverses \n which have compelled her to open an establishment in which a limited \n number of travellers, who are weary of the beaten track, who have the","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","different style from the conversation of Mr. Verdier--not so \n complimentary, but more intellectual. He is intensely fond of pictures, \n and has given me a great many ideas about them which I should never have \n gained without him; I shouldn't have known where to look for such ideas. \n He thinks everything of pictures; he thinks we don't make near enough of \n them. They seem to make a good deal of them here; but I couldn't help \n telling him the other day that in Bangor I really don't think we do.","visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \n circle of real friends. Everything has gone on beautifully up to the \n end, and every one has been as kind and attentive as if I were their own \n sister, especially Mr. Verdier, the French gentleman, from whom I have \n gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","French conversation every evening in the salon, from eight to eleven, \n with Madame herself, and some friends of hers that often come in. Her \n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \n with her, and I make a point of talking with him as much as possible. I \n have _extra private lessons_ from him, and I often go out to walk with \n him. Some night, soon, he is to accompany me to the opera. We have also","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","The little one (she has a mother somewhere, out of sight, shut up in a \n closet or a trunk) is a good deal prettier, and, perhaps, on that account \n _elle y met plus de facons_. She doesn't knock about Paris with me by \n the hour; she contents herself with long interviews in the _petit salon_, \n with the curtains half-drawn, beginning at about three o'clock, when \n every one is _a la promenade_. She is admirable, this little one; a","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou \n and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n \n","taken abroad, mamma wrote to me that I had better stop in Paris for a \n month with Harold, so that she could pick me up on their way to Hyeres. \n It saves the expense of my journey to Kingscote and back, and gives me \n the opportunity to \"finish\" a little in French. \n \n You know Harold came here six weeks ago, to get up his French for those \n dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose;","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","This is not such a nice place for a girl as for a young man, and the \n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \n here. As Mrs. Desmond said, it is because she is so very unconventional. \n But you know Paris is so very amusing, and if only Harold remains good- \n natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the","is not at all _bourgeois_; there is something distinguished, something \n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \n _graisseuse_; but this is in quite a different tone, with high, clear, \n lightly-draped windows, tender, subtle, almost morbid, colours, and \n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \n reminds me of Madame Hulot--do you remember \"la belle Madame Hulot?\"--in","father. She is what they call here a belle femme, which means that she \n is a tall, ugly woman, with style. She dresses very well, and has a \n great deal of talk; but, though she is a very good imitation of a lady, I \n never see her behind the dinner-table, in the evening, smiling and \n bowing, as the people come in, and looking all the while at the dishes \n and the servants, without thinking of a _dame de comptoir_ blooming in a"],["putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","CHAPTER VII \n \n \n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and \n I don't know what puts it into my head to-night to recall myself to your \n affectionate memory. I suppose it is that when we are happy the mind \n reverts instinctively to those with whom formerly we shared our","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","correct French letters; and, if you don't believe it, I will keep the \n rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found \n out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything!","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall \n take care to pick out a good one, and to meet plenty of fresh \n experiences. \n \n Dearest mother, my money holds out, and it _is_ most interesting! \n \n \n \n","possibilities; not to pass through life mechanically and insensibly, like \n a letter through the post-office. There are times, my dear Harvard, when \n I feel as if I were really capable of everything--capable _de tout_, as \n they say here--of the greatest excesses as well as the greatest heroism. \n Oh, to be able to say that one has lived--_qu'on a vecu_, as they say \n here--that idea exercises an indefinable attraction for me. You will,","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","motives of my felicity? \n \n You expected, perhaps, I was going to tell you that I had made my \n fortune, or that the Uncle Blondeau had at last decided to return into \n the breast of nature, after having constituted me his universal legatee. \n But I needn't remind you that women are always for something in the \n happiness of him who writes to thee--for something in his happiness, and \n for a good deal more in his misery. But don't let me talk of misery now;","establishment--the head of the \"family\") that he wished my French \n pronunciation especially attended to. The pronunciation, as it happens, \n is just what I am most at home in; if he had said my genders or my idioms \n there would have been some sense. But poor father has no tact, and this \n defect is especially marked since he has been in Europe. He will be \n absent, however, for three months, and mother and I shall breathe more \n freely; the situation will be less intense. I must confess that we"," GUTENBERG EBOOK A BUNDLE OF LETTERS*** \n \n \n \n \n \n \n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \n \n \n \n \n \n A BUNDLE OF LETTERS \n by Henry James \n \n \n CHAPTER I \n \n","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","enough for to-day. I don't know how much longer I shall stay here; I am \n getting on so fast that it sometimes seems as if I shouldn't need all the \n time I have laid out. I suppose your cold weather has promptly begun, as \n usual; it sometimes makes me envy you. The fall weather here is very \n dull and damp, and I feel very much as if I should like to be braced up. \n \n \n \n \n CHAPTER VI \n \n","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","any rate, I don't care if I don't. I didn't come to Europe to lead a \n merely conventional life; I could do that at Bangor. You know I never \n _would_ do it at Bangor, so it isn't likely I am going to make myself \n miserable over here. So long as I accomplish what I desire, and make my \n money hold out, I shall regard the thing as a success. Sometimes I feel \n rather lonely, especially in the evening; but I generally manage to","know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and, \n so long as I retain possession of my faculties, I don't suppose I ever \n shall. As I said, however, the place is very well managed, and I succeed \n in doing as I please, which, you know, is my most cherished pursuit. \n Madame de Maisonrouge has a great deal of tact--much more than poor"],["\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","violet eye--the very eye itself seems to blush; the great shadowy hat, \n making the brow so quiet; the strange, clinging, clutching, pictured \n raiment! As I say, it is a very gracious, tender type. She has her \n brother with her, who is a beautiful, fair-haired, gray-eyed young \n Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","adorable miss that you ever, or at least that I ever beheld. She is \n decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a \n confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this \n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \n me, and the only answer she will make is that Lady So-and-so is","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","But she did keep on; she kept on too long; and then I began to feel hurt. \n I couldn't think what I have done, and I can't think yet. It's as if she \n had got some idea about me, or had heard some one say something. If some \n girls should behave like that I shouldn't make any account of it; but \n this one is so refined, and looks as if she might be so interesting if I \n once got to know her, that I think about it a good deal. I am bound to","her. I am angry with her brother too, for she is evidently very much \n afraid of him, and this gives me some further insight into the subject. \n She thinks everything of her brother, and thinks it natural that she \n should be afraid of him, not only physically (for this _is_ natural, as \n he is enormously tall and strong, and has very big fists), but morally \n and intellectually. She seems unable, however, to take in any argument, \n and she makes me realise what I have often heard--that if you are timid","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","she didn't want to recognise me or associate with me; as if she wanted to \n make a difference between us. It is like people they call \"haughty\" in \n books. I have never seen any one like that before--any one that wanted \n to make a difference; and at first I was right down interested, she \n seemed to me so like a proud young lady in a novel. I kept saying to \n myself all day, \"haughty, haughty,\" and I wished she would keep on so.","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","but the other girl (I mean the nicer one, with the mother) tells me she \n is more respectable than she seems. She has, however, the most \n extraordinary opinions--wishes to do away with the aristocracy, thinks it \n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \n what it signifies to her that poor Arthur should come into the property, \n which will be so delightful--except for papa dying. But Harold says she","seems as if; over here, I had learned to come out with everything. I \n suppose they will think I am not sincere; but isn't it more sincere to \n come out with things than to conceal them? I have become very good \n friends with every one in the house--that is (you see, I _am_ sincere), \n with _almost_ every one. It is the most interesting circle I ever was \n in. There's a girl here, an American, that I don't like so much as the","girdles, with something quaint and angular in her step, her carriage \n something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as \n they say here; simpler, softer, rounder, richer than the young girls I \n spoke of just now. Not much talk--a great, sweet silence. Then the","sweet as she can live) to hear her talk as if it were a matter of course \n that I should. \n \n I feel as if it were right to ask her as often as I can if she doesn't \n consider every one equal; but she always says she doesn't, and she \n confesses that she doesn't think she is equal to \"Lady \n Something-or-other,\" who is the wife of that relation of her father. I \n try and persuade her all I can that she is; but it seems as if she didn't","FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n \n September 21st. \n \n We had hardly got here when father received a telegram saying he would \n have to come right back to New York. It was for something about his \n business--I don't know exactly what; you know I never understand those \n things, never want to. We had just got settled at the hotel, in some","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my"],["There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","Madame de Maisonrouge all I can (she is the lady of the house, and the \n _real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell \n William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the \n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \n said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall \n take care to pick out a good one, and to meet plenty of fresh \n experiences. \n \n Dearest mother, my money holds out, and it _is_ most interesting! \n \n \n \n","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","violet eye--the very eye itself seems to blush; the great shadowy hat, \n making the brow so quiet; the strange, clinging, clutching, pictured \n raiment! As I say, it is a very gracious, tender type. She has her \n brother with her, who is a beautiful, fair-haired, gray-eyed young \n Englishman. He is purely objective; and he, too, is very plastic. \n \n \n \n \n CHAPTER V \n \n","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","too--over here that I should like to perform that operation upon. I \n should like to shake the starch out of some of them, and the dust out of \n the others. I know fifty girls in Bangor that come much more up to my \n notion of the stand a truly noble woman should take, than those young \n ladies in England. But they had a most lovely way of speaking (in \n England), and the men are _remarkably handsome_. (You can show this to \n William Platt, if you like.) \n","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","it's a kind of coaching place, only kept by women. Mamma had heard it \n was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all \n pleased; but he has been very kind, and has treated me like an angel. He \n is getting on beautifully with his French; for though I don't think the","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part"],["have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","CHAPTER VII \n \n \n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and \n I don't know what puts it into my head to-night to recall myself to your \n affectionate memory. I suppose it is that when we are happy the mind \n reverts instinctively to those with whom formerly we shared our","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","CHAPTER VIII \n \n \n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \n \n My dear brother in Science--I resume my hasty notes, of which I sent you \n the first instalment some weeks ago. I mentioned then that I intended to \n leave my hotel, not finding it sufficiently local and national. It was \n kept by a Pomeranian, and the waiters, without exception, were from the","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the \n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \n said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n","Just now, as I told you, I am in daily conversation with three separate \n pairs. The owner of one of them has private lessons; she pays extra. My \n cousin doesn't give me a sou of the money; but I make bold, nevertheless, \n to say that my trouble is remunerated. But I am well, very well, with \n the proprietors of the two other pairs. One of them is a little \n Anglaise, of about twenty--a little _figure de keepsake_; the most","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","The little one (she has a mother somewhere, out of sight, shut up in a \n closet or a trunk) is a good deal prettier, and, perhaps, on that account \n _elle y met plus de facons_. She doesn't knock about Paris with me by \n the hour; she contents herself with long interviews in the _petit salon_, \n with the curtains half-drawn, beginning at about three o'clock, when \n every one is _a la promenade_. She is admirable, this little one; a","This is not such a nice place for a girl as for a young man, and the \n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \n here. As Mrs. Desmond said, it is because she is so very unconventional. \n But you know Paris is so very amusing, and if only Harold remains good- \n natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he"],["The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","world, and it only reveals itself to the truly earnest seeker. There is \n a want of earnestness in that life of hotels and railroad trains, which \n so many of our countrymen are content to lead in this strange Old World, \n and I was distressed to find how far I, myself; had been led along the \n dusty, beaten track. I had, however, constantly wanted to turn aside \n into more unfrequented ways; to plunge beneath the surface and see what I","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","Americans whom I have before me with regard to each other. There is \n another young lady here, who is less abnormally developed than the one I \n have just described, but who yet bears the stamp of this peculiar \n combination of incompleteness and effeteness. These three persons look \n with the greatest mistrust and aversion upon each other; and each has \n repeatedly taken me apart and assured me, secretly, that he or she only \n is the real, the genuine, the typical American. A type that has lost","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","that there is an immense number of Americans exactly resembling him, and \n that the city of Boston, indeed, is almost exclusively composed of them. \n (He communicated this fact very proudly, as if it were greatly to the \n credit of his native country; little perceiving the truly sinister \n impression it made upon me.) \n \n What strikes one in it is that it is a phenomenon to the best of my \n knowledge--and you know what my knowledge is--unprecedented and unique in","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most \n extraordinary, and which, presenting itself in a young woman of \n considerable education, appears to me to be the judgment of a society. \n \n Another observation which pushes me to the same induction--that of the \n premature vitiation of the American population--is the attitude of the","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","introduce me. But I was in such a hurry that I went off by myself; and I \n had no trouble in finding these good people. They were delighted to \n receive me, and I was very much pleased with what I saw of them. They \n seemed to have plenty of conversation, and there will be no trouble about \n that. \n \n I came here to stay about three days ago, and by this time I have seen a \n great deal of them. The price of board struck me as rather high; but I","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I \n have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","perhaps, reply, it is easy to say it; but the thing is to make people \n believe you! And, then, I don't want any second-hand, spurious \n sensations; I want the knowledge that leaves a trace--that leaves strange \n scars and stains and reveries behind it! But I am afraid I shock you, \n perhaps even frighten you. \n \n If you repeat my remarks to any of the West Cedar Street circle, be sure \n you tone them down as your discretion will suggest. For yourself; you","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a"],["young lady and her brother. I wish I could put them before you. She is \n lovely to look at; she seems so modest and retiring. In spite of this, \n however, she dresses in a way that attracts great attention, as I \n couldn't help noticing when one day I went out to walk with her. She was \n ever so much looked at; but she didn't seem to notice it, until at last I \n couldn't help calling attention to it. Mr. Leverett thinks everything of","girdles, with something quaint and angular in her step, her carriage \n something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as \n they say here; simpler, softer, rounder, richer than the young girls I \n spoke of just now. Not much talk--a great, sweet silence. Then the","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \n BRIGHTON. \n \n Paris, September 30th. \n \n Dear Lady Augusta--I am afraid I shall not be able to come to you on \n January 7th, as you kindly proposed at Homburg. I am so very, very \n sorry; it is a great disappointment to me. But I have just heard that it","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this \n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \n me, and the only answer she will make is that Lady So-and-so is","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the \n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \n said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","The conversation in the parlour (from eight to eleven) is often \n remarkably brilliant, and I often wish that you, or some of the Bangor \n folks, could be there to enjoy it. Even though you couldn't understand \n it I think you would like to hear the way they go on; they seem to \n express so much. I sometimes think that at Bangor they don't express \n enough (but it seems as if over there, there was less to express). It","If I had any money to spend I would buy some and take them back, to hang \n up. Mr. Leverett says it would do them good--not the pictures, but the \n Bangor folks. He thinks everything of the French, too, and says we don't \n make nearly enough of _them_. I couldn't help telling him the other day \n that at any rate they make enough of themselves. But it is very \n interesting to hear him go on about the French, and it is so much gain to","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","The fair New Yorker is, sometimes, very amusing; she asks me if every one \n in Boston talks like me--if every one is as \"intellectual\" as your poor \n correspondent. She is for ever throwing Boston up at me; I can't get rid \n of Boston. The other one rubs it into me too; but in a different way; \n she seems to feel about it as a good Mahommedan feels toward Mecca, and \n regards it as a kind of focus of light for the whole human race. Poor","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","worn out, his triumph is assured. Mother is usually worn out more easily \n than I, and she ends by siding with father; so that, at last, when they \n combine their forces against poor little me, I have to succumb. You \n should have heard the way father went on about this \"family\" plan; he \n talked to every one he saw about it; he used to go round to the banker's \n and talk to the people there--the people in the post-office; he used to","advance--with a Bostonian. I don't know when I may meet one again; but \n if there are many others like Mr. Leverett there, I shall be certain not \n to want when I carry out my dream. He is just as full of culture as he \n can live. But it seems strange how many different sorts there are. \n \n There are two of the English who I suppose are very cultivated too; but \n it doesn't seem as if I could enter into theirs so easily, though I try"],["addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I \n should not, after all, use that expression, for it is the correlative of \n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \n Conflans? But this establishment is not at all like that: and indeed it","causes, with the spontaneous home-life of the country. \n \n I accordingly engaged a room in the house of a lady of pure French \n extraction and education, who supplements the shortcomings of an income \n insufficient to the ever-growing demands of the Parisian system of sense- \n gratification, by providing food and lodging for a limited number of \n distinguished strangers. I should have preferred to have my room alone \n in the house, and to take my meals in a brewery, of very good appearance,","it's a kind of coaching place, only kept by women. Mamma had heard it \n was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all \n pleased; but he has been very kind, and has treated me like an angel. He \n is getting on beautifully with his French; for though I don't think the","dearest friend kept a regular place of that kind. If she had known I was \n looking out for such a place she would have told me before; she had not \n spoken of it herself, because she didn't wish to injure the hotel by \n being the cause of my going away. She told me this was a charming \n family, who had often received American ladies (and others as well) who \n wished to follow up the language, and she was sure I should be delighted \n with them. So she gave me their address, and offered to go with me to","coeur du vieux Paris_, as they say here. They live only in the Boulevard \n Haussman, which is less picturesque; but in spite of this they have a \n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \n the oldest and proudest families in France; but she has had reverses \n which have compelled her to open an establishment in which a limited \n number of travellers, who are weary of the beaten track, who have the","is not at all _bourgeois_; there is something distinguished, something \n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \n _graisseuse_; but this is in quite a different tone, with high, clear, \n lightly-draped windows, tender, subtle, almost morbid, colours, and \n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \n reminds me of Madame Hulot--do you remember \"la belle Madame Hulot?\"--in","which I speedily discovered in the same street; but this arrangement, \n though very lucidly proposed by myself; was not acceptable to the \n mistress of the establishment (a woman with a mathematical head), and I \n have consoled myself for the extra expense by fixing my thoughts upon the \n opportunity that conformity to the customs of the house gives me of \n studying the table-manners of my companions, and of observing the French \n nature at a peculiarly physiological moment, the moment when the","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","staying with Madame de Maisonrouge I should not be living in the Faubourg \n St. Germain, I don't know that from the point of view of exclusiveness it \n is any great loss to be here. \n \n Our rooms are very prettily arranged, and the table is remarkably good. \n Mamma thinks the whole thing--the place and the people, the manners and \n customs--very amusing; but mamma is very easily amused. As for me, you","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he \n refused to let us stay at the hotel, and insisted that we should go into \n a _family_. I don't know what put such an idea into his head, unless it \n was some advertisement that he saw in one of the American papers that are \n published here. \n \n There are families here who receive American and English people to live","there being so many persons around me speaking English, and that, as you \n may say, in the very bosom of a French family. It seems as if you heard \n English everywhere; but I certainly didn't expect to find it in a place \n like this. I am not discouraged, however, and I talk French all I can, \n even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","breathe more freely than I expected, in this place, where we have been \n for about a week. I was sure, before we came, that it would prove to be \n an establishment of the _lowest description_; but I must say that, in \n this respect, I am agreeably disappointed. The French are so clever that \n they know even how to manage a place of this kind. Of course it is very \n disagreeable to live with strangers, but as, after all, if I were not","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","taken abroad, mamma wrote to me that I had better stop in Paris for a \n month with Harold, so that she could pick me up on their way to Hyeres. \n It saves the expense of my journey to Kingscote and back, and gives me \n the opportunity to \"finish\" a little in French. \n \n You know Harold came here six weeks ago, to get up his French for those \n dreadful examinations that he has to pass so soon. He came to live with \n some French people that take in young men (and others) for this purpose;","has been settled that mamma and the children are coming abroad for a part \n of the winter, and mamma wishes me to go with them to Hyeres, where \n Georgina has been ordered for her lungs. She has not been at all well \n these three months, and now that the damp weather has begun she is very \n poorly indeed; so that last week papa decided to have a consultation, and \n he and mamma went with her up to town and saw some three or four doctors."],["FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","adorable miss that you ever, or at least that I ever beheld. She is \n decorated all over with beads and bracelets and embroidered dandelions; \n but her principal decoration consists of the softest little gray eyes in \n the world, which rest upon you with a profundity of confidence--a \n confidence that I really feel some compunction in betraying. She has a \n tint as white as this sheet of paper, except just in the middle of each","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more","brother, her husband, etc. She told me her own position was very good, \n because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it \n wouldn't depend upon that of your relations, even your nearest. I don't \n know much about lords, and it does try my patience (though she is just as","This is not such a nice place for a girl as for a young man, and the \n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \n here. As Mrs. Desmond said, it is because she is so very unconventional. \n But you know Paris is so very amusing, and if only Harold remains good- \n natured about it, I shall be content to wait for the caravan (that's what \n he calls mamma and the children). The person who keeps the","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \n MAINE. \n \n September 5th, 1879. \n \n My dear mother--I have kept you posted as far as Tuesday week last, and, \n although my letter will not have reached you yet, I will begin another \n before my news accumulates too much. I am glad you show my letters round"],["little Boston, what nonsense is talked in thy name! But this New England \n maiden is, in her way, a strange type: she is travelling all over Europe \n alone--\"to see it,\" she says, \"for herself.\" For herself! What can that \n stiff slim self of hers do with such sights, such visions! She looks at \n everything, goes everywhere, passes her way, with her clear quiet eyes \n wide open; skirting the edge of obscene abysses without suspecting them;","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","opportunities she finds in her own country do not satisfy her, she has \n come to Europe \"to try,\" as she says, \"for herself.\" It is the doctrine \n of universal experience professed with a cynicism that is really most \n extraordinary, and which, presenting itself in a young woman of \n considerable education, appears to me to be the judgment of a society. \n \n Another observation which pushes me to the same induction--that of the \n premature vitiation of the American population--is the attitude of the","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I \n have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","any rate, I don't care if I don't. I didn't come to Europe to lead a \n merely conventional life; I could do that at Bangor. You know I never \n _would_ do it at Bangor, so it isn't likely I am going to make myself \n miserable over here. So long as I accomplish what I desire, and make my \n money hold out, I shall regard the thing as a success. Sometimes I feel \n rather lonely, especially in the evening; but I generally manage to","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","seem to me at all satisfactory, and that is a point, you know, on which I \n feel very strongly. It seems to me that in England they play a very \n faded-out part, and those with whom I conversed had a kind of depressed \n and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","represented (putting myself aside, and I often think that my temperament \n is not at all American) by a young girl and her mother, and another young \n girl without her mother--without her mother or any attendant or appendage \n whatever. These young girls are rather curious types; they have a \n certain interest, they have a certain grace, but they are disappointing \n too; they don't go far; they don't keep all they promise; they don't \n satisfy the imagination. They are cold, slim, sexless; the physique is","at my universal good fortune. It only shows what a little energy and \n common-sense will accomplish. I have discovered none of these objections \n to a young lady travelling in Europe by herself of which we heard so much \n before I left, and I don't expect I ever shall, for I certainly don't \n mean to look for them. I know what I want, and I always manage to get \n it. \n \n I have received a great deal of politeness--some of it really most","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","positive orders to make her stop in-doors. She is very cross (mamma \n writes me) about coming abroad, and doesn't seem at all to mind the \n expense that papa has been put to--talks very ill-naturedly about losing \n the hunting, etc. She expected to begin to hunt in December, and wants \n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \n follow the hounds when her lungs are so bad! But I daresay that when she","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","world, and it only reveals itself to the truly earnest seeker. There is \n a want of earnestness in that life of hotels and railroad trains, which \n so many of our countrymen are content to lead in this strange Old World, \n and I was distressed to find how far I, myself; had been led along the \n dusty, beaten track. I had, however, constantly wanted to turn aside \n into more unfrequented ways; to plunge beneath the surface and see what I","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for"],["of Miss Miranda! They also take place in the _petit salon_, but with the \n doors tightly closed, and with explicit directions to every one in the \n house that we are not to be disturbed. And we are not, my good Prosper; \n we are not! Not a sound, not a shadow, interrupts our felicity. My \n _cousine_ is really admirable; the shop deserves to succeed. Miss \n Miranda is tall and rather flat; she is too pale; she hasn't the adorable","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","Don't you remember when Clara Barnard went to visit New York, three years \n ago, how much attention she received? And you know Clara _is_ Bangor, to \n the soles of her shoes. Ask William Platt--so long as he isn't a \n native--if he doesn't consider Clara Barnard refined. \n \n Apropos, as they say here, of refinement, there is another American in \n the house--a gentleman from Boston--who is just crowded with it. His","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou \n and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n \n","there being so many persons around me speaking English, and that, as you \n may say, in the very bosom of a French family. It seems as if you heard \n English everywhere; but I certainly didn't expect to find it in a place \n like this. I am not discouraged, however, and I talk French all I can, \n even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \n none of yours. She is now fifty years old (she confesses to \n thirty-seven), and her daughters, whom she has never been able to marry, \n are respectively twenty-seven and twenty-three (they confess to twenty \n and to seventeen). Three years ago she had the thrice-blessed idea of \n opening a sort of _pension_ for the entertainment and instruction of the","must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two \n clocks, and five curtains. I was rather disappointed after I arrived to \n find that there are several other Americans here for the same purpose as \n myself. At least there are three Americans and two English people; and \n also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with","not generous, not abundant; it is only the drapery, the skirts and \n furbelows (that is, I mean in the young lady who has her mother) that are \n abundant. They are very different: one of them all elegance, all \n expensiveness, with an air of high fashion, from New York; the other a \n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \n the heart of New England. And yet they are very much alike too--more","brother, her husband, etc. She told me her own position was very good, \n because her father was some relation--I forget what--to a lord. She \n thinks everything of this; and that proves to me that the position of \n woman in her country cannot be satisfactory; because, if it were, it \n wouldn't depend upon that of your relations, even your nearest. I don't \n know much about lords, and it does try my patience (though she is just as","gets there she will he glad enough to keep quiet, as they say that the \n heat is intense. It may cure Georgina, but I am sure it will make the \n rest of us very ill. \n \n Mamma, however, is only going to bring Mary and Gus and Fred and Adelaide \n abroad with her; the others will remain at Kingscote until February \n (about the 3d), when they will go to Eastbourne for a month with Miss \n Turnover, the new governess, who has turned out such a very nice person.","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part"],["You know I told you, in writing some time ago, that I had tried to get \n some insight into the position of woman in England, and, being here with \n Miss Vane, it has seemed to me to be a good opportunity to get a little \n more. I have asked her a great deal about it; but she doesn't seem able \n to give me much information. The first time I asked her she told me the \n position of a lady depended upon the rank of her father, her eldest","nothing will reason you out of it. \n \n Mr. Vane, also (the brother), seems to have the same prejudices, and when \n I tell him, as I often think it right to do, that his sister is not his \n subordinate, even if she does think so, but his equal, and, perhaps in \n some respects his superior, and that if my brother, in Bangor, were to \n treat me as he treates this poor young girl, who has not spirit enough to","FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \n BRIGHTON. \n \n Paris, September 30th. \n \n Dear Lady Augusta--I am afraid I shall not be able to come to you on \n January 7th, as you kindly proposed at Homburg. I am so very, very \n sorry; it is a great disappointment to me. But I have just heard that it","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","want to be persuaded; and when I ask her if Lady So-and-so is of the same \n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \n with her eyes, and says, \"Of course she is!\" When I tell her that this \n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \n me, and the only answer she will make is that Lady So-and-so is","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","Madame de Maisonrouge all I can (she is the lady of the house, and the \n _real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell \n William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","girdles, with something quaint and angular in her step, her carriage \n something mediaeval and Gothic, in the details of her person and dress, \n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \n delightfully picturesque. She is much a woman--elle _est bien femme_, as \n they say here; simpler, softer, rounder, richer than the young girls I \n spoke of just now. Not much talk--a great, sweet silence. Then the","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","rest; but that is only because she won't let me. I should like to like \n her, ever so much, because she is most lovely and most attractive; but \n she doesn't seem to want to know me or to like me. She comes from New \n York, and she is remarkably pretty, with beautiful eyes and the most \n delicate features; she is also remarkably elegant--in this respect would \n bear comparison with any one I have seen over here. But it seems as if","positive orders to make her stop in-doors. She is very cross (mamma \n writes me) about coming abroad, and doesn't seem at all to mind the \n expense that papa has been put to--talks very ill-naturedly about losing \n the hunting, etc. She expected to begin to hunt in December, and wants \n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \n follow the hounds when her lungs are so bad! But I daresay that when she","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","pushing through brambles without tearing her robe; exciting, without \n knowing it, the most injurious suspicions; and always holding her course, \n passionless, stainless, fearless, charmless! It is a little figure in \n which, after all, if you can get the right point of view, there is \n something rather striking. \n \n By way of contrast, there is a lovely English girl, with eyes as shy as \n violets, and a voice as sweet! She has a sweet Gainsborough head, and a","young lady and her brother. I wish I could put them before you. She is \n lovely to look at; she seems so modest and retiring. In spite of this, \n however, she dresses in a way that attracts great attention, as I \n couldn't help noticing when one day I went out to walk with her. She was \n ever so much looked at; but she didn't seem to notice it, until at last I \n couldn't help calling attention to it. Mr. Leverett thinks everything of","enough for to-day. I don't know how much longer I shall stay here; I am \n getting on so fast that it sometimes seems as if I shouldn't need all the \n time I have laid out. I suppose your cold weather has promptly begun, as \n usual; it sometimes makes me envy you. The fall weather here is very \n dull and damp, and I feel very much as if I should like to be braced up. \n \n \n \n \n CHAPTER VI \n \n","it; he calls it the \"costume of the future.\" I should call it rather the \n costume of the past--you know the English have such an attachment to the \n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \n said Madame, with her little French laugh (you can get William Platt to \n translate this, he used to tell me he knew so much French). \n"],["see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","be treated worse. I have not, as I say, fully explained to myself this \n logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them \n by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","correct French letters; and, if you don't believe it, I will keep the \n rough draft to show you when I go back. \n \n The German gentleman is also more interesting, the more you know him; it \n seems sometimes as if I could fairly drink in his ideas. I have found \n out why the young lady from New York doesn't like me! It is because I \n said one day at dinner that I admired to go to the Louvre. Well, when I \n first came, it seemed as if I _did_ admire everything!","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","little too thin, the bones rather accentuated, but the detail, on the \n whole, most satisfactory. And you can say anything to her. She takes \n the trouble to appear not to understand, but her conduct, half an hour \n afterwards, reassures you completely--oh, completely! \n \n However, it is the tall one, the one of the private lessons, that is the \n most remarkable. These private lessons, my good Prosper, are the most \n brilliant invention of the age, and a real stroke of genius on the part","of French families here that take you to board and teach you. My second \n cousin--that young lady I told you about--she got in with a crowd like \n that, and they booked her right up in three months. They just took her \n right in and they talked to her. That's what they do to you; they set \n you right down and they talk _at_ you. You've got to understand them; \n you can't help yourself. That family my cousin was with has moved away","breathe more freely than I expected, in this place, where we have been \n for about a week. I was sure, before we came, that it would prove to be \n an establishment of the _lowest description_; but I must say that, in \n this respect, I am agreeably disappointed. The French are so clever that \n they know even how to manage a place of this kind. Of course it is very \n disagreeable to live with strangers, but as, after all, if I were not","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \n up her head and looking every one in the face, which is the most finished \n piece of impertinence I ever beheld. She is making the _tour du monde_ \n entirely alone, without even a soubrette to carry the ensign, for the \n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les","there being so many persons around me speaking English, and that, as you \n may say, in the very bosom of a French family. It seems as if you heard \n English everywhere; but I certainly didn't expect to find it in a place \n like this. I am not discouraged, however, and I talk French all I can, \n even with the other English boarders. Then I have a lesson every day \n from Miss Maisonrouge (the elder daughter of the lady of the house), and","that immense fortunes are being made. We have been economising for the \n last five years, and I supposed we came abroad to reap the benefits of \n it. \n \n As for my French, it is quite as perfect as I want it to be. (I assure \n you I am often surprised at my own fluency, and, when I get a little more \n practice in the genders and the idioms, I shall do very well in this \n respect.) To make a long story short, however, father carried his point,"],["is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","seems as if; over here, I had learned to come out with everything. I \n suppose they will think I am not sincere; but isn't it more sincere to \n come out with things than to conceal them? I have become very good \n friends with every one in the house--that is (you see, I _am_ sincere), \n with _almost_ every one. It is the most interesting circle I ever was \n in. There's a girl here, an American, that I don't like so much as the","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","corner of a shop or a restaurant. I am sure that, in spite of her fine \n name, she was once a _dame de comptoir_. I am also sure that, in spite \n of her smiles and the pretty things she says to every one, she hates us \n all, and would like to murder us. She is a hard, clever Frenchwoman, who \n would like to amuse herself and enjoy her Paris, and she must be bored to \n death at passing all her time in the midst of stupid English people who","breathe more freely than I expected, in this place, where we have been \n for about a week. I was sure, before we came, that it would prove to be \n an establishment of the _lowest description_; but I must say that, in \n this respect, I am agreeably disappointed. The French are so clever that \n they know even how to manage a place of this kind. Of course it is very \n disagreeable to live with strangers, but as, after all, if I were not","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and, \n so long as I retain possession of my faculties, I don't suppose I ever \n shall. As I said, however, the place is very well managed, and I succeed \n in doing as I please, which, you know, is my most cherished pursuit. \n Madame de Maisonrouge has a great deal of tact--much more than poor","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","which I speedily discovered in the same street; but this arrangement, \n though very lucidly proposed by myself; was not acceptable to the \n mistress of the establishment (a woman with a mathematical head), and I \n have consoled myself for the extra expense by fixing my thoughts upon the \n opportunity that conformity to the customs of the house gives me of \n studying the table-manners of my companions, and of observing the French \n nature at a peculiarly physiological moment, the moment when the","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","having no more opportunity to practise it than if I had remained at \n Bangor. In fact, I used to hear a great deal more at Bangor, from those \n French Canadians that came down to cut the ice, than I saw I should ever \n hear at that hotel. The lady that kept the books seemed to want so much \n to talk to me in English (for the sake of practice, too, I suppose), that \n I couldn't bear to let her know I didn't like it. The chambermaid was","introduce me. But I was in such a hurry that I went off by myself; and I \n had no trouble in finding these good people. They were delighted to \n receive me, and I was very much pleased with what I saw of them. They \n seemed to have plenty of conversation, and there will be no trouble about \n that. \n \n I came here to stay about three days ago, and by this time I have seen a \n great deal of them. The price of board struck me as rather high; but I","alike than they would care to think themselves for they eye each other \n with cold, mistrustful, deprecating looks. They are both specimens of \n the emancipated young American girl--practical, positive, passionless, \n subtle, and knowing, as you please, either too much or too little. And \n yet, as I say, they have a certain stamp, a certain grace; I like to talk \n with them, to study them. \n","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","sense of local colour--she explains it herself; she expresses it so \n well--in short, to open a sort of boarding-house. I don't see why I \n should not, after all, use that expression, for it is the correlative of \n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \n Conflans? But this establishment is not at all like that: and indeed it","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is"],["is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","The other Americans (beside the madman) are two girls, about my own age, \n one of whom is rather nice. She has a mother; but the mother is always \n sitting in her bedroom, which seems so very odd. I should like mamma to \n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \n who is rather vulgar. The other girl is rather vulgar too, and is \n travelling about quite alone. I think she is a kind of schoolmistress;","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","supposition that I should be substantially disagreeable to its inmates. I \n wished to observe the different forms taken by the irritation that I \n should naturally produce; for it is under the influence of irritation \n that the French character most completely expresses itself. My presence, \n however, does not appear to operate as a stimulus, and in this respect I \n am materially disappointed. They treat me as they treat every one else; \n whereas, in order to be treated differently, I was resigned in advance to","causes, with the spontaneous home-life of the country. \n \n I accordingly engaged a room in the house of a lady of pure French \n extraction and education, who supplements the shortcomings of an income \n insufficient to the ever-growing demands of the Parisian system of sense- \n gratification, by providing food and lodging for a limited number of \n distinguished strangers. I should have preferred to have my room alone \n in the house, and to take my meals in a brewery, of very good appearance,","uncomfortable, and I daresay it will be worse at Hyeres. There, however, \n fortunately, we shall have our own people. \n \n There are some very odd Americans here, who keep throwing Harold into \n fits of laughter. One is a dreadful little man who is always sitting \n over the fire, and talking about the colour of the sky. I don't believe \n he ever saw the sky except through the window--pane. The other day he","breathe more freely than I expected, in this place, where we have been \n for about a week. I was sure, before we came, that it would prove to be \n an establishment of the _lowest description_; but I must say that, in \n this respect, I am agreeably disappointed. The French are so clever that \n they know even how to manage a place of this kind. Of course it is very \n disagreeable to live with strangers, but as, after all, if I were not","having no more opportunity to practise it than if I had remained at \n Bangor. In fact, I used to hear a great deal more at Bangor, from those \n French Canadians that came down to cut the ice, than I saw I should ever \n hear at that hotel. The lady that kept the books seemed to want so much \n to talk to me in English (for the sake of practice, too, I suppose), that \n I couldn't bear to let her know I didn't like it. The chambermaid was","which I speedily discovered in the same street; but this arrangement, \n though very lucidly proposed by myself; was not acceptable to the \n mistress of the establishment (a woman with a mathematical head), and I \n have consoled myself for the extra expense by fixing my thoughts upon the \n opportunity that conformity to the customs of the house gives me of \n studying the table-manners of my companions, and of observing the French \n nature at a peculiarly physiological moment, the moment when the","mumble broken French at her. Some day she will poison the soup or the \n _vin rouge_; but I hope that will not be until after mother and I shall \n have left her. She has two daughters, who, except that one is decidedly \n pretty, are meagre imitations of herself. \n \n The \"family,\" for the rest, consists altogether of our beloved \n compatriots, and of still more beloved Englanders. There is an \n Englishman here, with his sister, and they seem to be rather nice people.","\"extremely nice.\" I don't believe she is nice at all; if she were nice, \n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \n think such ideas vulgar; but then she looks as though she had never heard \n of Bangor. I often want to shake her, though she _is_ so sweet. If she \n isn't angry with the people who make her feel that way, I am angry for","dreadful ocean again. So, at last, he decided to go back alone, and to \n leave us here for three months. But, to show you how fussy he is, he \n refused to let us stay at the hotel, and insisted that we should go into \n a _family_. I don't know what put such an idea into his head, unless it \n was some advertisement that he saw in one of the American papers that are \n published here. \n \n There are families here who receive American and English people to live","said that she had never heard me mentioned, and that her room was too \n small to receive visitors. I suppose she spoke the truth, but I am sure \n she has got some reason, all the same. She has got some idea, and I am \n bound to find out before I go, if I have to ask everybody in the house. I \n _am_ right down curious. I wonder if she doesn't think me refined--or if \n she had ever heard anything against Bangor? I can't think it is that.","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","two Americans, besides mother and me. One of them is a young man from \n Boston,--an aesthetic young man, who talks about its being \"a real Corot \n day,\" etc., and a young woman--a girl, a female, I don't know what to \n call her--from Vermont, or Minnesota, or some such place. This young \n woman is the most extraordinary specimen of artless Yankeeism that I ever \n encountered; she is really too horrible. I have been three times to","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","it's a kind of coaching place, only kept by women. Mamma had heard it \n was very nice; so she wrote to me that I was to come and stop here with \n Harold. The Desmonds brought me and made the arrangement, or the \n bargain, or whatever you call it. Poor Harold was naturally not at all \n pleased; but he has been very kind, and has treated me like an angel. He \n is getting on beautifully with his French; for though I don't think the"],["CHAPTER VII \n \n \n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \n \n September 28th. \n \n My Dear Prosper--It is a long time since I have given you of my news, and \n I don't know what puts it into my head to-night to recall myself to your \n affectionate memory. I suppose it is that when we are happy the mind \n reverts instinctively to those with whom formerly we shared our","have in relating it to the great Prosper. As I tell thee, I am happy; \n decidedly, I am happy, and from this affirmation I fancy you can \n construct the rest. Shall I help thee a little? Take three adorable \n girls . . . three, my good Prosper--the mystic number--neither more nor \n less. Take them and place thy insatiable little Leon in the midst of \n them! Is the situation sufficiently indicated, and do you apprehend the","addresses somewhere), while I retired to my sofa, and would have nothing \n to do with it. At last they made arrangements, and I was transported to \n the establishment from which I now write you. I write you from the bosom \n of a Parisian menage--from the depths of a second-rate boarding-house. \n \n Father only left Paris after he had seen us what he calls comfortably \n settled here, and had informed Madame de Maisonrouge (the mistress of the","putting them into my journal), especially if my letters are to be handed \n round in the family. I assure you they appear to talk about things here \n that we never think of mentioning at Bangor, or even of thinking about. \n She seems to think she can tell me everything, because I told her I was \n travelling for general culture. Well, I _do_ want to know so much that \n it seems sometimes as if I wanted to know everything; and yet there are","Tell William Platt his letter has come. I knew he would have to write, \n and I was bound I would make him! I haven't decided what country I will \n visit yet; it seems as if there were so many to choose from. But I shall \n take care to pick out a good one, and to meet plenty of fresh \n experiences. \n \n Dearest mother, my money holds out, and it _is_ most interesting! \n \n \n \n","name is Mr. Louis Leverett (such a beautiful name, I think), and he is \n about thirty years old. He is rather small, and he looks pretty sick; he \n suffers from some affection of the liver. But his conversation is \n remarkably interesting, and I delight to listen to him--he has such \n beautiful ideas. I feel as if it were hardly right, not being in French; \n but, fortunately, he uses a great many French expressions. It's in a","There is one thing, I hope--that you don't show any of my letters to \n William Platt. If he wants to see any of my letters, he knows the right \n way to go to work. I wouldn't have him see one of these letters, written \n for circulation in the family, for anything in the world. If he wants \n one for himself, he has got to write to me first. Let him write to me \n first, and then I will see about answering him. You can show him this if","in the family, for I like them all to know what I am doing, and I can't \n write to every one, though I try to answer all reasonable expectations. \n But there are a great many unreasonable ones, as I suppose you know--not \n yours, dear mother, for I am bound to say that you never required of me \n more than was natural. You see you are reaping your reward: I write to \n you before I write to any one else. \n","FROM MIRANDA HOPE TO HER MOTHER. \n \n September 26th. \n \n You must not be frightened at not hearing from me oftener; it is not \n because I am in any trouble, but because I am getting on so well. If I \n were in any trouble I don't think I should write to you; I should just \n keep quiet and see it through myself. But that is not the case at \n present and, if I don't write to you, it is because I am so deeply","you like; but if you show him anything more, I will never write to you \n again. \n \n I told you in my last about my farewell to England, my crossing the \n Channel, and my first impressions of Paris. I have thought a great deal \n about that lovely England since I left it, and all the famous historic \n scenes I visited; but I have come to the conclusion that it is not a \n country in which I should care to reside. The position of woman does not","Clementine about your underskirt, etc. \n \n \n \n \n CHAPTER IV \n \n \n FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \n \n September 25th. \n \n My dear Harvard--I have carried out my plan, of which I gave you a hint \n in my last, and I only regret that I should not have done it before. It \n is human nature, after all, that is the most interesting thing in the","enough for to-day. I don't know how much longer I shall stay here; I am \n getting on so fast that it sometimes seems as if I shouldn't need all the \n time I have laid out. I suppose your cold weather has promptly begun, as \n usual; it sometimes makes me envy you. The fall weather here is very \n dull and damp, and I feel very much as if I should like to be braced up. \n \n \n \n \n CHAPTER VI \n \n","Madame de Maisonrouge all I can (she is the lady of the house, and the \n _real_ family consists only of herself and her two daughters). They are \n all most elegant, interesting women, and I am sure we shall become \n intimate friends. I will write you more about them in my next. Tell \n William Platt I don't care what he does. \n \n \n \n \n CHAPTER III \n \n","know, all that I ask is to be let alone, and not to have people's society \n forced upon me. I have never wanted for society of my own choosing, and, \n so long as I retain possession of my faculties, I don't suppose I ever \n shall. As I said, however, the place is very well managed, and I succeed \n in doing as I please, which, you know, is my most cherished pursuit. \n Madame de Maisonrouge has a great deal of tact--much more than poor","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \n \n September 21st. \n \n We had hardly got here when father received a telegram saying he would \n have to come right back to New York. It was for something about his \n business--I don't know exactly what; you know I never understand those \n things, never want to. We had just got settled at the hotel, in some","visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \n circle of real friends. Everything has gone on beautifully up to the \n end, and every one has been as kind and attentive as if I were their own \n sister, especially Mr. Verdier, the French gentleman, from whom I have \n gained more than I ever expected (in six weeks), and with whom I have \n promised to correspond. So you can imagine me dashing off the most","away; I should have liked so much to go and see him, and tell him all \n that I owe him. He was living when I was here before; but, you know, at \n that time I was travelling with the Johnsons, who are not aesthetic, and \n who used to make me feel rather ashamed of my artistic temperament. If I \n had gone to see the great apostle of beauty, I should have had to go \n clandestinely--_en cachette_, as they say here; and that is not my","motives of my felicity? \n \n You expected, perhaps, I was going to tell you that I had made my \n fortune, or that the Uncle Blondeau had at last decided to return into \n the breast of nature, after having constituted me his universal legatee. \n But I needn't remind you that women are always for something in the \n happiness of him who writes to thee--for something in his happiness, and \n for a good deal more in his misery. But don't let me talk of misery now;","that immense fortunes are being made. We have been economising for the \n last five years, and I supposed we came abroad to reap the benefits of \n it. \n \n As for my French, it is quite as perfect as I want it to be. (I assure \n you I am often surprised at my own fluency, and, when I get a little more \n practice in the genders and the idioms, I shall do very well in this \n respect.) To make a long story short, however, father carried his point,"],["see the question in its true light, there would be an indignation, \n meeting of the citizens to protest against such an outrage to the \n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \n he bursts out laughing so loud that all the plates clatter on the table. \n \n But at such a time as this there is always one person who seems \n interested in what I say--a German gentleman, a professor, who sits next \n to me at dinner, and whom I must tell you more about another time. He is","apparently that of a man, but I hesitate to classify him so \n superficially. He appears to me less human than simian, and whenever I \n hear him talk I seem to myself to have paused in the street to listen to \n the shrill clatter of a hand-organ, to which the gambols of a hairy \n _homunculus_ form an accompaniment. \n \n I mentioned to you before that my expectation of rough usage, in \n consequence of my German nationality, had proved completely unfounded. No","to them nine years ago. A German was something disagreeable, which they \n determined to keep out of their conception of things. I therefore think \n that we are wrong to govern ourselves upon the hypothesis of the \n _revanche_; the French nature is too shallow for that large and powerful \n plant to bloom in it. \n \n The English-speaking specimens, too, I have not been willing to neglect \n the opportunity to examine; and among these I have paid special attention \n to the American varieties, of which I find here several singular","He is remarkably handsome, but excessively affected and patronising, \n especially to us Americans; and I hope to have a chance of biting his \n head off before long. The sister is very pretty, and, apparently, very \n nice; but, in costume, she is Britannia incarnate. There is a very \n pleasant little Frenchman--when they are nice they are charming--and a \n German doctor, a big blonde man, who looks like a great white bull; and","Fatherland. I fancied myself at Berlin, Unter den Linden, and I \n reflected that, having taken the serious step of visiting the \n head-quarters of the Gallic genius, I should try and project myself; as \n much as possible, into the circumstances which are in part the \n consequence and in part the cause of its irrepressible activity. It \n seemed to me that there could be no well-grounded knowledge without this \n preliminary operation of placing myself in relations, as slightly as \n possible modified by elements proceeding from a different combination of","to which I alluded above, will brighten for the deep-lunged children of \n the Fatherland! \n \n \n \n \n CHAPTER IX \n \n \n MIRANDA HOPE TO HER MOTHER. \n \n October 22d \n \n Dear Mother--I am off in a day or two to visit some new country; I \n haven't yet decided which. I have satisfied myself with regard to \n France, and obtained a good knowledge of the language. I have enjoyed my","be treated worse. I have not, as I say, fully explained to myself this \n logical contradiction; but this is the explanation to which I tend. The \n French are so exclusively occupied with the idea of themselves, that in \n spite of the very definite image the German personality presented to them \n by the war of 1870, they have at present no distinct apprehension of its \n existence. They are not very sure that there are any Germans; they have \n already forgotten the convincing proofs of the fact that were presented","CHAPTER VIII \n \n \n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \n \n My dear brother in Science--I resume my hasty notes, of which I sent you \n the first instalment some weeks ago. I mentioned then that I intended to \n leave my hotel, not finding it sufficiently local and national. It was \n kept by a Pomeranian, and the waiters, without exception, were from the","is mad. He chaffs her tremendously about her radicalism, and he is so \n immensely clever that she can't answer him, though she is rather clever \n too. \n \n There is also a Frenchman, a nephew, or cousin, or something, of the \n person of the house, who is extremely nasty; and a German professor, or \n doctor, who eats with his knife and is a great bore. I am so very sorry \n about giving up my visit. I am afraid you will never ask me again. \n","took hold of my frock (that green one you thought so nice at Homburg) and \n told me that it reminded him of the texture of the Devonshire turf. And \n then he talked for half an hour about the Devonshire turf; which I \n thought such a very extraordinary subject. Harold says he is mad. It is \n very strange to be living in this way with people one doesn't know. I \n mean that one doesn't know as one knows them in England. \n","with them, under the pretence of teaching them French. You may imagine \n what people they are--I mean the families themselves. But the Americans \n who choose this peculiar manner of seeing Paris must be actually just as \n bad. Mother and I were horrified, and declared that main force should \n not remove us from the hotel. But father has a way of arriving at his \n ends which is more efficient than violence. He worries and fusses; he \n \"nags,\" as we used to say at school; and, when mother and I are quite","very learned, and has a great desire for information; he appreciates a \n great many of my remarks, and after dinner, in the salon, he often comes \n to me to ask me questions about them. I have to think a little, \n sometimes, to know what I did say, or what I do think. He takes you \n right up where you left off; and he is almost as fond of discussing \n things as William Platt is. He is splendidly educated, in the German","that immense fortunes are being made. We have been economising for the \n last five years, and I supposed we came abroad to reap the benefits of \n it. \n \n As for my French, it is quite as perfect as I want it to be. (I assure \n you I am often surprised at my own fluency, and, when I get a little more \n practice in the genders and the idioms, I shall do very well in this \n respect.) To make a long story short, however, father carried his point,","come and stay with her--board and lodging gratis--and keep an eye on the \n grammatical eccentricities of her _pensionnaires_. I am the extension, \n my good Prosper; I am the embellishment! I live for nothing, and I \n straighten up the accent of the prettiest English lips. The English lips \n are not all pretty, heaven knows, but enough of them are so to make it a \n gaining bargain for me. \n","choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \n _drole de pays_ over there, where young persons animated by this ardent \n curiosity are manufactured! If we should turn the tables, some day, thou \n and I, and go over and see it for ourselves. It is as well that we \n should go and find them _chez elles_, as that they should come out here \n after us. _Dis donc, mon gras Prosper_ . . . \n \n \n \n","seem to me at all satisfactory, and that is a point, you know, on which I \n feel very strongly. It seems to me that in England they play a very \n faded-out part, and those with whom I conversed had a kind of depressed \n and humiliated tone; a little dull, tame look, as if they were used to \n being snubbed and bullied, which made me want to give them a good \n shaking. There are a great many people--and a great many things,","are here don't seem to try at all, either to speak or do anything else. \n They are a young lady and her brother. I believe they belong to some \n noble family. I have had a good deal of intercourse with them, because I \n have felt more free to talk to them than to the Americans--on account of \n the language. It seems as if in talking with them I was almost learning \n a new one. \n \n I never supposed, when I left Bangor, that I was coming to Europe to","style, and he told me the other day that he was an \"intellectual broom.\" \n Well, if he is, he sweeps clean; I told him that. After he has been \n talking to me I feel as if I hadn't got a speck of dust left in my mind \n anywhere. It's a most delightful feeling. He says he's an observer; and \n I am sure there is plenty over here to observe. But I have told you","of conversation. She differs somewhat from the young man I just \n mentioned, in that the faculty of production, of action, is, in her, less \n inanimate; she has more of the freshness and vigour that we suppose to \n belong to a young civilisation. But unfortunately she produces nothing \n but evil, and her tastes and habits are similarly those of a Roman lady \n of the lower Empire. She makes no secret of them, and has, in fact, \n elaborated a complete system of licentious behaviour. As the","must remember that a quantity of conversation is thrown in. I have a \n very pretty little room--without any carpet, but with seven mirrors, two \n clocks, and five curtains. I was rather disappointed after I arrived to \n find that there are several other Americans here for the same purpose as \n myself. At least there are three Americans and two English people; and \n also a German gentleman. I am afraid, therefore, our conversation will \n be rather mixed, but I have not yet time to judge. I try to talk with"]],"string":"[\n [\n \"causes, with the spontaneous home-life of the country. \\n \\n I accordingly engaged a room in the house of a lady of pure French \\n extraction and education, who supplements the shortcomings of an income \\n insufficient to the ever-growing demands of the Parisian system of sense- \\n gratification, by providing food and lodging for a limited number of \\n distinguished strangers. I should have preferred to have my room alone \\n in the house, and to take my meals in a brewery, of very good appearance,\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I \\n should not, after all, use that expression, for it is the correlative of \\n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \\n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \\n Conflans? But this establishment is not at all like that: and indeed it\",\n \"dearest friend kept a regular place of that kind. If she had known I was \\n looking out for such a place she would have told me before; she had not \\n spoken of it herself, because she didn't wish to injure the hotel by \\n being the cause of my going away. She told me this was a charming \\n family, who had often received American ladies (and others as well) who \\n wished to follow up the language, and she was sure I should be delighted \\n with them. So she gave me their address, and offered to go with me to\",\n \"which I speedily discovered in the same street; but this arrangement, \\n though very lucidly proposed by myself; was not acceptable to the \\n mistress of the establishment (a woman with a mathematical head), and I \\n have consoled myself for the extra expense by fixing my thoughts upon the \\n opportunity that conformity to the customs of the house gives me of \\n studying the table-manners of my companions, and of observing the French \\n nature at a peculiarly physiological moment, the moment when the\",\n \"it's a kind of coaching place, only kept by women. Mamma had heard it \\n was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all \\n pleased; but he has been very kind, and has treated me like an angel. He \\n is getting on beautifully with his French; for though I don't think the\",\n \"coeur du vieux Paris_, as they say here. They live only in the Boulevard \\n Haussman, which is less picturesque; but in spite of this they have a \\n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \\n the oldest and proudest families in France; but she has had reverses \\n which have compelled her to open an establishment in which a limited \\n number of travellers, who are weary of the beaten track, who have the\",\n \"staying with Madame de Maisonrouge I should not be living in the Faubourg \\n St. Germain, I don't know that from the point of view of exclusiveness it \\n is any great loss to be here. \\n \\n Our rooms are very prettily arranged, and the table is remarkably good. \\n Mamma thinks the whole thing--the place and the people, the manners and \\n customs--very amusing; but mamma is very easily amused. As for me, you\",\n \"is not at all _bourgeois_; there is something distinguished, something \\n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \\n _graisseuse_; but this is in quite a different tone, with high, clear, \\n lightly-draped windows, tender, subtle, almost morbid, colours, and \\n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \\n reminds me of Madame Hulot--do you remember \\\"la belle Madame Hulot?\\\"--in\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"there being so many persons around me speaking English, and that, as you \\n may say, in the very bosom of a French family. It seems as if you heard \\n English everywhere; but I certainly didn't expect to find it in a place \\n like this. I am not discouraged, however, and I talk French all I can, \\n even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and\",\n \"breathe more freely than I expected, in this place, where we have been \\n for about a week. I was sure, before we came, that it would prove to be \\n an establishment of the _lowest description_; but I must say that, in \\n this respect, I am agreeably disappointed. The French are so clever that \\n they know even how to manage a place of this kind. Of course it is very \\n disagreeable to live with strangers, but as, after all, if I were not\",\n \"dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he \\n refused to let us stay at the hotel, and insisted that we should go into \\n a _family_. I don't know what put such an idea into his head, unless it \\n was some advertisement that he saw in one of the American papers that are \\n published here. \\n \\n There are families here who receive American and English people to live\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"has been settled that mamma and the children are coming abroad for a part \\n of the winter, and mamma wishes me to go with them to Hyeres, where \\n Georgina has been ordered for her lungs. She has not been at all well \\n these three months, and now that the damp weather has begun she is very \\n poorly indeed; so that last week papa decided to have a consultation, and \\n he and mamma went with her up to town and saw some three or four doctors.\"\n ],\n [\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the \\n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \\n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \\n said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"adorable miss that you ever, or at least that I ever beheld. She is \\n decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a \\n confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each\",\n \"the history of mankind; the arrival of a nation at an ultimate stage of \\n evolution without having passed through the mediate one; the passage of \\n the fruit, in other words, from crudity to rottenness, without the \\n interposition of a period of useful (and ornamental) ripeness. With the \\n Americans, indeed, the crudity and the rottenness are identical and \\n simultaneous; it is impossible to say, as in the conversation of this \\n deplorable young man, which is one and which is the other; they are\",\n \"that there is an immense number of Americans exactly resembling him, and \\n that the city of Boston, indeed, is almost exclusively composed of them. \\n (He communicated this fact very proudly, as if it were greatly to the \\n credit of his native country; little perceiving the truly sinister \\n impression it made upon me.) \\n \\n What strikes one in it is that it is a phenomenon to the best of my \\n knowledge--and you know what my knowledge is--unprecedented and unique in\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\"\n ],\n [\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \" GUTENBERG EBOOK A BUNDLE OF LETTERS*** \\n \\n \\n \\n \\n \\n \\n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \\n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \\n \\n \\n \\n \\n \\n A BUNDLE OF LETTERS \\n by Henry James \\n \\n \\n CHAPTER I \\n \\n\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"enough for to-day. I don't know how much longer I shall stay here; I am \\n getting on so fast that it sometimes seems as if I shouldn't need all the \\n time I have laid out. I suppose your cold weather has promptly begun, as \\n usual; it sometimes makes me envy you. The fall weather here is very \\n dull and damp, and I feel very much as if I should like to be braced up. \\n \\n \\n \\n \\n CHAPTER VI \\n \\n\",\n \"FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \\n MAINE. \\n \\n September 5th, 1879. \\n \\n My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"correct French letters; and, if you don't believe it, I will keep the \\n rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found \\n out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything!\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"Madame de Maisonrouge all I can (she is the lady of the house, and the \\n _real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell \\n William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall \\n take care to pick out a good one, and to meet plenty of fresh \\n experiences. \\n \\n Dearest mother, my money holds out, and it _is_ most interesting! \\n \\n \\n \\n\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"any rate, I don't care if I don't. I didn't come to Europe to lead a \\n merely conventional life; I could do that at Bangor. You know I never \\n _would_ do it at Bangor, so it isn't likely I am going to make myself \\n miserable over here. So long as I accomplish what I desire, and make my \\n money hold out, I shall regard the thing as a success. Sometimes I feel \\n rather lonely, especially in the evening; but I generally manage to\",\n \"The conversation in the parlour (from eight to eleven) is often \\n remarkably brilliant, and I often wish that you, or some of the Bangor \\n folks, could be there to enjoy it. Even though you couldn't understand \\n it I think you would like to hear the way they go on; they seem to \\n express so much. I sometimes think that at Bangor they don't express \\n enough (but it seems as if over there, there was less to express). It\",\n \"know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and, \\n so long as I retain possession of my faculties, I don't suppose I ever \\n shall. As I said, however, the place is very well managed, and I succeed \\n in doing as I please, which, you know, is my most cherished pursuit. \\n Madame de Maisonrouge has a great deal of tact--much more than poor\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \\n circle of real friends. Everything has gone on beautifully up to the \\n end, and every one has been as kind and attentive as if I were their own \\n sister, especially Mr. Verdier, the French gentleman, from whom I have \\n gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most\",\n \"plenty of other ladies alone (mostly French), and they generally seem to \\n be enjoying themselves as much as I. But at the theatre every one talks \\n so fast that I can scarcely make out what they say; and, besides, there \\n are a great many vulgar expressions which it is unnecessary to learn. But \\n it was the theatre, nevertheless, that put me on the track. The very \\n next day after I wrote to you last I went to the Palais Royal, which is\",\n \"must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two \\n clocks, and five curtains. I was rather disappointed after I arrived to \\n find that there are several other Americans here for the same purpose as \\n myself. At least there are three Americans and two English people; and \\n also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with\"\n ],\n [\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"The fair New Yorker is, sometimes, very amusing; she asks me if every one \\n in Boston talks like me--if every one is as \\\"intellectual\\\" as your poor \\n correspondent. She is for ever throwing Boston up at me; I can't get rid \\n of Boston. The other one rubs it into me too; but in a different way; \\n she seems to feel about it as a good Mahommedan feels toward Mecca, and \\n regards it as a kind of focus of light for the whole human race. Poor\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"somewhere, or I should try and get in with them. They were very smart \\n people, that family; after she left, my cousin corresponded with them in \\n French. But I mean to find some other crowd, if it takes a lot of \\n trouble!\\\" \\n \\n I listened to all this with great interest, and when he spoke about his \\n cousin I was on the point of turning around to ask him the address of the \\n family that she was with; but the next moment he said they had moved\",\n \"Americans whom I have before me with regard to each other. There is \\n another young lady here, who is less abnormally developed than the one I \\n have just described, but who yet bears the stamp of this peculiar \\n combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only \\n is the real, the genuine, the typical American. A type that has lost\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n \\n September 21st. \\n \\n We had hardly got here when father received a telegram saying he would \\n have to come right back to New York. It was for something about his \\n business--I don't know exactly what; you know I never understand those \\n things, never want to. We had just got settled at the hotel, in some\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"that there is an immense number of Americans exactly resembling him, and \\n that the city of Boston, indeed, is almost exclusively composed of them. \\n (He communicated this fact very proudly, as if it were greatly to the \\n credit of his native country; little perceiving the truly sinister \\n impression it made upon me.) \\n \\n What strikes one in it is that it is a phenomenon to the best of my \\n knowledge--and you know what my knowledge is--unprecedented and unique in\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\"\n ],\n [\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \\n MAINE. \\n \\n September 5th, 1879. \\n \\n My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"Madame de Maisonrouge all I can (she is the lady of the house, and the \\n _real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell \\n William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n\",\n \"visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \\n circle of real friends. Everything has gone on beautifully up to the \\n end, and every one has been as kind and attentive as if I were their own \\n sister, especially Mr. Verdier, the French gentleman, from whom I have \\n gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall \\n take care to pick out a good one, and to meet plenty of fresh \\n experiences. \\n \\n Dearest mother, my money holds out, and it _is_ most interesting! \\n \\n \\n \\n\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \" GUTENBERG EBOOK A BUNDLE OF LETTERS*** \\n \\n \\n \\n \\n \\n \\n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \\n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \\n \\n \\n \\n \\n \\n A BUNDLE OF LETTERS \\n by Henry James \\n \\n \\n CHAPTER I \\n \\n\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"positive orders to make her stop in-doors. She is very cross (mamma \\n writes me) about coming abroad, and doesn't seem at all to mind the \\n expense that papa has been put to--talks very ill-naturedly about losing \\n the hunting, etc. She expected to begin to hunt in December, and wants \\n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \\n follow the hounds when her lungs are so bad! But I daresay that when she\",\n \"know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and, \\n so long as I retain possession of my faculties, I don't suppose I ever \\n shall. As I said, however, the place is very well managed, and I succeed \\n in doing as I please, which, you know, is my most cherished pursuit. \\n Madame de Maisonrouge has a great deal of tact--much more than poor\"\n ],\n [\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most \\n extraordinary, and which, presenting itself in a young woman of \\n considerable education, appears to me to be the judgment of a society. \\n \\n Another observation which pushes me to the same induction--that of the \\n premature vitiation of the American population--is the attitude of the\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"worn out, his triumph is assured. Mother is usually worn out more easily \\n than I, and she ends by siding with father; so that, at last, when they \\n combine their forces against poor little me, I have to succumb. You \\n should have heard the way father went on about this \\\"family\\\" plan; he \\n talked to every one he saw about it; he used to go round to the banker's \\n and talk to the people there--the people in the post-office; he used to\",\n \"seems as if; over here, I had learned to come out with everything. I \\n suppose they will think I am not sincere; but isn't it more sincere to \\n come out with things than to conceal them? I have become very good \\n friends with every one in the house--that is (you see, I _am_ sincere), \\n with _almost_ every one. It is the most interesting circle I ever was \\n in. There's a girl here, an American, that I don't like so much as the\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"but the other girl (I mean the nicer one, with the mother) tells me she \\n is more respectable than she seems. She has, however, the most \\n extraordinary opinions--wishes to do away with the aristocracy, thinks it \\n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \\n what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\"\n ],\n [\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"seems as if; over here, I had learned to come out with everything. I \\n suppose they will think I am not sincere; but isn't it more sincere to \\n come out with things than to conceal them? I have become very good \\n friends with every one in the house--that is (you see, I _am_ sincere), \\n with _almost_ every one. It is the most interesting circle I ever was \\n in. There's a girl here, an American, that I don't like so much as the\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"her. I am angry with her brother too, for she is evidently very much \\n afraid of him, and this gives me some further insight into the subject. \\n She thinks everything of her brother, and thinks it natural that she \\n should be afraid of him, not only physically (for this _is_ natural, as \\n he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"adorable miss that you ever, or at least that I ever beheld. She is \\n decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a \\n confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each\",\n \"worn out, his triumph is assured. Mother is usually worn out more easily \\n than I, and she ends by siding with father; so that, at last, when they \\n combine their forces against poor little me, I have to succumb. You \\n should have heard the way father went on about this \\\"family\\\" plan; he \\n talked to every one he saw about it; he used to go round to the banker's \\n and talk to the people there--the people in the post-office; he used to\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"violet eye--the very eye itself seems to blush; the great shadowy hat, \\n making the brow so quiet; the strange, clinging, clutching, pictured \\n raiment! As I say, it is a very gracious, tender type. She has her \\n brother with her, who is a beautiful, fair-haired, gray-eyed young \\n Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"But she did keep on; she kept on too long; and then I began to feel hurt. \\n I couldn't think what I have done, and I can't think yet. It's as if she \\n had got some idea about me, or had heard some one say something. If some \\n girls should behave like that I shouldn't make any account of it; but \\n this one is so refined, and looks as if she might be so interesting if I \\n once got to know her, that I think about it a good deal. I am bound to\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"but the other girl (I mean the nicer one, with the mother) tells me she \\n is more respectable than she seems. She has, however, the most \\n extraordinary opinions--wishes to do away with the aristocracy, thinks it \\n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \\n what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\"\n ],\n [\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as \\n much as possible, into the circumstances which are in part the \\n consequence and in part the cause of its irrepressible activity. It \\n seemed to me that there could be no well-grounded knowledge without this \\n preliminary operation of placing myself in relations, as slightly as \\n possible modified by elements proceeding from a different combination of\",\n \"to them nine years ago. A German was something disagreeable, which they \\n determined to keep out of their conception of things. I therefore think \\n that we are wrong to govern ourselves upon the hypothesis of the \\n _revanche_; the French nature is too shallow for that large and powerful \\n plant to bloom in it. \\n \\n The English-speaking specimens, too, I have not been willing to neglect \\n the opportunity to examine; and among these I have paid special attention \\n to the American varieties, of which I find here several singular\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"be treated worse. I have not, as I say, fully explained to myself this \\n logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them \\n by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"CHAPTER VIII \\n \\n \\n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \\n \\n My dear brother in Science--I resume my hasty notes, of which I sent you \\n the first instalment some weeks ago. I mentioned then that I intended to \\n leave my hotel, not finding it sufficiently local and national. It was \\n kept by a Pomeranian, and the waiters, without exception, were from the\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"seem to me at all satisfactory, and that is a point, you know, on which I \\n feel very strongly. It seems to me that in England they play a very \\n faded-out part, and those with whom I conversed had a kind of depressed \\n and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"father's theory that we are always running up bills, whereas a little \\n observation would show him that we wear the same old _rags_ FOR MONTHS. \\n But father has no observation; he has nothing but theories. Mother and \\n I, however, have, fortunately, a great deal of _practice_, and we \\n succeeded in making him understand that we wouldn't budge from Paris, and \\n that we would rather be chopped into small pieces than cross that\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou \\n and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n \\n\",\n \"that immense fortunes are being made. We have been economising for the \\n last five years, and I supposed we came abroad to reap the benefits of \\n it. \\n \\n As for my French, it is quite as perfect as I want it to be. (I assure \\n you I am often surprised at my own fluency, and, when I get a little more \\n practice in the genders and the idioms, I shall do very well in this \\n respect.) To make a long story short, however, father carried his point,\"\n ],\n [\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most \\n extraordinary, and which, presenting itself in a young woman of \\n considerable education, appears to me to be the judgment of a society. \\n \\n Another observation which pushes me to the same induction--that of the \\n premature vitiation of the American population--is the attitude of the\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I \\n have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"seem to me at all satisfactory, and that is a point, you know, on which I \\n feel very strongly. It seems to me that in England they play a very \\n faded-out part, and those with whom I conversed had a kind of depressed \\n and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"represented (putting myself aside, and I often think that my temperament \\n is not at all American) by a young girl and her mother, and another young \\n girl without her mother--without her mother or any attendant or appendage \\n whatever. These young girls are rather curious types; they have a \\n certain interest, they have a certain grace, but they are disappointing \\n too; they don't go far; they don't keep all they promise; they don't \\n satisfy the imagination. They are cold, slim, sexless; the physique is\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"world, and it only reveals itself to the truly earnest seeker. There is \\n a want of earnestness in that life of hotels and railroad trains, which \\n so many of our countrymen are content to lead in this strange Old World, \\n and I was distressed to find how far I, myself; had been led along the \\n dusty, beaten track. I had, however, constantly wanted to turn aside \\n into more unfrequented ways; to plunge beneath the surface and see what I\",\n \"any rate, I don't care if I don't. I didn't come to Europe to lead a \\n merely conventional life; I could do that at Bangor. You know I never \\n _would_ do it at Bangor, so it isn't likely I am going to make myself \\n miserable over here. So long as I accomplish what I desire, and make my \\n money hold out, I shall regard the thing as a success. Sometimes I feel \\n rather lonely, especially in the evening; but I generally manage to\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"at my universal good fortune. It only shows what a little energy and \\n common-sense will accomplish. I have discovered none of these objections \\n to a young lady travelling in Europe by herself of which we heard so much \\n before I left, and I don't expect I ever shall, for I certainly don't \\n mean to look for them. I know what I want, and I always manage to get \\n it. \\n \\n I have received a great deal of politeness--some of it really most\",\n \"me, so long as that is what I came for. I talk to him as much as I dare \\n about Boston, but I do feel as if this were right down wrong--a stolen \\n pleasure. \\n \\n I can get all the Boston culture I want when I go back, if I carry out my \\n plan, my happy vision, of going there to reside. I ought to direct all \\n my efforts to European culture now, and keep Boston to finish off. But \\n it seems as if I couldn't help taking a peep now and then, in\",\n \"interested over here that I don't seem to find time. It was a real \\n providence that brought me to this house, where, in spite of all \\n obstacles, I am able to do much good work. I wonder how I find the time \\n for all I do; but when I think that I have only got a year in Europe, I \\n feel as if I wouldn't sacrifice a single hour. \\n \\n The obstacles I refer to are the disadvantages I have in learning French,\"\n ],\n [\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"They all of them ordered the south of France, but they didn't agree about \\n the place; so that mamma herself decided for Hyeres, because it is the \\n most economical. I believe it is very dull, but I hope it will do \\n Georgina good. I am afraid, however, that nothing will do her good until \\n she consents to take more care of herself; I am afraid she is very wild \\n and wilful, and mamma tells me that all this month it has taken papa's\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"it's a kind of coaching place, only kept by women. Mamma had heard it \\n was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all \\n pleased; but he has been very kind, and has treated me like an angel. He \\n is getting on beautifully with his French; for though I don't think the\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \\n MAINE. \\n \\n September 5th, 1879. \\n \\n My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"This is not such a nice place for a girl as for a young man, and the \\n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \\n here. As Mrs. Desmond said, it is because she is so very unconventional. \\n But you know Paris is so very amusing, and if only Harold remains good- \\n natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"dearest friend kept a regular place of that kind. If she had known I was \\n looking out for such a place she would have told me before; she had not \\n spoken of it herself, because she didn't wish to injure the hotel by \\n being the cause of my going away. She told me this was a charming \\n family, who had often received American ladies (and others as well) who \\n wished to follow up the language, and she was sure I should be delighted \\n with them. So she gave me their address, and offered to go with me to\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\"\n ],\n [\n \"FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n \\n September 21st. \\n \\n We had hardly got here when father received a telegram saying he would \\n have to come right back to New York. It was for something about his \\n business--I don't know exactly what; you know I never understand those \\n things, never want to. We had just got settled at the hotel, in some\",\n \"violet eye--the very eye itself seems to blush; the great shadowy hat, \\n making the brow so quiet; the strange, clinging, clutching, pictured \\n raiment! As I say, it is a very gracious, tender type. She has her \\n brother with her, who is a beautiful, fair-haired, gray-eyed young \\n Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"adorable miss that you ever, or at least that I ever beheld. She is \\n decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a \\n confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"girdles, with something quaint and angular in her step, her carriage \\n something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as \\n they say here; simpler, softer, rounder, richer than the young girls I \\n spoke of just now. Not much talk--a great, sweet silence. Then the\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"cheek, where it passes into the purest and most transparent, most liquid, \\n carmine. Occasionally this rosy fluid overflows into the rest of her \\n face--by which I mean that she blushes--as softly as the mark of your \\n breath on the window-pane. \\n \\n Like every Anglaise, she is rather pinched and prim in public; but it is \\n very easy to see that when no one is looking _elle ne demande qu'a se\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"is not at all _bourgeois_; there is something distinguished, something \\n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \\n _graisseuse_; but this is in quite a different tone, with high, clear, \\n lightly-draped windows, tender, subtle, almost morbid, colours, and \\n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \\n reminds me of Madame Hulot--do you remember \\\"la belle Madame Hulot?\\\"--in\",\n \"The little one (she has a mother somewhere, out of sight, shut up in a \\n closet or a trunk) is a good deal prettier, and, perhaps, on that account \\n _elle y met plus de facons_. She doesn't knock about Paris with me by \\n the hour; she contents herself with long interviews in the _petit salon_, \\n with the curtains half-drawn, beginning at about three o'clock, when \\n every one is _a la promenade_. She is admirable, this little one; a\",\n \"inextricably mingled. I prefer the talk of the French _homunculus_; it \\n is at least more amusing. \\n \\n It is interesting in this manner to perceive, so largely developed, the \\n germs of extinction in the so-called powerful Anglo-Saxon family. I find \\n them in almost as recognisable a form in a young woman from the State of \\n Maine, in the province of New England, with whom I have had a good deal\"\n ],\n [\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"CHAPTER VIII \\n \\n \\n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \\n \\n My dear brother in Science--I resume my hasty notes, of which I sent you \\n the first instalment some weeks ago. I mentioned then that I intended to \\n leave my hotel, not finding it sufficiently local and national. It was \\n kept by a Pomeranian, and the waiters, without exception, were from the\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou \\n and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n \\n\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as \\n much as possible, into the circumstances which are in part the \\n consequence and in part the cause of its irrepressible activity. It \\n seemed to me that there could be no well-grounded knowledge without this \\n preliminary operation of placing myself in relations, as slightly as \\n possible modified by elements proceeding from a different combination of\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\"\n ],\n [\n \"CHAPTER VII \\n \\n \\n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and \\n I don't know what puts it into my head to-night to recall myself to your \\n affectionate memory. I suppose it is that when we are happy the mind \\n reverts instinctively to those with whom formerly we shared our\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"coeur du vieux Paris_, as they say here. They live only in the Boulevard \\n Haussman, which is less picturesque; but in spite of this they have a \\n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \\n the oldest and proudest families in France; but she has had reverses \\n which have compelled her to open an establishment in which a limited \\n number of travellers, who are weary of the beaten track, who have the\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"different style from the conversation of Mr. Verdier--not so \\n complimentary, but more intellectual. He is intensely fond of pictures, \\n and has given me a great many ideas about them which I should never have \\n gained without him; I shouldn't have known where to look for such ideas. \\n He thinks everything of pictures; he thinks we don't make near enough of \\n them. They seem to make a good deal of them here; but I couldn't help \\n telling him the other day that in Bangor I really don't think we do.\",\n \"visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \\n circle of real friends. Everything has gone on beautifully up to the \\n end, and every one has been as kind and attentive as if I were their own \\n sister, especially Mr. Verdier, the French gentleman, from whom I have \\n gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"French conversation every evening in the salon, from eight to eleven, \\n with Madame herself, and some friends of hers that often come in. Her \\n cousin, Mr. Verdier, a young French gentleman, is fortunately staying \\n with her, and I make a point of talking with him as much as possible. I \\n have _extra private lessons_ from him, and I often go out to walk with \\n him. Some night, soon, he is to accompany me to the opera. We have also\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"The little one (she has a mother somewhere, out of sight, shut up in a \\n closet or a trunk) is a good deal prettier, and, perhaps, on that account \\n _elle y met plus de facons_. She doesn't knock about Paris with me by \\n the hour; she contents herself with long interviews in the _petit salon_, \\n with the curtains half-drawn, beginning at about three o'clock, when \\n every one is _a la promenade_. She is admirable, this little one; a\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou \\n and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n \\n\",\n \"taken abroad, mamma wrote to me that I had better stop in Paris for a \\n month with Harold, so that she could pick me up on their way to Hyeres. \\n It saves the expense of my journey to Kingscote and back, and gives me \\n the opportunity to \\\"finish\\\" a little in French. \\n \\n You know Harold came here six weeks ago, to get up his French for those \\n dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose;\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"This is not such a nice place for a girl as for a young man, and the \\n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \\n here. As Mrs. Desmond said, it is because she is so very unconventional. \\n But you know Paris is so very amusing, and if only Harold remains good- \\n natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the\",\n \"is not at all _bourgeois_; there is something distinguished, something \\n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \\n _graisseuse_; but this is in quite a different tone, with high, clear, \\n lightly-draped windows, tender, subtle, almost morbid, colours, and \\n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \\n reminds me of Madame Hulot--do you remember \\\"la belle Madame Hulot?\\\"--in\",\n \"father. She is what they call here a belle femme, which means that she \\n is a tall, ugly woman, with style. She dresses very well, and has a \\n great deal of talk; but, though she is a very good imitation of a lady, I \\n never see her behind the dinner-table, in the evening, smiling and \\n bowing, as the people come in, and looking all the while at the dishes \\n and the servants, without thinking of a _dame de comptoir_ blooming in a\"\n ],\n [\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"CHAPTER VII \\n \\n \\n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and \\n I don't know what puts it into my head to-night to recall myself to your \\n affectionate memory. I suppose it is that when we are happy the mind \\n reverts instinctively to those with whom formerly we shared our\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"correct French letters; and, if you don't believe it, I will keep the \\n rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found \\n out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything!\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall \\n take care to pick out a good one, and to meet plenty of fresh \\n experiences. \\n \\n Dearest mother, my money holds out, and it _is_ most interesting! \\n \\n \\n \\n\",\n \"possibilities; not to pass through life mechanically and insensibly, like \\n a letter through the post-office. There are times, my dear Harvard, when \\n I feel as if I were really capable of everything--capable _de tout_, as \\n they say here--of the greatest excesses as well as the greatest heroism. \\n Oh, to be able to say that one has lived--_qu'on a vecu_, as they say \\n here--that idea exercises an indefinable attraction for me. You will,\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"motives of my felicity? \\n \\n You expected, perhaps, I was going to tell you that I had made my \\n fortune, or that the Uncle Blondeau had at last decided to return into \\n the breast of nature, after having constituted me his universal legatee. \\n But I needn't remind you that women are always for something in the \\n happiness of him who writes to thee--for something in his happiness, and \\n for a good deal more in his misery. But don't let me talk of misery now;\",\n \"establishment--the head of the \\\"family\\\") that he wished my French \\n pronunciation especially attended to. The pronunciation, as it happens, \\n is just what I am most at home in; if he had said my genders or my idioms \\n there would have been some sense. But poor father has no tact, and this \\n defect is especially marked since he has been in Europe. He will be \\n absent, however, for three months, and mother and I shall breathe more \\n freely; the situation will be less intense. I must confess that we\",\n \" GUTENBERG EBOOK A BUNDLE OF LETTERS*** \\n \\n \\n \\n \\n \\n \\n Transcribed from the 1887 Macmillan and Co. edition by David Price, email \\n ccx074@coventry.ac.uk. Proofing by Andy McLauchan and David Stapleton. \\n \\n \\n \\n \\n \\n A BUNDLE OF LETTERS \\n by Henry James \\n \\n \\n CHAPTER I \\n \\n\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"enough for to-day. I don't know how much longer I shall stay here; I am \\n getting on so fast that it sometimes seems as if I shouldn't need all the \\n time I have laid out. I suppose your cold weather has promptly begun, as \\n usual; it sometimes makes me envy you. The fall weather here is very \\n dull and damp, and I feel very much as if I should like to be braced up. \\n \\n \\n \\n \\n CHAPTER VI \\n \\n\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"any rate, I don't care if I don't. I didn't come to Europe to lead a \\n merely conventional life; I could do that at Bangor. You know I never \\n _would_ do it at Bangor, so it isn't likely I am going to make myself \\n miserable over here. So long as I accomplish what I desire, and make my \\n money hold out, I shall regard the thing as a success. Sometimes I feel \\n rather lonely, especially in the evening; but I generally manage to\",\n \"know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and, \\n so long as I retain possession of my faculties, I don't suppose I ever \\n shall. As I said, however, the place is very well managed, and I succeed \\n in doing as I please, which, you know, is my most cherished pursuit. \\n Madame de Maisonrouge has a great deal of tact--much more than poor\"\n ],\n [\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"violet eye--the very eye itself seems to blush; the great shadowy hat, \\n making the brow so quiet; the strange, clinging, clutching, pictured \\n raiment! As I say, it is a very gracious, tender type. She has her \\n brother with her, who is a beautiful, fair-haired, gray-eyed young \\n Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"adorable miss that you ever, or at least that I ever beheld. She is \\n decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a \\n confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this \\n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \\n me, and the only answer she will make is that Lady So-and-so is\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"But she did keep on; she kept on too long; and then I began to feel hurt. \\n I couldn't think what I have done, and I can't think yet. It's as if she \\n had got some idea about me, or had heard some one say something. If some \\n girls should behave like that I shouldn't make any account of it; but \\n this one is so refined, and looks as if she might be so interesting if I \\n once got to know her, that I think about it a good deal. I am bound to\",\n \"her. I am angry with her brother too, for she is evidently very much \\n afraid of him, and this gives me some further insight into the subject. \\n She thinks everything of her brother, and thinks it natural that she \\n should be afraid of him, not only physically (for this _is_ natural, as \\n he is enormously tall and strong, and has very big fists), but morally \\n and intellectually. She seems unable, however, to take in any argument, \\n and she makes me realise what I have often heard--that if you are timid\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"she didn't want to recognise me or associate with me; as if she wanted to \\n make a difference between us. It is like people they call \\\"haughty\\\" in \\n books. I have never seen any one like that before--any one that wanted \\n to make a difference; and at first I was right down interested, she \\n seemed to me so like a proud young lady in a novel. I kept saying to \\n myself all day, \\\"haughty, haughty,\\\" and I wished she would keep on so.\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"but the other girl (I mean the nicer one, with the mother) tells me she \\n is more respectable than she seems. She has, however, the most \\n extraordinary opinions--wishes to do away with the aristocracy, thinks it \\n wrong that Arthur should have Kingscote when papa dies, etc. I don't see \\n what it signifies to her that poor Arthur should come into the property, \\n which will be so delightful--except for papa dying. But Harold says she\",\n \"seems as if; over here, I had learned to come out with everything. I \\n suppose they will think I am not sincere; but isn't it more sincere to \\n come out with things than to conceal them? I have become very good \\n friends with every one in the house--that is (you see, I _am_ sincere), \\n with _almost_ every one. It is the most interesting circle I ever was \\n in. There's a girl here, an American, that I don't like so much as the\",\n \"girdles, with something quaint and angular in her step, her carriage \\n something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as \\n they say here; simpler, softer, rounder, richer than the young girls I \\n spoke of just now. Not much talk--a great, sweet silence. Then the\",\n \"sweet as she can live) to hear her talk as if it were a matter of course \\n that I should. \\n \\n I feel as if it were right to ask her as often as I can if she doesn't \\n consider every one equal; but she always says she doesn't, and she \\n confesses that she doesn't think she is equal to \\\"Lady \\n Something-or-other,\\\" who is the wife of that relation of her father. I \\n try and persuade her all I can that she is; but it seems as if she didn't\",\n \"FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n \\n September 21st. \\n \\n We had hardly got here when father received a telegram saying he would \\n have to come right back to New York. It was for something about his \\n business--I don't know exactly what; you know I never understand those \\n things, never want to. We had just got settled at the hotel, in some\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\"\n ],\n [\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"Madame de Maisonrouge all I can (she is the lady of the house, and the \\n _real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell \\n William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the \\n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \\n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \\n said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall \\n take care to pick out a good one, and to meet plenty of fresh \\n experiences. \\n \\n Dearest mother, my money holds out, and it _is_ most interesting! \\n \\n \\n \\n\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"violet eye--the very eye itself seems to blush; the great shadowy hat, \\n making the brow so quiet; the strange, clinging, clutching, pictured \\n raiment! As I say, it is a very gracious, tender type. She has her \\n brother with her, who is a beautiful, fair-haired, gray-eyed young \\n Englishman. He is purely objective; and he, too, is very plastic. \\n \\n \\n \\n \\n CHAPTER V \\n \\n\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"too--over here that I should like to perform that operation upon. I \\n should like to shake the starch out of some of them, and the dust out of \\n the others. I know fifty girls in Bangor that come much more up to my \\n notion of the stand a truly noble woman should take, than those young \\n ladies in England. But they had a most lovely way of speaking (in \\n England), and the men are _remarkably handsome_. (You can show this to \\n William Platt, if you like.) \\n\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"it's a kind of coaching place, only kept by women. Mamma had heard it \\n was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all \\n pleased; but he has been very kind, and has treated me like an angel. He \\n is getting on beautifully with his French; for though I don't think the\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\"\n ],\n [\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"CHAPTER VII \\n \\n \\n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and \\n I don't know what puts it into my head to-night to recall myself to your \\n affectionate memory. I suppose it is that when we are happy the mind \\n reverts instinctively to those with whom formerly we shared our\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"CHAPTER VIII \\n \\n \\n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \\n \\n My dear brother in Science--I resume my hasty notes, of which I sent you \\n the first instalment some weeks ago. I mentioned then that I intended to \\n leave my hotel, not finding it sufficiently local and national. It was \\n kept by a Pomeranian, and the waiters, without exception, were from the\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the \\n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \\n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \\n said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n\",\n \"Just now, as I told you, I am in daily conversation with three separate \\n pairs. The owner of one of them has private lessons; she pays extra. My \\n cousin doesn't give me a sou of the money; but I make bold, nevertheless, \\n to say that my trouble is remunerated. But I am well, very well, with \\n the proprietors of the two other pairs. One of them is a little \\n Anglaise, of about twenty--a little _figure de keepsake_; the most\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"The little one (she has a mother somewhere, out of sight, shut up in a \\n closet or a trunk) is a good deal prettier, and, perhaps, on that account \\n _elle y met plus de facons_. She doesn't knock about Paris with me by \\n the hour; she contents herself with long interviews in the _petit salon_, \\n with the curtains half-drawn, beginning at about three o'clock, when \\n every one is _a la promenade_. She is admirable, this little one; a\",\n \"This is not such a nice place for a girl as for a young man, and the \\n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \\n here. As Mrs. Desmond said, it is because she is so very unconventional. \\n But you know Paris is so very amusing, and if only Harold remains good- \\n natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\"\n ],\n [\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"world, and it only reveals itself to the truly earnest seeker. There is \\n a want of earnestness in that life of hotels and railroad trains, which \\n so many of our countrymen are content to lead in this strange Old World, \\n and I was distressed to find how far I, myself; had been led along the \\n dusty, beaten track. I had, however, constantly wanted to turn aside \\n into more unfrequented ways; to plunge beneath the surface and see what I\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"Americans whom I have before me with regard to each other. There is \\n another young lady here, who is less abnormally developed than the one I \\n have just described, but who yet bears the stamp of this peculiar \\n combination of incompleteness and effeteness. These three persons look \\n with the greatest mistrust and aversion upon each other; and each has \\n repeatedly taken me apart and assured me, secretly, that he or she only \\n is the real, the genuine, the typical American. A type that has lost\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"that there is an immense number of Americans exactly resembling him, and \\n that the city of Boston, indeed, is almost exclusively composed of them. \\n (He communicated this fact very proudly, as if it were greatly to the \\n credit of his native country; little perceiving the truly sinister \\n impression it made upon me.) \\n \\n What strikes one in it is that it is a phenomenon to the best of my \\n knowledge--and you know what my knowledge is--unprecedented and unique in\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most \\n extraordinary, and which, presenting itself in a young woman of \\n considerable education, appears to me to be the judgment of a society. \\n \\n Another observation which pushes me to the same induction--that of the \\n premature vitiation of the American population--is the attitude of the\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"introduce me. But I was in such a hurry that I went off by myself; and I \\n had no trouble in finding these good people. They were delighted to \\n receive me, and I was very much pleased with what I saw of them. They \\n seemed to have plenty of conversation, and there will be no trouble about \\n that. \\n \\n I came here to stay about three days ago, and by this time I have seen a \\n great deal of them. The price of board struck me as rather high; but I\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I \\n have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"perhaps, reply, it is easy to say it; but the thing is to make people \\n believe you! And, then, I don't want any second-hand, spurious \\n sensations; I want the knowledge that leaves a trace--that leaves strange \\n scars and stains and reveries behind it! But I am afraid I shock you, \\n perhaps even frighten you. \\n \\n If you repeat my remarks to any of the West Cedar Street circle, be sure \\n you tone them down as your discretion will suggest. For yourself; you\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\"\n ],\n [\n \"young lady and her brother. I wish I could put them before you. She is \\n lovely to look at; she seems so modest and retiring. In spite of this, \\n however, she dresses in a way that attracts great attention, as I \\n couldn't help noticing when one day I went out to walk with her. She was \\n ever so much looked at; but she didn't seem to notice it, until at last I \\n couldn't help calling attention to it. Mr. Leverett thinks everything of\",\n \"girdles, with something quaint and angular in her step, her carriage \\n something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as \\n they say here; simpler, softer, rounder, richer than the young girls I \\n spoke of just now. Not much talk--a great, sweet silence. Then the\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \\n BRIGHTON. \\n \\n Paris, September 30th. \\n \\n Dear Lady Augusta--I am afraid I shall not be able to come to you on \\n January 7th, as you kindly proposed at Homburg. I am so very, very \\n sorry; it is a great disappointment to me. But I have just heard that it\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this \\n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \\n me, and the only answer she will make is that Lady So-and-so is\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the \\n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \\n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \\n said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"The conversation in the parlour (from eight to eleven) is often \\n remarkably brilliant, and I often wish that you, or some of the Bangor \\n folks, could be there to enjoy it. Even though you couldn't understand \\n it I think you would like to hear the way they go on; they seem to \\n express so much. I sometimes think that at Bangor they don't express \\n enough (but it seems as if over there, there was less to express). It\",\n \"If I had any money to spend I would buy some and take them back, to hang \\n up. Mr. Leverett says it would do them good--not the pictures, but the \\n Bangor folks. He thinks everything of the French, too, and says we don't \\n make nearly enough of _them_. I couldn't help telling him the other day \\n that at any rate they make enough of themselves. But it is very \\n interesting to hear him go on about the French, and it is so much gain to\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"The fair New Yorker is, sometimes, very amusing; she asks me if every one \\n in Boston talks like me--if every one is as \\\"intellectual\\\" as your poor \\n correspondent. She is for ever throwing Boston up at me; I can't get rid \\n of Boston. The other one rubs it into me too; but in a different way; \\n she seems to feel about it as a good Mahommedan feels toward Mecca, and \\n regards it as a kind of focus of light for the whole human race. Poor\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"worn out, his triumph is assured. Mother is usually worn out more easily \\n than I, and she ends by siding with father; so that, at last, when they \\n combine their forces against poor little me, I have to succumb. You \\n should have heard the way father went on about this \\\"family\\\" plan; he \\n talked to every one he saw about it; he used to go round to the banker's \\n and talk to the people there--the people in the post-office; he used to\",\n \"advance--with a Bostonian. I don't know when I may meet one again; but \\n if there are many others like Mr. Leverett there, I shall be certain not \\n to want when I carry out my dream. He is just as full of culture as he \\n can live. But it seems strange how many different sorts there are. \\n \\n There are two of the English who I suppose are very cultivated too; but \\n it doesn't seem as if I could enter into theirs so easily, though I try\"\n ],\n [\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I \\n should not, after all, use that expression, for it is the correlative of \\n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \\n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \\n Conflans? But this establishment is not at all like that: and indeed it\",\n \"causes, with the spontaneous home-life of the country. \\n \\n I accordingly engaged a room in the house of a lady of pure French \\n extraction and education, who supplements the shortcomings of an income \\n insufficient to the ever-growing demands of the Parisian system of sense- \\n gratification, by providing food and lodging for a limited number of \\n distinguished strangers. I should have preferred to have my room alone \\n in the house, and to take my meals in a brewery, of very good appearance,\",\n \"it's a kind of coaching place, only kept by women. Mamma had heard it \\n was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all \\n pleased; but he has been very kind, and has treated me like an angel. He \\n is getting on beautifully with his French; for though I don't think the\",\n \"dearest friend kept a regular place of that kind. If she had known I was \\n looking out for such a place she would have told me before; she had not \\n spoken of it herself, because she didn't wish to injure the hotel by \\n being the cause of my going away. She told me this was a charming \\n family, who had often received American ladies (and others as well) who \\n wished to follow up the language, and she was sure I should be delighted \\n with them. So she gave me their address, and offered to go with me to\",\n \"coeur du vieux Paris_, as they say here. They live only in the Boulevard \\n Haussman, which is less picturesque; but in spite of this they have a \\n great deal of the Balzac tone. Madame de Maisonrouge belongs to one of \\n the oldest and proudest families in France; but she has had reverses \\n which have compelled her to open an establishment in which a limited \\n number of travellers, who are weary of the beaten track, who have the\",\n \"is not at all _bourgeois_; there is something distinguished, something \\n aristocratic, about it. The Pension Vauquer was dark, brown, sordid, \\n _graisseuse_; but this is in quite a different tone, with high, clear, \\n lightly-draped windows, tender, subtle, almost morbid, colours, and \\n furniture in elegant, studied, reed-like lines. Madame de Maisonrouge \\n reminds me of Madame Hulot--do you remember \\\"la belle Madame Hulot?\\\"--in\",\n \"which I speedily discovered in the same street; but this arrangement, \\n though very lucidly proposed by myself; was not acceptable to the \\n mistress of the establishment (a woman with a mathematical head), and I \\n have consoled myself for the extra expense by fixing my thoughts upon the \\n opportunity that conformity to the customs of the house gives me of \\n studying the table-manners of my companions, and of observing the French \\n nature at a peculiarly physiological moment, the moment when the\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"staying with Madame de Maisonrouge I should not be living in the Faubourg \\n St. Germain, I don't know that from the point of view of exclusiveness it \\n is any great loss to be here. \\n \\n Our rooms are very prettily arranged, and the table is remarkably good. \\n Mamma thinks the whole thing--the place and the people, the manners and \\n customs--very amusing; but mamma is very easily amused. As for me, you\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he \\n refused to let us stay at the hotel, and insisted that we should go into \\n a _family_. I don't know what put such an idea into his head, unless it \\n was some advertisement that he saw in one of the American papers that are \\n published here. \\n \\n There are families here who receive American and English people to live\",\n \"there being so many persons around me speaking English, and that, as you \\n may say, in the very bosom of a French family. It seems as if you heard \\n English everywhere; but I certainly didn't expect to find it in a place \\n like this. I am not discouraged, however, and I talk French all I can, \\n even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"breathe more freely than I expected, in this place, where we have been \\n for about a week. I was sure, before we came, that it would prove to be \\n an establishment of the _lowest description_; but I must say that, in \\n this respect, I am agreeably disappointed. The French are so clever that \\n they know even how to manage a place of this kind. Of course it is very \\n disagreeable to live with strangers, but as, after all, if I were not\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"taken abroad, mamma wrote to me that I had better stop in Paris for a \\n month with Harold, so that she could pick me up on their way to Hyeres. \\n It saves the expense of my journey to Kingscote and back, and gives me \\n the opportunity to \\\"finish\\\" a little in French. \\n \\n You know Harold came here six weeks ago, to get up his French for those \\n dreadful examinations that he has to pass so soon. He came to live with \\n some French people that take in young men (and others) for this purpose;\",\n \"has been settled that mamma and the children are coming abroad for a part \\n of the winter, and mamma wishes me to go with them to Hyeres, where \\n Georgina has been ordered for her lungs. She has not been at all well \\n these three months, and now that the damp weather has begun she is very \\n poorly indeed; so that last week papa decided to have a consultation, and \\n he and mamma went with her up to town and saw some three or four doctors.\"\n ],\n [\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"adorable miss that you ever, or at least that I ever beheld. She is \\n decorated all over with beads and bracelets and embroidered dandelions; \\n but her principal decoration consists of the softest little gray eyes in \\n the world, which rest upon you with a profundity of confidence--a \\n confidence that I really feel some compunction in betraying. She has a \\n tint as white as this sheet of paper, except just in the middle of each\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\",\n \"brother, her husband, etc. She told me her own position was very good, \\n because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it \\n wouldn't depend upon that of your relations, even your nearest. I don't \\n know much about lords, and it does try my patience (though she is just as\",\n \"This is not such a nice place for a girl as for a young man, and the \\n Desmonds thought it _exceedingly odd_ that mamma should wish me to come \\n here. As Mrs. Desmond said, it is because she is so very unconventional. \\n But you know Paris is so very amusing, and if only Harold remains good- \\n natured about it, I shall be content to wait for the caravan (that's what \\n he calls mamma and the children). The person who keeps the\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"FROM MISS MIRANDA MOPE, IN PARIS, TO MRS. ABRAHAM C. MOPE, AT BANGOR, \\n MAINE. \\n \\n September 5th, 1879. \\n \\n My dear mother--I have kept you posted as far as Tuesday week last, and, \\n although my letter will not have reached you yet, I will begin another \\n before my news accumulates too much. I am glad you show my letters round\"\n ],\n [\n \"little Boston, what nonsense is talked in thy name! But this New England \\n maiden is, in her way, a strange type: she is travelling all over Europe \\n alone--\\\"to see it,\\\" she says, \\\"for herself.\\\" For herself! What can that \\n stiff slim self of hers do with such sights, such visions! She looks at \\n everything, goes everywhere, passes her way, with her clear quiet eyes \\n wide open; skirting the edge of obscene abysses without suspecting them;\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"opportunities she finds in her own country do not satisfy her, she has \\n come to Europe \\\"to try,\\\" as she says, \\\"for herself.\\\" It is the doctrine \\n of universal experience professed with a cynicism that is really most \\n extraordinary, and which, presenting itself in a young woman of \\n considerable education, appears to me to be the judgment of a society. \\n \\n Another observation which pushes me to the same induction--that of the \\n premature vitiation of the American population--is the attitude of the\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I \\n have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"any rate, I don't care if I don't. I didn't come to Europe to lead a \\n merely conventional life; I could do that at Bangor. You know I never \\n _would_ do it at Bangor, so it isn't likely I am going to make myself \\n miserable over here. So long as I accomplish what I desire, and make my \\n money hold out, I shall regard the thing as a success. Sometimes I feel \\n rather lonely, especially in the evening; but I generally manage to\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"seem to me at all satisfactory, and that is a point, you know, on which I \\n feel very strongly. It seems to me that in England they play a very \\n faded-out part, and those with whom I conversed had a kind of depressed \\n and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"represented (putting myself aside, and I often think that my temperament \\n is not at all American) by a young girl and her mother, and another young \\n girl without her mother--without her mother or any attendant or appendage \\n whatever. These young girls are rather curious types; they have a \\n certain interest, they have a certain grace, but they are disappointing \\n too; they don't go far; they don't keep all they promise; they don't \\n satisfy the imagination. They are cold, slim, sexless; the physique is\",\n \"at my universal good fortune. It only shows what a little energy and \\n common-sense will accomplish. I have discovered none of these objections \\n to a young lady travelling in Europe by herself of which we heard so much \\n before I left, and I don't expect I ever shall, for I certainly don't \\n mean to look for them. I know what I want, and I always manage to get \\n it. \\n \\n I have received a great deal of politeness--some of it really most\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"positive orders to make her stop in-doors. She is very cross (mamma \\n writes me) about coming abroad, and doesn't seem at all to mind the \\n expense that papa has been put to--talks very ill-naturedly about losing \\n the hunting, etc. She expected to begin to hunt in December, and wants \\n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \\n follow the hounds when her lungs are so bad! But I daresay that when she\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"world, and it only reveals itself to the truly earnest seeker. There is \\n a want of earnestness in that life of hotels and railroad trains, which \\n so many of our countrymen are content to lead in this strange Old World, \\n and I was distressed to find how far I, myself; had been led along the \\n dusty, beaten track. I had, however, constantly wanted to turn aside \\n into more unfrequented ways; to plunge beneath the surface and see what I\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\"\n ],\n [\n \"of Miss Miranda! They also take place in the _petit salon_, but with the \\n doors tightly closed, and with explicit directions to every one in the \\n house that we are not to be disturbed. And we are not, my good Prosper; \\n we are not! Not a sound, not a shadow, interrupts our felicity. My \\n _cousine_ is really admirable; the shop deserves to succeed. Miss \\n Miranda is tall and rather flat; she is too pale; she hasn't the adorable\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"Don't you remember when Clara Barnard went to visit New York, three years \\n ago, how much attention she received? And you know Clara _is_ Bangor, to \\n the soles of her shoes. Ask William Platt--so long as he isn't a \\n native--if he doesn't consider Clara Barnard refined. \\n \\n Apropos, as they say here, of refinement, there is another American in \\n the house--a gentleman from Boston--who is just crowded with it. His\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou \\n and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n \\n\",\n \"there being so many persons around me speaking English, and that, as you \\n may say, in the very bosom of a French family. It seems as if you heard \\n English everywhere; but I certainly didn't expect to find it in a place \\n like this. I am not discouraged, however, and I talk French all I can, \\n even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"managed it, I can't tell you; it's no business of mine, and, _a fortiori_ \\n none of yours. She is now fifty years old (she confesses to \\n thirty-seven), and her daughters, whom she has never been able to marry, \\n are respectively twenty-seven and twenty-three (they confess to twenty \\n and to seventeen). Three years ago she had the thrice-blessed idea of \\n opening a sort of _pension_ for the entertainment and instruction of the\",\n \"must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two \\n clocks, and five curtains. I was rather disappointed after I arrived to \\n find that there are several other Americans here for the same purpose as \\n myself. At least there are three Americans and two English people; and \\n also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with\",\n \"not generous, not abundant; it is only the drapery, the skirts and \\n furbelows (that is, I mean in the young lady who has her mother) that are \\n abundant. They are very different: one of them all elegance, all \\n expensiveness, with an air of high fashion, from New York; the other a \\n plain, pure, clear-eyed, straight-waisted, straight-stepping maiden from \\n the heart of New England. And yet they are very much alike too--more\",\n \"brother, her husband, etc. She told me her own position was very good, \\n because her father was some relation--I forget what--to a lord. She \\n thinks everything of this; and that proves to me that the position of \\n woman in her country cannot be satisfactory; because, if it were, it \\n wouldn't depend upon that of your relations, even your nearest. I don't \\n know much about lords, and it does try my patience (though she is just as\",\n \"gets there she will he glad enough to keep quiet, as they say that the \\n heat is intense. It may cure Georgina, but I am sure it will make the \\n rest of us very ill. \\n \\n Mamma, however, is only going to bring Mary and Gus and Fred and Adelaide \\n abroad with her; the others will remain at Kingscote until February \\n (about the 3d), when they will go to Eastbourne for a month with Miss \\n Turnover, the new governess, who has turned out such a very nice person.\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\"\n ],\n [\n \"You know I told you, in writing some time ago, that I had tried to get \\n some insight into the position of woman in England, and, being here with \\n Miss Vane, it has seemed to me to be a good opportunity to get a little \\n more. I have asked her a great deal about it; but she doesn't seem able \\n to give me much information. The first time I asked her she told me the \\n position of a lady depended upon the rank of her father, her eldest\",\n \"nothing will reason you out of it. \\n \\n Mr. Vane, also (the brother), seems to have the same prejudices, and when \\n I tell him, as I often think it right to do, that his sister is not his \\n subordinate, even if she does think so, but his equal, and, perhaps in \\n some respects his superior, and that if my brother, in Bangor, were to \\n treat me as he treates this poor young girl, who has not spirit enough to\",\n \"FROM MISS EVELYN VANE, IN PARIS, TO THE LADY AUGUSTA FLEMING, AT \\n BRIGHTON. \\n \\n Paris, September 30th. \\n \\n Dear Lady Augusta--I am afraid I shall not be able to come to you on \\n January 7th, as you kindly proposed at Homburg. I am so very, very \\n sorry; it is a great disappointment to me. But I have just heard that it\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"want to be persuaded; and when I ask her if Lady So-and-so is of the same \\n opinion (that Miss Vane isn't her equal), she looks so soft and pretty \\n with her eyes, and says, \\\"Of course she is!\\\" When I tell her that this \\n is right down bad for Lady So-and-so, it seems as if she wouldn't believe \\n me, and the only answer she will make is that Lady So-and-so is\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"Madame de Maisonrouge all I can (she is the lady of the house, and the \\n _real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell \\n William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"girdles, with something quaint and angular in her step, her carriage \\n something mediaeval and Gothic, in the details of her person and dress, \\n this lovely Evelyn Vane (isn't it a beautiful name?) is deeply, \\n delightfully picturesque. She is much a woman--elle _est bien femme_, as \\n they say here; simpler, softer, rounder, richer than the young girls I \\n spoke of just now. Not much talk--a great, sweet silence. Then the\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"rest; but that is only because she won't let me. I should like to like \\n her, ever so much, because she is most lovely and most attractive; but \\n she doesn't seem to want to know me or to like me. She comes from New \\n York, and she is remarkably pretty, with beautiful eyes and the most \\n delicate features; she is also remarkably elegant--in this respect would \\n bear comparison with any one I have seen over here. But it seems as if\",\n \"positive orders to make her stop in-doors. She is very cross (mamma \\n writes me) about coming abroad, and doesn't seem at all to mind the \\n expense that papa has been put to--talks very ill-naturedly about losing \\n the hunting, etc. She expected to begin to hunt in December, and wants \\n to know whether anybody keeps hounds at Hyeres. Fancy a girl wanting to \\n follow the hounds when her lungs are so bad! But I daresay that when she\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"pushing through brambles without tearing her robe; exciting, without \\n knowing it, the most injurious suspicions; and always holding her course, \\n passionless, stainless, fearless, charmless! It is a little figure in \\n which, after all, if you can get the right point of view, there is \\n something rather striking. \\n \\n By way of contrast, there is a lovely English girl, with eyes as shy as \\n violets, and a voice as sweet! She has a sweet Gainsborough head, and a\",\n \"young lady and her brother. I wish I could put them before you. She is \\n lovely to look at; she seems so modest and retiring. In spite of this, \\n however, she dresses in a way that attracts great attention, as I \\n couldn't help noticing when one day I went out to walk with her. She was \\n ever so much looked at; but she didn't seem to notice it, until at last I \\n couldn't help calling attention to it. Mr. Leverett thinks everything of\",\n \"enough for to-day. I don't know how much longer I shall stay here; I am \\n getting on so fast that it sometimes seems as if I shouldn't need all the \\n time I have laid out. I suppose your cold weather has promptly begun, as \\n usual; it sometimes makes me envy you. The fall weather here is very \\n dull and damp, and I feel very much as if I should like to be braced up. \\n \\n \\n \\n \\n CHAPTER VI \\n \\n\",\n \"it; he calls it the \\\"costume of the future.\\\" I should call it rather the \\n costume of the past--you know the English have such an attachment to the \\n past. I said this the other day to Madame do Maisonrouge--that Miss Vane \\n dressed in the costume of the past. _De l'an passe, vous voulez dire_? \\n said Madame, with her little French laugh (you can get William Platt to \\n translate this, he used to tell me he knew so much French). \\n\"\n ],\n [\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"be treated worse. I have not, as I say, fully explained to myself this \\n logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them \\n by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"correct French letters; and, if you don't believe it, I will keep the \\n rough draft to show you when I go back. \\n \\n The German gentleman is also more interesting, the more you know him; it \\n seems sometimes as if I could fairly drink in his ideas. I have found \\n out why the young lady from New York doesn't like me! It is because I \\n said one day at dinner that I admired to go to the Louvre. Well, when I \\n first came, it seemed as if I _did_ admire everything!\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"little too thin, the bones rather accentuated, but the detail, on the \\n whole, most satisfactory. And you can say anything to her. She takes \\n the trouble to appear not to understand, but her conduct, half an hour \\n afterwards, reassures you completely--oh, completely! \\n \\n However, it is the tall one, the one of the private lessons, that is the \\n most remarkable. These private lessons, my good Prosper, are the most \\n brilliant invention of the age, and a real stroke of genius on the part\",\n \"of French families here that take you to board and teach you. My second \\n cousin--that young lady I told you about--she got in with a crowd like \\n that, and they booked her right up in three months. They just took her \\n right in and they talked to her. That's what they do to you; they set \\n you right down and they talk _at_ you. You've got to understand them; \\n you can't help yourself. That family my cousin was with has moved away\",\n \"breathe more freely than I expected, in this place, where we have been \\n for about a week. I was sure, before we came, that it would prove to be \\n an establishment of the _lowest description_; but I must say that, in \\n this respect, I am agreeably disappointed. The French are so clever that \\n they know even how to manage a place of this kind. Of course it is very \\n disagreeable to live with strangers, but as, after all, if I were not\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"_rougeurs_ of the little Anglaise. But she has bright, keen, inquisitive \\n eyes, superb teeth, a nose modelled by a sculptor, and a way of holding \\n up her head and looking every one in the face, which is the most finished \\n piece of impertinence I ever beheld. She is making the _tour du monde_ \\n entirely alone, without even a soubrette to carry the ensign, for the \\n purpose of seeing for herself _a quoi s'en tenir sur les hommes et les\",\n \"there being so many persons around me speaking English, and that, as you \\n may say, in the very bosom of a French family. It seems as if you heard \\n English everywhere; but I certainly didn't expect to find it in a place \\n like this. I am not discouraged, however, and I talk French all I can, \\n even with the other English boarders. Then I have a lesson every day \\n from Miss Maisonrouge (the elder daughter of the lady of the house), and\",\n \"that immense fortunes are being made. We have been economising for the \\n last five years, and I supposed we came abroad to reap the benefits of \\n it. \\n \\n As for my French, it is quite as perfect as I want it to be. (I assure \\n you I am often surprised at my own fluency, and, when I get a little more \\n practice in the genders and the idioms, I shall do very well in this \\n respect.) To make a long story short, however, father carried his point,\"\n ],\n [\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"seems as if; over here, I had learned to come out with everything. I \\n suppose they will think I am not sincere; but isn't it more sincere to \\n come out with things than to conceal them? I have become very good \\n friends with every one in the house--that is (you see, I _am_ sincere), \\n with _almost_ every one. It is the most interesting circle I ever was \\n in. There's a girl here, an American, that I don't like so much as the\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"corner of a shop or a restaurant. I am sure that, in spite of her fine \\n name, she was once a _dame de comptoir_. I am also sure that, in spite \\n of her smiles and the pretty things she says to every one, she hates us \\n all, and would like to murder us. She is a hard, clever Frenchwoman, who \\n would like to amuse herself and enjoy her Paris, and she must be bored to \\n death at passing all her time in the midst of stupid English people who\",\n \"breathe more freely than I expected, in this place, where we have been \\n for about a week. I was sure, before we came, that it would prove to be \\n an establishment of the _lowest description_; but I must say that, in \\n this respect, I am agreeably disappointed. The French are so clever that \\n they know even how to manage a place of this kind. Of course it is very \\n disagreeable to live with strangers, but as, after all, if I were not\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and, \\n so long as I retain possession of my faculties, I don't suppose I ever \\n shall. As I said, however, the place is very well managed, and I succeed \\n in doing as I please, which, you know, is my most cherished pursuit. \\n Madame de Maisonrouge has a great deal of tact--much more than poor\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"which I speedily discovered in the same street; but this arrangement, \\n though very lucidly proposed by myself; was not acceptable to the \\n mistress of the establishment (a woman with a mathematical head), and I \\n have consoled myself for the extra expense by fixing my thoughts upon the \\n opportunity that conformity to the customs of the house gives me of \\n studying the table-manners of my companions, and of observing the French \\n nature at a peculiarly physiological moment, the moment when the\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"having no more opportunity to practise it than if I had remained at \\n Bangor. In fact, I used to hear a great deal more at Bangor, from those \\n French Canadians that came down to cut the ice, than I saw I should ever \\n hear at that hotel. The lady that kept the books seemed to want so much \\n to talk to me in English (for the sake of practice, too, I suppose), that \\n I couldn't bear to let her know I didn't like it. The chambermaid was\",\n \"introduce me. But I was in such a hurry that I went off by myself; and I \\n had no trouble in finding these good people. They were delighted to \\n receive me, and I was very much pleased with what I saw of them. They \\n seemed to have plenty of conversation, and there will be no trouble about \\n that. \\n \\n I came here to stay about three days ago, and by this time I have seen a \\n great deal of them. The price of board struck me as rather high; but I\",\n \"alike than they would care to think themselves for they eye each other \\n with cold, mistrustful, deprecating looks. They are both specimens of \\n the emancipated young American girl--practical, positive, passionless, \\n subtle, and knowing, as you please, either too much or too little. And \\n yet, as I say, they have a certain stamp, a certain grace; I like to talk \\n with them, to study them. \\n\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"sense of local colour--she explains it herself; she expresses it so \\n well--in short, to open a sort of boarding-house. I don't see why I \\n should not, after all, use that expression, for it is the correlative of \\n the term _pension bourgeoise_, employed by Balzac in the _Pere Goriot_. \\n Do you remember the _pension bourgeoise_ of Madame Vauquer _nee_ de \\n Conflans? But this establishment is not at all like that: and indeed it\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\"\n ],\n [\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"The other Americans (beside the madman) are two girls, about my own age, \\n one of whom is rather nice. She has a mother; but the mother is always \\n sitting in her bedroom, which seems so very odd. I should like mamma to \\n ask them to Kingscote, but I am afraid mamma wouldn't like the mother, \\n who is rather vulgar. The other girl is rather vulgar too, and is \\n travelling about quite alone. I think she is a kind of schoolmistress;\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"supposition that I should be substantially disagreeable to its inmates. I \\n wished to observe the different forms taken by the irritation that I \\n should naturally produce; for it is under the influence of irritation \\n that the French character most completely expresses itself. My presence, \\n however, does not appear to operate as a stimulus, and in this respect I \\n am materially disappointed. They treat me as they treat every one else; \\n whereas, in order to be treated differently, I was resigned in advance to\",\n \"causes, with the spontaneous home-life of the country. \\n \\n I accordingly engaged a room in the house of a lady of pure French \\n extraction and education, who supplements the shortcomings of an income \\n insufficient to the ever-growing demands of the Parisian system of sense- \\n gratification, by providing food and lodging for a limited number of \\n distinguished strangers. I should have preferred to have my room alone \\n in the house, and to take my meals in a brewery, of very good appearance,\",\n \"uncomfortable, and I daresay it will be worse at Hyeres. There, however, \\n fortunately, we shall have our own people. \\n \\n There are some very odd Americans here, who keep throwing Harold into \\n fits of laughter. One is a dreadful little man who is always sitting \\n over the fire, and talking about the colour of the sky. I don't believe \\n he ever saw the sky except through the window--pane. The other day he\",\n \"breathe more freely than I expected, in this place, where we have been \\n for about a week. I was sure, before we came, that it would prove to be \\n an establishment of the _lowest description_; but I must say that, in \\n this respect, I am agreeably disappointed. The French are so clever that \\n they know even how to manage a place of this kind. Of course it is very \\n disagreeable to live with strangers, but as, after all, if I were not\",\n \"having no more opportunity to practise it than if I had remained at \\n Bangor. In fact, I used to hear a great deal more at Bangor, from those \\n French Canadians that came down to cut the ice, than I saw I should ever \\n hear at that hotel. The lady that kept the books seemed to want so much \\n to talk to me in English (for the sake of practice, too, I suppose), that \\n I couldn't bear to let her know I didn't like it. The chambermaid was\",\n \"which I speedily discovered in the same street; but this arrangement, \\n though very lucidly proposed by myself; was not acceptable to the \\n mistress of the establishment (a woman with a mathematical head), and I \\n have consoled myself for the extra expense by fixing my thoughts upon the \\n opportunity that conformity to the customs of the house gives me of \\n studying the table-manners of my companions, and of observing the French \\n nature at a peculiarly physiological moment, the moment when the\",\n \"mumble broken French at her. Some day she will poison the soup or the \\n _vin rouge_; but I hope that will not be until after mother and I shall \\n have left her. She has two daughters, who, except that one is decidedly \\n pretty, are meagre imitations of herself. \\n \\n The \\\"family,\\\" for the rest, consists altogether of our beloved \\n compatriots, and of still more beloved Englanders. There is an \\n Englishman here, with his sister, and they seem to be rather nice people.\",\n \"\\\"extremely nice.\\\" I don't believe she is nice at all; if she were nice, \\n she wouldn't have such ideas as that. I tell Miss Vane that at Bangor we \\n think such ideas vulgar; but then she looks as though she had never heard \\n of Bangor. I often want to shake her, though she _is_ so sweet. If she \\n isn't angry with the people who make her feel that way, I am angry for\",\n \"dreadful ocean again. So, at last, he decided to go back alone, and to \\n leave us here for three months. But, to show you how fussy he is, he \\n refused to let us stay at the hotel, and insisted that we should go into \\n a _family_. I don't know what put such an idea into his head, unless it \\n was some advertisement that he saw in one of the American papers that are \\n published here. \\n \\n There are families here who receive American and English people to live\",\n \"said that she had never heard me mentioned, and that her room was too \\n small to receive visitors. I suppose she spoke the truth, but I am sure \\n she has got some reason, all the same. She has got some idea, and I am \\n bound to find out before I go, if I have to ask everybody in the house. I \\n _am_ right down curious. I wonder if she doesn't think me refined--or if \\n she had ever heard anything against Bangor? I can't think it is that.\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"two Americans, besides mother and me. One of them is a young man from \\n Boston,--an aesthetic young man, who talks about its being \\\"a real Corot \\n day,\\\" etc., and a young woman--a girl, a female, I don't know what to \\n call her--from Vermont, or Minnesota, or some such place. This young \\n woman is the most extraordinary specimen of artless Yankeeism that I ever \\n encountered; she is really too horrible. I have been three times to\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"it's a kind of coaching place, only kept by women. Mamma had heard it \\n was very nice; so she wrote to me that I was to come and stop here with \\n Harold. The Desmonds brought me and made the arrangement, or the \\n bargain, or whatever you call it. Poor Harold was naturally not at all \\n pleased; but he has been very kind, and has treated me like an angel. He \\n is getting on beautifully with his French; for though I don't think the\"\n ],\n [\n \"CHAPTER VII \\n \\n \\n FROM LEON VERDIER, IN PARIS, TO PROSPER GOBAIN, AT LILLE. \\n \\n September 28th. \\n \\n My Dear Prosper--It is a long time since I have given you of my news, and \\n I don't know what puts it into my head to-night to recall myself to your \\n affectionate memory. I suppose it is that when we are happy the mind \\n reverts instinctively to those with whom formerly we shared our\",\n \"have in relating it to the great Prosper. As I tell thee, I am happy; \\n decidedly, I am happy, and from this affirmation I fancy you can \\n construct the rest. Shall I help thee a little? Take three adorable \\n girls . . . three, my good Prosper--the mystic number--neither more nor \\n less. Take them and place thy insatiable little Leon in the midst of \\n them! Is the situation sufficiently indicated, and do you apprehend the\",\n \"addresses somewhere), while I retired to my sofa, and would have nothing \\n to do with it. At last they made arrangements, and I was transported to \\n the establishment from which I now write you. I write you from the bosom \\n of a Parisian menage--from the depths of a second-rate boarding-house. \\n \\n Father only left Paris after he had seen us what he calls comfortably \\n settled here, and had informed Madame de Maisonrouge (the mistress of the\",\n \"putting them into my journal), especially if my letters are to be handed \\n round in the family. I assure you they appear to talk about things here \\n that we never think of mentioning at Bangor, or even of thinking about. \\n She seems to think she can tell me everything, because I told her I was \\n travelling for general culture. Well, I _do_ want to know so much that \\n it seems sometimes as if I wanted to know everything; and yet there are\",\n \"Tell William Platt his letter has come. I knew he would have to write, \\n and I was bound I would make him! I haven't decided what country I will \\n visit yet; it seems as if there were so many to choose from. But I shall \\n take care to pick out a good one, and to meet plenty of fresh \\n experiences. \\n \\n Dearest mother, my money holds out, and it _is_ most interesting! \\n \\n \\n \\n\",\n \"name is Mr. Louis Leverett (such a beautiful name, I think), and he is \\n about thirty years old. He is rather small, and he looks pretty sick; he \\n suffers from some affection of the liver. But his conversation is \\n remarkably interesting, and I delight to listen to him--he has such \\n beautiful ideas. I feel as if it were hardly right, not being in French; \\n but, fortunately, he uses a great many French expressions. It's in a\",\n \"There is one thing, I hope--that you don't show any of my letters to \\n William Platt. If he wants to see any of my letters, he knows the right \\n way to go to work. I wouldn't have him see one of these letters, written \\n for circulation in the family, for anything in the world. If he wants \\n one for himself, he has got to write to me first. Let him write to me \\n first, and then I will see about answering him. You can show him this if\",\n \"in the family, for I like them all to know what I am doing, and I can't \\n write to every one, though I try to answer all reasonable expectations. \\n But there are a great many unreasonable ones, as I suppose you know--not \\n yours, dear mother, for I am bound to say that you never required of me \\n more than was natural. You see you are reaping your reward: I write to \\n you before I write to any one else. \\n\",\n \"FROM MIRANDA HOPE TO HER MOTHER. \\n \\n September 26th. \\n \\n You must not be frightened at not hearing from me oftener; it is not \\n because I am in any trouble, but because I am getting on so well. If I \\n were in any trouble I don't think I should write to you; I should just \\n keep quiet and see it through myself. But that is not the case at \\n present and, if I don't write to you, it is because I am so deeply\",\n \"you like; but if you show him anything more, I will never write to you \\n again. \\n \\n I told you in my last about my farewell to England, my crossing the \\n Channel, and my first impressions of Paris. I have thought a great deal \\n about that lovely England since I left it, and all the famous historic \\n scenes I visited; but I have come to the conclusion that it is not a \\n country in which I should care to reside. The position of woman does not\",\n \"Clementine about your underskirt, etc. \\n \\n \\n \\n \\n CHAPTER IV \\n \\n \\n FROM LOUIS LEVERETT, IN PARIS, TO HARVARD TREMONT, IN BOSTON. \\n \\n September 25th. \\n \\n My dear Harvard--I have carried out my plan, of which I gave you a hint \\n in my last, and I only regret that I should not have done it before. It \\n is human nature, after all, that is the most interesting thing in the\",\n \"enough for to-day. I don't know how much longer I shall stay here; I am \\n getting on so fast that it sometimes seems as if I shouldn't need all the \\n time I have laid out. I suppose your cold weather has promptly begun, as \\n usual; it sometimes makes me envy you. The fall weather here is very \\n dull and damp, and I feel very much as if I should like to be braced up. \\n \\n \\n \\n \\n CHAPTER VI \\n \\n\",\n \"Madame de Maisonrouge all I can (she is the lady of the house, and the \\n _real_ family consists only of herself and her two daughters). They are \\n all most elegant, interesting women, and I am sure we shall become \\n intimate friends. I will write you more about them in my next. Tell \\n William Platt I don't care what he does. \\n \\n \\n \\n \\n CHAPTER III \\n \\n\",\n \"know, all that I ask is to be let alone, and not to have people's society \\n forced upon me. I have never wanted for society of my own choosing, and, \\n so long as I retain possession of my faculties, I don't suppose I ever \\n shall. As I said, however, the place is very well managed, and I succeed \\n in doing as I please, which, you know, is my most cherished pursuit. \\n Madame de Maisonrouge has a great deal of tact--much more than poor\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"FROM MISS VIOLET RAY, IN PARIS, TO MISS AGNES RICH, IN NEW YORK. \\n \\n September 21st. \\n \\n We had hardly got here when father received a telegram saying he would \\n have to come right back to New York. It was for something about his \\n business--I don't know exactly what; you know I never understand those \\n things, never want to. We had just got settled at the hotel, in some\",\n \"visit to Madame de Maisonrouge deeply, and feel as if I were leaving a \\n circle of real friends. Everything has gone on beautifully up to the \\n end, and every one has been as kind and attentive as if I were their own \\n sister, especially Mr. Verdier, the French gentleman, from whom I have \\n gained more than I ever expected (in six weeks), and with whom I have \\n promised to correspond. So you can imagine me dashing off the most\",\n \"away; I should have liked so much to go and see him, and tell him all \\n that I owe him. He was living when I was here before; but, you know, at \\n that time I was travelling with the Johnsons, who are not aesthetic, and \\n who used to make me feel rather ashamed of my artistic temperament. If I \\n had gone to see the great apostle of beauty, I should have had to go \\n clandestinely--_en cachette_, as they say here; and that is not my\",\n \"motives of my felicity? \\n \\n You expected, perhaps, I was going to tell you that I had made my \\n fortune, or that the Uncle Blondeau had at last decided to return into \\n the breast of nature, after having constituted me his universal legatee. \\n But I needn't remind you that women are always for something in the \\n happiness of him who writes to thee--for something in his happiness, and \\n for a good deal more in his misery. But don't let me talk of misery now;\",\n \"that immense fortunes are being made. We have been economising for the \\n last five years, and I supposed we came abroad to reap the benefits of \\n it. \\n \\n As for my French, it is quite as perfect as I want it to be. (I assure \\n you I am often surprised at my own fluency, and, when I get a little more \\n practice in the genders and the idioms, I shall do very well in this \\n respect.) To make a long story short, however, father carried his point,\"\n ],\n [\n \"see the question in its true light, there would be an indignation, \\n meeting of the citizens to protest against such an outrage to the \\n sanctity of womanhood--when I tell him all this, at breakfast or dinner, \\n he bursts out laughing so loud that all the plates clatter on the table. \\n \\n But at such a time as this there is always one person who seems \\n interested in what I say--a German gentleman, a professor, who sits next \\n to me at dinner, and whom I must tell you more about another time. He is\",\n \"apparently that of a man, but I hesitate to classify him so \\n superficially. He appears to me less human than simian, and whenever I \\n hear him talk I seem to myself to have paused in the street to listen to \\n the shrill clatter of a hand-organ, to which the gambols of a hairy \\n _homunculus_ form an accompaniment. \\n \\n I mentioned to you before that my expectation of rough usage, in \\n consequence of my German nationality, had proved completely unfounded. No\",\n \"to them nine years ago. A German was something disagreeable, which they \\n determined to keep out of their conception of things. I therefore think \\n that we are wrong to govern ourselves upon the hypothesis of the \\n _revanche_; the French nature is too shallow for that large and powerful \\n plant to bloom in it. \\n \\n The English-speaking specimens, too, I have not been willing to neglect \\n the opportunity to examine; and among these I have paid special attention \\n to the American varieties, of which I find here several singular\",\n \"He is remarkably handsome, but excessively affected and patronising, \\n especially to us Americans; and I hope to have a chance of biting his \\n head off before long. The sister is very pretty, and, apparently, very \\n nice; but, in costume, she is Britannia incarnate. There is a very \\n pleasant little Frenchman--when they are nice they are charming--and a \\n German doctor, a big blonde man, who looks like a great white bull; and\",\n \"Fatherland. I fancied myself at Berlin, Unter den Linden, and I \\n reflected that, having taken the serious step of visiting the \\n head-quarters of the Gallic genius, I should try and project myself; as \\n much as possible, into the circumstances which are in part the \\n consequence and in part the cause of its irrepressible activity. It \\n seemed to me that there could be no well-grounded knowledge without this \\n preliminary operation of placing myself in relations, as slightly as \\n possible modified by elements proceeding from a different combination of\",\n \"to which I alluded above, will brighten for the deep-lunged children of \\n the Fatherland! \\n \\n \\n \\n \\n CHAPTER IX \\n \\n \\n MIRANDA HOPE TO HER MOTHER. \\n \\n October 22d \\n \\n Dear Mother--I am off in a day or two to visit some new country; I \\n haven't yet decided which. I have satisfied myself with regard to \\n France, and obtained a good knowledge of the language. I have enjoyed my\",\n \"be treated worse. I have not, as I say, fully explained to myself this \\n logical contradiction; but this is the explanation to which I tend. The \\n French are so exclusively occupied with the idea of themselves, that in \\n spite of the very definite image the German personality presented to them \\n by the war of 1870, they have at present no distinct apprehension of its \\n existence. They are not very sure that there are any Germans; they have \\n already forgotten the convincing proofs of the fact that were presented\",\n \"CHAPTER VIII \\n \\n \\n FROM DR. RUDOLF STAUB, IN PARIS, TO DR. JULIUS HIRSCH, AT GOTTINGEN. \\n \\n My dear brother in Science--I resume my hasty notes, of which I sent you \\n the first instalment some weeks ago. I mentioned then that I intended to \\n leave my hotel, not finding it sufficiently local and national. It was \\n kept by a Pomeranian, and the waiters, without exception, were from the\",\n \"is mad. He chaffs her tremendously about her radicalism, and he is so \\n immensely clever that she can't answer him, though she is rather clever \\n too. \\n \\n There is also a Frenchman, a nephew, or cousin, or something, of the \\n person of the house, who is extremely nasty; and a German professor, or \\n doctor, who eats with his knife and is a great bore. I am so very sorry \\n about giving up my visit. I am afraid you will never ask me again. \\n\",\n \"took hold of my frock (that green one you thought so nice at Homburg) and \\n told me that it reminded him of the texture of the Devonshire turf. And \\n then he talked for half an hour about the Devonshire turf; which I \\n thought such a very extraordinary subject. Harold says he is mad. It is \\n very strange to be living in this way with people one doesn't know. I \\n mean that one doesn't know as one knows them in England. \\n\",\n \"with them, under the pretence of teaching them French. You may imagine \\n what people they are--I mean the families themselves. But the Americans \\n who choose this peculiar manner of seeing Paris must be actually just as \\n bad. Mother and I were horrified, and declared that main force should \\n not remove us from the hotel. But father has a way of arriving at his \\n ends which is more efficient than violence. He worries and fusses; he \\n \\\"nags,\\\" as we used to say at school; and, when mother and I are quite\",\n \"very learned, and has a great desire for information; he appreciates a \\n great many of my remarks, and after dinner, in the salon, he often comes \\n to me to ask me questions about them. I have to think a little, \\n sometimes, to know what I did say, or what I do think. He takes you \\n right up where you left off; and he is almost as fond of discussing \\n things as William Platt is. He is splendidly educated, in the German\",\n \"that immense fortunes are being made. We have been economising for the \\n last five years, and I supposed we came abroad to reap the benefits of \\n it. \\n \\n As for my French, it is quite as perfect as I want it to be. (I assure \\n you I am often surprised at my own fluency, and, when I get a little more \\n practice in the genders and the idioms, I shall do very well in this \\n respect.) To make a long story short, however, father carried his point,\",\n \"come and stay with her--board and lodging gratis--and keep an eye on the \\n grammatical eccentricities of her _pensionnaires_. I am the extension, \\n my good Prosper; I am the embellishment! I live for nothing, and I \\n straighten up the accent of the prettiest English lips. The English lips \\n are not all pretty, heaven knows, but enough of them are so to make it a \\n gaining bargain for me. \\n\",\n \"choses--on les hommes_ particularly. _Dis donc_, Prosper, it must be a \\n _drole de pays_ over there, where young persons animated by this ardent \\n curiosity are manufactured! If we should turn the tables, some day, thou \\n and I, and go over and see it for ourselves. It is as well that we \\n should go and find them _chez elles_, as that they should come out here \\n after us. _Dis donc, mon gras Prosper_ . . . \\n \\n \\n \\n\",\n \"seem to me at all satisfactory, and that is a point, you know, on which I \\n feel very strongly. It seems to me that in England they play a very \\n faded-out part, and those with whom I conversed had a kind of depressed \\n and humiliated tone; a little dull, tame look, as if they were used to \\n being snubbed and bullied, which made me want to give them a good \\n shaking. There are a great many people--and a great many things,\",\n \"are here don't seem to try at all, either to speak or do anything else. \\n They are a young lady and her brother. I believe they belong to some \\n noble family. I have had a good deal of intercourse with them, because I \\n have felt more free to talk to them than to the Americans--on account of \\n the language. It seems as if in talking with them I was almost learning \\n a new one. \\n \\n I never supposed, when I left Bangor, that I was coming to Europe to\",\n \"style, and he told me the other day that he was an \\\"intellectual broom.\\\" \\n Well, if he is, he sweeps clean; I told him that. After he has been \\n talking to me I feel as if I hadn't got a speck of dust left in my mind \\n anywhere. It's a most delightful feeling. He says he's an observer; and \\n I am sure there is plenty over here to observe. But I have told you\",\n \"of conversation. She differs somewhat from the young man I just \\n mentioned, in that the faculty of production, of action, is, in her, less \\n inanimate; she has more of the freshness and vigour that we suppose to \\n belong to a young civilisation. But unfortunately she produces nothing \\n but evil, and her tastes and habits are similarly those of a Roman lady \\n of the lower Empire. She makes no secret of them, and has, in fact, \\n elaborated a complete system of licentious behaviour. As the\",\n \"must remember that a quantity of conversation is thrown in. I have a \\n very pretty little room--without any carpet, but with seven mirrors, two \\n clocks, and five curtains. I was rather disappointed after I arrived to \\n find that there are several other Americans here for the same purpose as \\n myself. At least there are three Americans and two English people; and \\n also a German gentleman. I am afraid, therefore, our conversation will \\n be rather mixed, but I have not yet time to judge. I try to talk with\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Where is the boarding-house located?","Which character does Herr Professor refer to as \"simian\"?","What do most of the letters focus on?","What is the name of the character who is from New York?","To whom does Miranda write her letters?","Who is the most cynical character?","What emotion do most of the characters feel for each other?","How does Herr Professor describe Germany?","What bothers Miranda about Europe?","Where is Miranda Hope from?","Where is Violet Ray from?","Where is Herr professor from?","Where is Leon Verdier from?","What does Leon focus on in writing his letters?","How does Violet feel about MIranda?","What is William Platt's relationship to Miranda Hope?","What name does Herr Professor call Leon?","Which traveler finds the other travelers \"sub-human\"?","What does Evelyn Vane claim Leverett is always talking about?","Where is the boarding house located?","Where is Miranda from, according to the story?","What doesn't Miranda like about Europe?","Which boarder is from the same country as Miranda?","Who does Vane write about in her letter?","How does the German boarder see Louis?","Which boarder realizes that none of the boarders like each other?","Why does the professor dislike the other boarders?","What does Leon write about in his letter?","How does the professor refer to Germany?"],"string":"[\n \"Where is the boarding-house located?\",\n \"Which character does Herr Professor refer to as \\\"simian\\\"?\",\n \"What do most of the letters focus on?\",\n \"What is the name of the character who is from New York?\",\n \"To whom does Miranda write her letters?\",\n \"Who is the most cynical character?\",\n \"What emotion do most of the characters feel for each other?\",\n \"How does Herr Professor describe Germany?\",\n \"What bothers Miranda about Europe?\",\n \"Where is Miranda Hope from?\",\n \"Where is Violet Ray from?\",\n \"Where is Herr professor from?\",\n \"Where is Leon Verdier from?\",\n \"What does Leon focus on in writing his letters?\",\n \"How does Violet feel about MIranda?\",\n \"What is William Platt's relationship to Miranda Hope?\",\n \"What name does Herr Professor call Leon?\",\n \"Which traveler finds the other travelers \\\"sub-human\\\"?\",\n \"What does Evelyn Vane claim Leverett is always talking about?\",\n \"Where is the boarding house located?\",\n \"Where is Miranda from, according to the story?\",\n \"What doesn't Miranda like about Europe?\",\n \"Which boarder is from the same country as Miranda?\",\n \"Who does Vane write about in her letter?\",\n \"How does the German boarder see Louis?\",\n \"Which boarder realizes that none of the boarders like each other?\",\n \"Why does the professor dislike the other boarders?\",\n \"What does Leon write about in his letter?\",\n \"How does the professor refer to Germany?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Paris","Paris"],["The frenchman Leon Verdier.","Leon"],["The characters reactions to one another.","the characters opinions of each other"],["Violet Ray.","Violet Ray"],["Her mother.","her mother"],["Herr Professor.","German professsor"],["Disdain.","Disdain"],["The Fatherland.","As the Fatherland. "],["Their old world treatment of women.","the Old World treatment of its women"],["Bangor, Maine","Bangor, Maine"],["New York","New York"],["Germany","Germany"],["France","France"],["The beauty of the women","the charms of ces demoiselles and appearance of boarders"],["She finds her provincial and dislikes her","She finds Miranda horrible "],["Platt is a Miranda's suitor","a previous suitor"],["Simian","simian "],["Herr Professor","Herr Professor"],["The color of the sky","The color of the sky."],["Paris","Paris "],["Bangor, Maine","Bangor Maine "],["how women are treated","the Old World treatment of its women"],["Violet Ray","Violet Ray from New York"],["Louis Leverett","Louis"],["as decadent ","likeable and brave"],["the German professor","Herr Professor"],["because they are not from Germany","Because of their national traits and sub-human status/Because they are not German"],["how the female boarders look","The females in the boarding house. "],["as the Fatherland","favorable and above other nations"]],"string":"[\n [\n \"Paris\",\n \"Paris\"\n ],\n [\n \"The frenchman Leon Verdier.\",\n \"Leon\"\n ],\n [\n \"The characters reactions to one another.\",\n \"the characters opinions of each other\"\n ],\n [\n \"Violet Ray.\",\n \"Violet Ray\"\n ],\n [\n \"Her mother.\",\n \"her mother\"\n ],\n [\n \"Herr Professor.\",\n \"German professsor\"\n ],\n [\n \"Disdain.\",\n \"Disdain\"\n ],\n [\n \"The Fatherland.\",\n \"As the Fatherland. \"\n ],\n [\n \"Their old world treatment of women.\",\n \"the Old World treatment of its women\"\n ],\n [\n \"Bangor, Maine\",\n \"Bangor, Maine\"\n ],\n [\n \"New York\",\n \"New York\"\n ],\n [\n \"Germany\",\n \"Germany\"\n ],\n [\n \"France\",\n \"France\"\n ],\n [\n \"The beauty of the women\",\n \"the charms of ces demoiselles and appearance of boarders\"\n ],\n [\n \"She finds her provincial and dislikes her\",\n \"She finds Miranda horrible \"\n ],\n [\n \"Platt is a Miranda's suitor\",\n \"a previous suitor\"\n ],\n [\n \"Simian\",\n \"simian \"\n ],\n [\n \"Herr Professor\",\n \"Herr Professor\"\n ],\n [\n \"The color of the sky\",\n \"The color of the sky.\"\n ],\n [\n \"Paris\",\n \"Paris \"\n ],\n [\n \"Bangor, Maine\",\n \"Bangor Maine \"\n ],\n [\n \"how women are treated\",\n \"the Old World treatment of its women\"\n ],\n [\n \"Violet Ray\",\n \"Violet Ray from New York\"\n ],\n [\n \"Louis Leverett\",\n \"Louis\"\n ],\n [\n \"as decadent \",\n \"likeable and brave\"\n ],\n [\n \"the German professor\",\n \"Herr Professor\"\n ],\n [\n \"because they are not from Germany\",\n \"Because of their national traits and sub-human status/Because they are not German\"\n ],\n [\n \"how the female boarders look\",\n \"The females in the boarding house. \"\n ],\n [\n \"as the Fatherland\",\n \"favorable and above other nations\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"8cb9a3afd8d542c798c3a34fd1a9afa0a77931c2"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":47,"cells":{"text":{"kind":"list like","value":[["\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","went to his work, and Curdie and his mother set out to take the princess \n home. They had difficulty in getting her dry across the streams, and \n Curdie had again and again to carry her, but at last they got safe on \n the broader part of the road, and walked gently down toward the king's \n house. And what should they see as they turned the last corner, but the \n last of the king's troop riding through the gate! \n \n \"Oh, Curdie!\" cried Irene, clapping her hands right joyfully, \"my","When the king had got out of the way of the water, a little up the \n mountain, he stood with the princess in his arms, looking back with \n amazement on the issuing torrent, which glimmered fierce and foamy \n through the night. There Curdie rejoined them. \n \n \"Now, Curdie,\" said the king, \"what does it mean! Is this what you \n expected?\" \n \n \"It is, your Majesty,\" said Curdie; and proceeded to tell him about the","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","with me. He shall enter my bodyguard at once, and wait further \n promotion.\" \n \n Peter and his wife, overcome, only murmured almost inaudible thanks. But \n Curdie spoke aloud. \n \n \"Please your Majesty,\" he said, \"I cannot leave my father and mother.\" \n \n \"That's right, Curdie!\" cried the princess. \"_I_ wouldn't if I was you.\" \n \n The king looked at the princess and then at Curdie with a glow of \n satisfaction on his countenance. \n","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","there was no way to get them out, except by riding them through the \n stream, which was now pouring from the lower windows as well as the \n door. As one horse was quite enough for any man to manage through such a \n torrent, Curdie got on the king's white charger, and leading the way, \n brought them all in safety to the rising ground. \n \n \"Look, look, Curdie!\" cried Irene, the moment that, having dismounted, \n he led the horse up to the king. \n","very kind, but I could not be half the use to him that I am to you. \n Please your Majesty, if you wouldn't mind giving my mother a red \n petticoat! I should have got her one long ago, but for the goblins.\" \n \n \"As soon as we get home,\" said the king, \"Irene and I will search out \n the warmest one to be found, and send it by one of the gentlemen.\" \n \n \"Yes, that we will, Curdie!\" said the princess. \n","\"Here, Curdie, take the princess while I get on my horse,\" said the \n king. \n \n Curdie took the princess again, and both turned their eyes to the globe \n of light. The same moment there shot from it a white bird, which, \n descending with outstretched wings, made one circle round the king and \n Curdie and the princess, and then glided up again. The light and the \n pigeon vanished together. \n \n \"Now, Curdie,\" said the princess, as he lifted her to her father's arms,","They all parted asunder as the king made a sign to her to come forward. \n She obeyed, and he gave her his hand, but could not speak. \n \n \"And now, king-papa,\" the princess went on, \"I must tell you another \n thing. One night long ago Curdie drove the goblins away and brought \n Lootie and me safe from the mountain. And I promised him a kiss when we \n got home, but Lootie wouldn't let me give it to him. I would not have","Then the king commanded his servants to mind whatever Curdie should say \n to them, and after shaking hands with him and his father and mother, the \n king and the princess and all their company rode away down the side of \n the new stream which had already devoured half the road, into the starry \n night. \n \n \n \n \n CHAPTER XXXII \n \n THE LAST CHAPTER \n \n \n ALL the rest went up the mountain, and separated in groups to the homes","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","Then Curdie had to explain everything--how he had watched for her sake, \n how he had been wounded and shut up by the soldiers, how he heard the \n noises and could not rise, and how the beautiful old lady had come to \n him, and all that followed. \n \n \"Poor Curdie! to lie there hurt and ill, and me never to know it!\" \n exclaimed the princess, stroking his rough hand. \"I would not have \n hesitated to come and nurse you, if they had told me.\" \n","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","\"I too think you are right, Curdie,\" he said, \"and I will not ask you \n again. But I shall have a chance of doing something for you some time.\" \n \n \"Your Majesty has already allowed me to serve you,\" said Curdie. \n \n \"But, Curdie,\" said his mother, \"why shouldn't you go with the king? We \n can get on very well without you.\" \n \n \"But I can't get on very well without you,\" said Curdie. \"The king is"],["you know, with the long hair of silver.\" \n \n The king only gazed at his little princess with a look which she could \n not understand. \n \n \"She's got her crown in her bedroom,\" she went on; \"but I've not been in \n there yet. You know she's here, don't you?\" \n \n \"No,\" said the king very quietly. \n \n \"Then it must be all a dream,\" said Irene. \"I half thought it was; but","This was the question he almost always put to her first after their meal \n together; and Irene had been waiting for it with some impatience, for \n now, she thought, she should be able to settle a question which \n constantly perplexed her. \n \n \"I should like you to take me to see my great old grandmother.\" \n \n The king looked grave, and said-- \n \n \"What does my little daughter mean?\" \n \n \"I mean the Queen Irene that lives up in the tower--the very old lady,","and best men to put into office, and wherever he found himself mistaken, \n and those he had appointed incapable or unjust, he removed them at once. \n Hence you see it was his care of the people that kept him from seeing \n his princess so often as he would have liked. You may wonder why he did \n not take her about with him; but there were several reasons against his \n doing so, and I suspect her great-great-grandmother had had a principal \n hand in preventing it. Once more Irene heard the bugle-blast, and once","\"Not for some time yet,\" answered the king, and the tears came in his \n eyes. \n \n Irene did not remember her mother, and did not know why her father \n looked so, and why the tears came in his eyes; but she put her arms \n round his neck and kissed him, and asked no more questions. \n \n The king was much disturbed on hearing the report of the \n gentlemen-at-arms concerning the creatures they had seen; and I presume \n would have taken Irene with him that very day, but for what the presence","questioning one, spread like moonlight over Irene's. \n \n \"It was your queen-mamma's once,\" he said. \n \n \"And why isn't it hers now?\" asked Irene. \n \n \"She does not want it now,\" said the king, looking grave. \n \n \"Why doesn't she want it now?\" \n \n \"Because she's gone where all those rings are made.\" \n \n \"And when shall I see her?\" asked the princess. \n","walked with her into the great hall, which was hardly ever entered \n except when he came to see his little princess. There he sat down with \n two of his councillors who had accompanied him, to have some \n refreshment, and Irene bestowed herself on his right hand, and drank her \n milk out of a wooden bowl curiously carved. \n \n After the king had eaten and drunk, he turned to the princess and said, \n stroking her hair-- \n \n \"Now, my child, what shall we do next?\" \n","\"I've got it now, you see,\" she said, coming back to the princess, \"all \n ready for you when you want it.\" \n \n Going to her cabinet, she laid it in the same drawer as before. \n \n \"And here is your ring,\" she added, taking it from the little finger of \n her left hand, and putting it on the forefinger of Irene's right hand. \n \n \"Oh, thank you, grandmother. I feel so safe now!\" \n","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","went to his work, and Curdie and his mother set out to take the princess \n home. They had difficulty in getting her dry across the streams, and \n Curdie had again and again to carry her, but at last they got safe on \n the broader part of the road, and walked gently down toward the king's \n house. And what should they see as they turned the last corner, but the \n last of the king's troop riding through the gate! \n \n \"Oh, Curdie!\" cried Irene, clapping her hands right joyfully, \"my","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","on. When the old lady had succeeded in getting her thread fairly in \n operation again, she said to the princess, but without looking at her: \n \n \"Do you know my name, child?\" \n \n \"No, I don't know it,\" answered the princess. \n \n \"My name is Irene.\" \n \n \"That's _my_ name!\" cried the princess. \n \n \"I know that. I let you have mine. I haven't got your name. You've got \n mine.\" \n","nice-looking as you are, some king or other would have married you, and \n then what would have become of me?\" \n \n \"You are an angel!\" repeated the nurse, again embracing her. \n \n \"Now,\" insisted Irene, \"you _will_ come and see my grandmother--won't \n you?\" \n \n \"I will go with you anywhere you like, my cherub,\" she answered; and in \n two minutes the weary little princess was fast asleep. \n \n \n \n \n CHAPTER V \n","CHAPTER XX \n \n IRENE'S CLUE \n \n \n THAT same morning, early, the princess woke in a terrible fright. There \n was a hideous noise in her room--of creatures snarling and hissing and \n racketing about as if they were fighting. The moment she came to \n herself, she remembered something she had never thought of again--what \n her grandmother told her to do when she was frightened. She immediately \n took off her ring and put it under her pillow. As she did so, she","\"Irene.\" \n \n \"What more?\" \n \n \"I don't know what more.--What more is my name, Lootie?\" \n \n \"Princesses haven't got more than one name. They don't want it.\" \n \n \"Oh then, Curdie, you must call me just Irene, and no more.\" \n \n \"No, indeed,\" said the nurse indignantly. \"He shall do no such thing.\" \n \n \"What shall he call me, then, Lootie?\" \n","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \n home. Mayn't I call this my home?\" \n \n \"You may, my child. And I trust you will always think it your home. Now \n come. I must take you back without any one seeing you.\" \n \n \"Please, I want to ask you one question more,\" said Irene. \"Is it \n because you have your crown on that you look so young?\" \n","\"I know what you mean,\" said Irene. \"That's the kind of thing my \n grandmother says.\" \n \n By the time Peter returned, the storm was nearly over, but the streams \n were so fierce and so swollen, that it was not only out of the question \n for the princess to go down the mountain, but most dangerous for Peter \n even or Curdie to make the attempt in the gathering darkness. \n \n \"They will be dreadfully frightened about you,\" said Peter to the","\"We must not be out a moment longer.\" \n \n \"But we can't help being out a good many moments longer.\" \n \n It was too true. The nurse almost cried. They were much too far from \n home. It was against express orders to be out with the princess one \n moment after the sun was down; and they were nearly a mile up the \n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \n would certainly be dismissed; and to leave the princess would break her"],["afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","it--in order, he fully believed, to lay hands on the little princess, \n and carry her off for a wife to their horrid Harelip. \n \n \n \n \n CHAPTER XXIV \n \n IRENE BEHAVES LIKE A PRINCESS \n \n \n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \n bending above her, the housekeeper looking over the nurse's shoulder, \n and the laundry-maid looking over the housekeeper's. The room was full","whose tops a stream was pouring in a watery arch, now to pick a shining \n stone from a rock by the wayside, now to watch the flight of some bird. \n Suddenly the shadow of a great mountain peak came up from behind, and \n shot in front of them. When the nurse saw it, she started and shook, and \n tremulously grasping the hand of the princess turned and began to run \n down the hill. \n \n \"What's all the haste, nursie?\" asked Irene, running alongside of her. \n","\"We must not be out a moment longer.\" \n \n \"But we can't help being out a good many moments longer.\" \n \n It was too true. The nurse almost cried. They were much too far from \n home. It was against express orders to be out with the princess one \n moment after the sun was down; and they were nearly a mile up the \n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \n would certainly be dismissed; and to leave the princess would break her","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","CHAPTER IV \n \n WHAT THE NURSE THOUGHT OF IT \n \n \n \"WHY, where can you have been, princess?\" asked the nurse, taking her in \n her arms. \"It's very unkind of you to hide away so long. I began to be \n afraid--\" \n \n Here she checked herself. \n \n \"What were you afraid of, nursie?\" asked the princess. \n \n \"Never mind,\" she answered. \"Perhaps I will tell you another day. Now","\"Ah! then you can't help it,\" said Irene, \"and I will not be vexed with \n you any more. I will give you a kiss and go to sleep.\" \n \n \"You little angel!\" cried the nurse, and caught her out of bed, and \n walked about the room with her in her arms, kissing and hugging her. \n \n \"You _will_ let me take you to see my dear old great big grandmother, \n won't you?\" said the princess, as she laid her down again. \n","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","nice-looking as you are, some king or other would have married you, and \n then what would have become of me?\" \n \n \"You are an angel!\" repeated the nurse, again embracing her. \n \n \"Now,\" insisted Irene, \"you _will_ come and see my grandmother--won't \n you?\" \n \n \"I will go with you anywhere you like, my cherub,\" she answered; and in \n two minutes the weary little princess was fast asleep. \n \n \n \n \n CHAPTER V \n","set her down again. Then she looked wildly about her, gave a great cry, \n and said-- \n \n \"We've taken the wrong turning somewhere, and I don't know where we are. \n We are lost, lost!\" \n \n The terror she was in had quite bewildered her. It was true enough they \n had lost the way. They had been running down into a little valley in \n which there was no house to be seen. \n \n Now Irene did not know what good reason there was for her nurse's","hair!--as white as my silver cup. Now, when I think of it, I think her \n hair must be silver.\" \n \n \"What nonsense you are talking, princess!\" said the nurse. \n \n \"I'm not talking nonsense,\" returned Irene, rather offended. \"I will \n tell you all about her. She's much taller than you, and much prettier.\" \n \n \"Oh, I daresay!\" remarked the nurse. \n \n \"And she lives upon pigeon's eggs.\" \n","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","This was the question he almost always put to her first after their meal \n together; and Irene had been waiting for it with some impatience, for \n now, she thought, she should be able to settle a question which \n constantly perplexed her. \n \n \"I should like you to take me to see my great old grandmother.\" \n \n The king looked grave, and said-- \n \n \"What does my little daughter mean?\" \n \n \"I mean the Queen Irene that lives up in the tower--the very old lady,","\"Irene.\" \n \n \"What more?\" \n \n \"I don't know what more.--What more is my name, Lootie?\" \n \n \"Princesses haven't got more than one name. They don't want it.\" \n \n \"Oh then, Curdie, you must call me just Irene, and no more.\" \n \n \"No, indeed,\" said the nurse indignantly. \"He shall do no such thing.\" \n \n \"What shall he call me, then, Lootie?\" \n","and best men to put into office, and wherever he found himself mistaken, \n and those he had appointed incapable or unjust, he removed them at once. \n Hence you see it was his care of the people that kept him from seeing \n his princess so often as he would have liked. You may wonder why he did \n not take her about with him; but there were several reasons against his \n doing so, and I suspect her great-great-grandmother had had a principal \n hand in preventing it. Once more Irene heard the bugle-blast, and once","The princess was a sweet little creature, and at the time my story \n begins was about eight years old. I think, but she got older very fast. \n Her face was fair and pretty, with eyes like two bits of night-sky, each \n with a star dissolved in the blue. Those eyes you would have thought \n must have known they came from there, so often were they turned up in \n that direction. The ceiling of her nursery was blue, with stars in it, \n as like the sky as they could make it. But I doubt if ever she saw the","different thing down there. They won't always mind that song even, down \n there. And if anyone sings it, they stand grinning at him awfully; and \n if he gets frightened, and misses a word, or says a wrong one, they--oh! \n don't they give it him!\" \n \n \"What do they do to him?\" asked Irene, with a trembling voice. \n \n \"Don't go frightening the princess,\" said the nurse. \n","\"Don't tell stories!\" cried her nurse quite rudely. \n \n \"I shall tell you nothing at all,\" said Irene. \n \n \"That's just as bad,\" said the nurse. \n \n \"Just as bad to say nothing at all as to tell stories!\" exclaimed the \n princess. \"I will ask my papa about that. He won't say so. And I don't \n think he will like you to say so.\" \n \n \"Tell me directly what you mean by it!\" screamed the nurse, half wild","\"Your royal Highness.\" \n \n \"My royal Highness! What's that? No, no, Lootie, I will not be called \n names. I don't like them. You said to me once yourself that it's only \n rude children that call names; and I'm sure Curdie wouldn't be \n rude.--Curdie, my name's Irene.\" \n \n \"Well, Irene,\" said Curdie, with a glance at the nurse which showed he"],["themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","and not wishing to kill any of them, he turned the end which was square \n and blunt like a hammer, and with that came down a great blow on the \n head of the goblin nearest him. Hard as the heads of all goblins are, he \n thought he must feel that. And so he did, no doubt; but he only gave a \n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \n time, and just at that critical moment, remembered the vulnerable part","\"You say so, dad. I think myself I'm all right. But I could carry ten \n times as much if it wasn't for my feet.\" \n \n \"That is your weak point, I confess, my boy.\" \n \n \"Ain't it yours, too, father?\" \n \n \"Well, to be honest, it is a goblin-weakness. Why they come so soft, I \n declare I haven't an idea.\" \n \n \"Specially when your head's so hard, you know, father.\" \n","behind the rock where the stream ran out, for he had been listening all \n round it in the hope it might convey to his ear some indication of the \n whereabouts of the goblin miners, when just as he came into the \n moonlight on the lawn, a whizz in his ear and a blow upon his leg \n startled him. He instantly squatted in the hope of eluding further \n notice. But when he heard the sound of running feet, he jumped up to \n take the chance of escape by flight. He fell, however, with a keen shoot","had made an opening into the goblins' house, he put in his hand to feel. \n It went in a good way, and then came in contact with something soft. He \n had but a moment to feel it over, it was so quickly withdrawn: it was \n one of the toeless goblin-feet. The owner of it gave a cry of fright. \n \n \"What's the matter, Helfer?\" asked his mother. \n \n \"A beast came out of the wall, and licked my foot.\" \n","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","after his father, had stayed in the mine all night again and again, and \n although they had several times encountered a few stray goblins, had \n never yet failed in driving them away. As I have indicated already, the \n chief defence against them was verse, for they hated verse of every \n kind, and some kinds they could not endure at all. I suspect they could \n not make any themselves, and that was why they disliked it so much. At \n all events, those who were most afraid of them were those who could","\"Yes, my boy. The goblin's glory is his head. To think how the fellows \n up above there have to put on helmets and things when they go fighting. \n Ha! ha!\" \n \n \"But why don't we wear shoes like them, father? I should like \n it--specially when I've got a chest like that on my head.\" \n \n \"Well, you see, it's not the fashion. The king never wears shoes.\" \n \n \"The queen does.\" \n","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","rather than hurt a woman, even if she was a goblin; but here was an \n affair of life and death: forgetting her shoes, he made a great stamp on \n one of her feet. But she instantly returned it with very different \n effect, causing him frightful pain and almost disabling him. His only \n chance with her would have been to attack the granite shoes with his \n pickaxe, but before he could think of that, she had caught him up in her \n arms, and was rushing with him across the cave. She dashed him into a","eleven of the knights on their legs again. \n \n \"Stamp on their feet!\" he cried, as each man rose, and in a few minutes \n the hall was nearly empty, the goblins running from it as fast as they \n could, howling and shrieking and limping, and cowering every now and \n then as they ran to cuddle their wounded feet in their hard hands, or to \n protect them from the frightful stamp-stamp of the armed men. \n","communication. There must be one nearly completed, however; for it could \n be but a thin partition which now separated them. If only he could get \n through in time to follow the goblins as they retreated! A few blows \n would doubtless be sufficient--just where his ear now lay; but if he \n attempted to strike there with his pickaxe, he would only hasten the \n departure of the family, put them on their guard, and perhaps lose their \n involuntary guidance. He therefore began to feel the wall with his","Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n","hands, and soon found that some of the stones were loose enough to be \n drawn out with little noise. \n \n Laying hold of a large one with both his hands, he drew it gently out, \n and let it down softly. \n \n \"What was that noise?\" said the goblin father. \n \n Curdie blew out his light, lest it should shine through. \n \n \"It must be that one miner that stayed behind the rest,\" said the \n mother. \n","some of them bad, that he succeeded in killing him with his pocket \n knife. Having dragged him out, he made haste to get in again before \n another should stop up the way. \n \n I need not follow him farther in this night's adventures. He returned to \n his breakfast, satisfied that the goblins were mining in the direction \n of the palace--on so low a level that their intention must, he thought, \n be to burrow under the walls of the king's house, and rise up inside","But still he had made no discovery as to what the goblin miners were \n about. \n \n \n \n \n CHAPTER XIII \n \n THE COBS' CREATURES \n \n \n ABOUT this time, the gentlemen whom the king had left behind him to \n watch over the princess, had each occasion to doubt the testimony of his \n own eyes, for more than strange were the objects to which they would \n bear witness. They were of one sort--creatures--but so grotesque and","\"I don't know him.\" \n \n \"I'm his son, though.\" \n \n \"And why should the goblins mind _you_, pray?\" \n \n \"Because I don't mind them. I'm used to them.\" \n \n \"What difference does that make?\" \n \n \"If you're not afraid of them, they're afraid of you. I'm not afraid of \n them. That's all. But it's all that's wanted--up here, that is. It's a","inside the rock. After a while he heard it again. It was a \n goblin-voice--there could be no doubt about that--and this time he could \n make out the words. \n \n \"Hadn't we better be moving?\" it said. \n \n A rougher and deeper voice replied: \n \n \"There's no hurry. That wretched little mole won't be through to-night, \n if he work ever so hard. He's by no means at the thinnest place.\" \n","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin","the hole like a tiger, and tore and pulled. The sides gave way, and it \n was soon large enough for him to crawl through. He would not betray \n himself by rekindling his lamp, but the torches of the retreating \n company, departing in a straight line up a long avenue from the door of \n their cave, threw back light enough to afford him a glance round the \n deserted home of the goblins. To his surprise, he could discover nothing \n to distinguish it from an ordinary cave in the rock, upon many of which"],["Then Curdie had to explain everything--how he had watched for her sake, \n how he had been wounded and shut up by the soldiers, how he heard the \n noises and could not rise, and how the beautiful old lady had come to \n him, and all that followed. \n \n \"Poor Curdie! to lie there hurt and ill, and me never to know it!\" \n exclaimed the princess, stroking his rough hand. \"I would not have \n hesitated to come and nurse you, if they had told me.\" \n","The old lady left her, and going to a strange-looking cabinet, opened it \n and took out a curious silver casket. Then she sat down on a low chair, \n and calling Irene, made her kneel before her, while she looked at her \n hand. Having examined it, she opened the casket, and took from it a \n little ointment. The sweetest odor filled the room--like that of roses \n and lilies--as she rubbed the ointment gently all over the hot swollen","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","Irene called out-- \n \n \"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \n grandmother had been to see you.--Don't you smell the roses? It was my \n grandmother healed your leg, and sent you to help me.\" \n \n \"No, Princess Irene,\" said Curdie; \"I wasn't good enough to be allowed \n to help you: I didn't believe you. Your grandmother took care of you \n without me.\" \n","\"I've got it now, you see,\" she said, coming back to the princess, \"all \n ready for you when you want it.\" \n \n Going to her cabinet, she laid it in the same drawer as before. \n \n \"And here is your ring,\" she added, taking it from the little finger of \n her left hand, and putting it on the forefinger of Irene's right hand. \n \n \"Oh, thank you, grandmother. I feel so safe now!\" \n","hand. Her touch was so pleasant and cool, that it seemed to drive away \n the pain and heat wherever it came. \n \n \"Oh, grandmother! it is _so_ nice!\" said Irene. \"Thank you; thank you.\" \n \n Then the old lady went to a chest of drawers, and took out a large \n handkerchief of gossamer-like cambric, which she tied around her hand. \n \n \"I don't think that I can let you go away to-night,\" she said. \"Do you","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","lady enough to understand this, and so she was in a great difficulty, \n for, if she insisted, some one might hear the princess cry and run to \n see, and then all would come out. But here Curdie came again to the \n rescue. \n \n \"Never mind, Princess Irene,\" he said. \"You mustn't kiss me to-night. \n But you sha'n't break your word. I will come another time. You may be \n sure I will.\" \n","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","\"Irene.\" \n \n \"What more?\" \n \n \"I don't know what more.--What more is my name, Lootie?\" \n \n \"Princesses haven't got more than one name. They don't want it.\" \n \n \"Oh then, Curdie, you must call me just Irene, and no more.\" \n \n \"No, indeed,\" said the nurse indignantly. \"He shall do no such thing.\" \n \n \"What shall he call me, then, Lootie?\" \n","walked with her into the great hall, which was hardly ever entered \n except when he came to see his little princess. There he sat down with \n two of his councillors who had accompanied him, to have some \n refreshment, and Irene bestowed herself on his right hand, and drank her \n milk out of a wooden bowl curiously carved. \n \n After the king had eaten and drunk, he turned to the princess and said, \n stroking her hair-- \n \n \"Now, my child, what shall we do next?\" \n","tell him how it was that she had come to his rescue. So Irene too had to \n tell a long story, which she did in rather a roundabout manner, \n interrupted by many questions concerning things she had not explained. \n But her tale, as he did not believe more than half of it, left \n everything as unaccountable to him as before, and he was nearly as much \n perplexed as to what he must think of the princess. He could not believe \n that she was deliberately telling stories, and the only conclusion he","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","\"Your royal Highness.\" \n \n \"My royal Highness! What's that? No, no, Lootie, I will not be called \n names. I don't like them. You said to me once yourself that it's only \n rude children that call names; and I'm sure Curdie wouldn't be \n rude.--Curdie, my name's Irene.\" \n \n \"Well, Irene,\" said Curdie, with a glance at the nurse which showed he","\"Irene,\" he said, \"I am very sorry I did not believe you.\" \n \n \"Oh, never mind, Curdie!\" answered the princess. \"You couldn't, you \n know. You do believe me now, don't you?\" \n \n \"I can't help it now. I ought to have helped it before.\" \n \n \"Why can't you help it now?\" \n \n \"Because, just as I was going into the mountain to look for you, I got \n hold of your thread, and it brought me here.\"","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","CHAPTER XX \n \n IRENE'S CLUE \n \n \n THAT same morning, early, the princess woke in a terrible fright. There \n was a hideous noise in her room--of creatures snarling and hissing and \n racketing about as if they were fighting. The moment she came to \n herself, she remembered something she had never thought of again--what \n her grandmother told her to do when she was frightened. She immediately \n took off her ring and put it under her pillow. As she did so, she"],["Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n","How pleasant the night-air felt upon the outside of the mountain after \n what he had gone through in the inside of it! He hurried up the hill, \n without meeting a single goblin on the way, and called and tapped at the \n window until he woke his father, who soon rose and let him in. He told \n him the whole story, and, just as he had expected, his father thought it \n best to work that lode no farther, but at the same time to pretend \n occasionally to be at work there still, in order that the goblins might","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","rest of the miners, and they at once proceeded to make another outlet \n for the waters. By setting all hands to the work, tunneling here and \n building there, they soon succeeded; and having also made a little \n tunnel to drain the water away from under the king's house, they were \n soon able to get into the wine cellar, where they found a multitude of \n dead goblins--among the rest the queen, with the skin-shoe gone, and the","kept feeling about the walls that hemmed him in. His hand came upon a \n place where a tiny stream of water was running down the face of the \n rock. \"What a stupid I am!\" he said to himself. \"I am actually at the \n end of my journey!--and there are the goblins coming back to fetch their \n things!\" he added, as the red glimmer of their torches appeared at the \n end of the long avenue that led up to the cave. In a moment he had","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin","eleven of the knights on their legs again. \n \n \"Stamp on their feet!\" he cried, as each man rose, and in a few minutes \n the hall was nearly empty, the goblins running from it as fast as they \n could, howling and shrieking and limping, and cowering every now and \n then as they ran to cuddle their wounded feet in their hard hands, or to \n protect them from the frightful stamp-stamp of the armed men. \n","last compelled to acknowledge himself in an evil plight. He sat down and \n tried to think, but soon fell fast asleep. \n \n \n \n \n CHAPTER XIX \n \n GOBLIN COUNSELS \n \n \n HE must have slept a long time, for when he awoke, he felt wonderfully \n restored--indeed he felt almost well, and he was also very hungry. There \n were voices in the outer cave. \n \n Once more then, it was night; for the goblins slept during the day, and","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","of the miners. Curdie and his father and mother took Lootie with them. \n And the whole way, a light, of which all but Lootie understood the \n origin, shone upon their path. But when they looked round they could see \n nothing of the silvery globe. \n \n For days and days the water continued to rush from the doors and windows \n of the king's house, and a few goblin bodies were swept out into the \n road. \n \n Curdie saw that something must be done. He spoke to his father and the","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","some of them bad, that he succeeded in killing him with his pocket \n knife. Having dragged him out, he made haste to get in again before \n another should stop up the way. \n \n I need not follow him farther in this night's adventures. He returned to \n his breakfast, satisfied that the goblins were mining in the direction \n of the palace--on so low a level that their intention must, he thought, \n be to burrow under the walls of the king's house, and rise up inside","the hole like a tiger, and tore and pulled. The sides gave way, and it \n was soon large enough for him to crawl through. He would not betray \n himself by rekindling his lamp, but the torches of the retreating \n company, departing in a straight line up a long avenue from the door of \n their cave, threw back light enough to afford him a glance round the \n deserted home of the goblins. To his surprise, he could discover nothing \n to distinguish it from an ordinary cave in the rock, upon many of which","and not wishing to kill any of them, he turned the end which was square \n and blunt like a hammer, and with that came down a great blow on the \n head of the goblin nearest him. Hard as the heads of all goblins are, he \n thought he must feel that. And so he did, no doubt; but he only gave a \n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \n time, and just at that critical moment, remembered the vulnerable part","with another company had gone off to search the house. They captured \n every one they met, and when they could find no more, they hurried away \n to carry them safe to the caverns below. But when the butler, who was \n amongst them, found that their path lay through the wine cellar, he \n bethought himself of persuading them to taste the wine, and, as he had \n hoped, they no sooner tasted than they wanted more. The routed goblins,","dropped work, they were satisfied that the mine was secure. \n \n They had heard goblin hammers and pickaxes busy all the time, and at \n length fancied they heard sounds of water they had never heard before. \n But that was otherwise accounted for when they left the mine; for they \n stepped out into a tremendous storm which was raging all over the \n mountain. The thunder was bellowing, and the lightning lancing out of a \n huge black cloud which lay above it, and hung down its edges of thick","stone one fast to her ankle--for the water had swept away the barricade \n which prevented the men-at-arms from following the goblins, and had \n greatly widened the passage. They built it securely up, and then went \n back to their labors in the mine. \n \n A good many of the goblins with their creatures escaped from the \n inundation out upon the mountain. But most of them soon left that part \n of the country, and most of those who remained grew milder in character,","the goblins. It was true they had no wild animals down there--at least \n they did not know of any; but they had a wonderful number of tame ones. \n I must, however, reserve any contributions toward the natural history of \n these for a later position in my story. \n \n At length, turning a corner too abruptly, he had almost rushed into the \n middle of the goblin family; for there they had already set down all \n their burdens on the floor of a cave considerably larger than that which","No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n","and he was soon down; but the captain had got his back to the wall and \n stood out longer. The goblins would have torn them all to pieces, but \n the king had given orders to carry them away alive, and over each of \n them, in twelve groups, was standing a knot of goblins, while as many as \n could find room were sitting upon their prostrate bodies. \n \n Curdie burst in dancing and gyrating and stamping and singing like a \n small incarnate whirlwind, \n"],["And now Curdie approached the group which, trusting in the queen and her \n shoe, kept their guard over the prostrate captain. The king sat on the \n captain's head, but the queen stood in front, like an infuriated cat, \n with her perpendicular eyes gleaming green, and her hair standing half \n up from her horrid head. Her heart was quaking, however, and she kept \n moving about her skin-shod foot with nervous apprehension. When Curdie","cave would have appalled Curdie, but for the good hope it gave him. They \n were tumbling over each other in heaps in their eagerness to rush from \n the cave, when a new assailant suddenly faced him:--the queen, with \n flaming eyes and expanded nostrils, her hair standing half up from her \n head, rushed at him. She trusted in her shoes; they were of \n granite--hollowed like French _sabots_. Curdie would have endured much","The queen went stumping along in one shoe of stone and one of skin. This \n could not have been pleasant, and my readers may wonder that, with such \n skillful workmen about her, she had not yet replaced the shoe carried \n off by Curdie. As the king however had more than one ground of objection \n to her stone shoes, he no doubt took advantage of the discovery of her \n toes, and threatened to expose her deformity if she had another made. I \n presume he insisted on her being content with skin-shoes, and allowed","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","rather than hurt a woman, even if she was a goblin; but here was an \n affair of life and death: forgetting her shoes, he made a great stamp on \n one of her feet. But she instantly returned it with very different \n effect, causing him frightful pain and almost disabling him. His only \n chance with her would have been to attack the granite shoes with his \n pickaxe, but before he could think of that, she had caught him up in her \n arms, and was rushing with him across the cave. She dashed him into a","\"Yes, my boy. The goblin's glory is his head. To think how the fellows \n up above there have to put on helmets and things when they go fighting. \n Ha! ha!\" \n \n \"But why don't we wear shoes like them, father? I should like \n it--specially when I've got a chest like that on my head.\" \n \n \"Well, you see, it's not the fashion. The king never wears shoes.\" \n \n \"The queen does.\" \n","rest of the miners, and they at once proceeded to make another outlet \n for the waters. By setting all hands to the work, tunneling here and \n building there, they soon succeeded; and having also made a little \n tunnel to drain the water away from under the king's house, they were \n soon able to get into the wine cellar, where they found a multitude of \n dead goblins--among the rest the queen, with the skin-shoe gone, and the","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","They could not vanish so fast, however, but that many more goblin feet \n had to go limping back over the underground ways of the mountain that \n morning. \n \n Presently however they were reinforced from above by the king and his \n party, with the redoubtable queen at their head. Finding Curdie again \n busy amongst her unfortunate subjects, she rushed at him once more with \n the rage of despair, and this time gave him a bad bruise on the foot."," \"Where 'tis all a hole, sir, \n Never can be holes: \n Why should their shoes have soles, sir, \n When they've got no souls? \n \n \"But she upon her foot, sir, \n Has a granite shoe: \n The strongest leather boot, sir, \n Six would soon be through.\" \n \n The queen gave a howl of rage and dismay; and before she recovered her \n presence of mind, Curdie, having begun with the group nearest him, had","back, held the torch low in front of her. Curdie drew his pickaxe \n carefully away, and as he did so, spied one of her feet, projecting from \n under the skins. The great clumsy granite shoe, exposed thus to his \n hand, was a temptation not to be resisted. He laid hold of it, and with \n cautious efforts, drew it off. The moment he succeeded, he saw to his \n astonishment that what he had sung in ignorance, to annoy the queen, was","actually true: she had six horrible toes. Overjoyed at his success, and \n seeing by the huge bump in the sheep skins where the other foot was, he \n proceeded to lift them gently, for, if he could only succeed in carrying \n away the other shoe as well, he would be no more afraid of the goblins \n than of so many flies. But as he pulled at the second shoe, the queen \n gave a growl and sat up in bed. The same instant the king awoke also, \n and sat up beside her. \n","\"Yes; but that's for distinction. The first queen, you see--I mean the \n king's first wife--wore shoes of course, because she came from upstairs; \n and so, when she died, the next queen would not be inferior to her as \n she called it, and would wear shoes too. It was all pride. She is the \n hardest in forbidding them to the rest of the women.\" \n \n \"I'm sure I wouldn't wear them--no, not for--that I wouldn't!\" said the","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","working toward the king's house; and what I want to do to-night is to \n make sure whether they are or not. I will take a light with me--\" \n \n \"Oh, Curdie,\" cried his mother, \"then they will see you.\" \n \n \"I'm no more afraid of them now than I was before,\" rejoined \n Curdie,--\"now that I've got this precious shoe. They can't make another \n such in a hurry, and one bare foot will do for my purpose. Woman as she","great roar from the king. \n \n \"Will you be quiet then?\" said the queen wickedly. \n \n \"Yes, yes, queen. I only meant to coax you.\" \n \n \"Hands off!\" cried the queen triumphantly. \"I'm going to bed. You may \n come when you like. But as long as I am queen, I will sleep in my shoes. \n It is my royal privilege. Harelip, go to bed.\" \n \n \"I'm going,\" said Harelip sleepily. \n","Then a regular stamping fight got up between them, Curdie with the point \n of his hunting knife keeping her from clasping her mighty arms about \n him, as he watched his opportunity of getting once more a good stamp at \n her skin-shod foot. But the queen was more wary as well as more agile \n than hitherto. \n \n The rest meantime, finding their adversary thus matched for the moment, \n paused in their headlong hurry, and turned to the shivering group of"," \"Go to bed, \n Goblin, do. \n Help the queen \n Take off her shoe. \n \n \"If you do, \n It will disclose \n A horrid set \n Of sprouting toes.\" \n \n \"What a lie!\" roared the queen in a rage. \n \n \"By the way, that reminds me,\" said the king, \"that, for as long as we \n have been married, I have never seen your feet, queen. I think you might","\"You forget yourself, my dear!\" said the king. \n \n \"I don't,\" said the queen, \"nor you either. If you expect _me_ to \n approve of such coarse tastes, you will find yourself mistaken. _I_ \n don't wear shoes for nothing.\" \n \n \"You must acknowledge, however,\" the king said, with a little groan, \n \"that this at least is no whim of Harelip's, but a matter of \n state-policy. You are well aware that his gratification comes purely"],["\"The princess!\" repeated the little miner, taking off his curious cap. \n \"I beg your pardon; but you oughtn't to be out so late. Everybody knows \n that's against the law.\" \n \n \"Yes, indeed it is!\" said the nurse, beginning to cry again. \"And I \n shall have to suffer for it.\" \n \n \"What does that matter?\" said the boy. \"It must be your fault. It is the \n princess who will suffer for it. I hope they didn't hear you call her","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","Curdie; but the princess pulled her hand from hers, and was just \n throwing her arms around Curdie's neck, when she caught her again and \n dragged her away. \n \n \"Lootie, Lootie, I promised Curdie a kiss,\" cried Irene. \n \n \"A princess mustn't give kisses. It's not at all proper,\" said \n Lootie. \n \n \"But I promised,\" said the princess. \n \n \"There's no occasion; he's only a miner-boy.\" \n","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","princess, \"but we cannot help it. We must wait till the morning.\" \n \n With Curdie's help, the fire was lighted at last, and the mother set \n about making their supper; and after supper they all told the princess \n stories till she grew sleepy. Then Curdie's mother laid her in Curdie's \n bed, which was in a tiny little garret-room. As soon as she was in bed, \n through a little window low down in the roof she caught sight of her","There were many flowers up and down, and she loved them all, but the \n primroses were her favorites. \n \n \"They're not too shy, and they're not a bit forward,\" she would say to \n Lootie. \n \n There were goats too about, over the mountain, and when the little kids \n came, she was as pleased with them as with the flowers. The goats \n belonged to the miners mostly--a few of them to Curdie's mother; but","that he had behaved so unkindly to the princess. This perhaps made him \n the more diligent in his endeavors to serve her. His mother and he often \n talked on the subject, and she comforted him, and told him she was sure \n he would some day have the opportunity he so much desired. \n \n Here I should like to remark, for the sake of princes and princesses in \n general, that it is a low and contemptible thing to refuse to confess a","\"Indeed I do. But my father and mother will be so anxious about me, I \n must make haste--first up the mountain to tell my mother, and then down \n into the mine again to acquaint my father.\" \n \n \"Very well, Curdie; but you can't get out without coming this way, and I \n will take you through the house, for that is nearest.\" \n \n They met no one by the way, for indeed, as before, the people were here \n and there and everywhere searching for the princess. When they got in,","strangely bewildered. This she thought came of his astonishment at the \n beauty of the lady. \n \n \"Make a bow to my grandmother, Curdie,\" she said. \n \n \"I don't see any grandmother,\" answered Curdie, rather gruffly. \n \n \"Don't see my grandmother when I'm sitting in her lap!\" exclaimed the \n princess. \n \n \"No I don't,\" said Curdie, almost sulkily. \n","I was more frightened still when it brought me out on the mountain, for \n I thought it was going to take me into it again, and I like the outside \n of it best. I supposed you were in trouble again, and I had to get you \n out, but it brought me here instead; and, oh, Curdie! your mother has \n been so kind to me--just like my own grandmother!\" \n \n Here Curdie's mother gave the princess a hug, and the princess turned \n and gave her a sweet smile, and held up her mouth to kiss her.","With a heart full of delight, Curdie sat down at a corner of the hearth, \n on a stool opposite his mother's chair, and gazed at the princess, who \n slept as peacefully as if she had been in her own bed. All at once she \n opened her eyes and fixed them on him. \n \n \"Oh, Curdie! you're come!\" she said quietly. \"I thought you would!\" \n \n Curdie rose and stood before her with downcast eyes. \n","\"I should like to see him!\" repeated the nurse, and said no more. She \n did not want to open a new cause of strife with the princess by saying \n more plainly what she meant. Glad enough that she had succeeded both in \n getting home unseen, and in keeping the princess from kissing the \n miner's boy, she resolved to watch her far better in future. Her \n carelessness had already doubled the danger she was in. Formerly the \n goblins were her only fear; now she had to protect her charge from","\"Your royal Highness.\" \n \n \"My royal Highness! What's that? No, no, Lootie, I will not be called \n names. I don't like them. You said to me once yourself that it's only \n rude children that call names; and I'm sure Curdie wouldn't be \n rude.--Curdie, my name's Irene.\" \n \n \"Well, Irene,\" said Curdie, with a glance at the nurse which showed he","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","and indeed became very much like the Scotch Brownies. Their skulls \n became softer as well as their hearts, and their feet grew harder, and \n by degrees they became friendly with the inhabitants of the mountain and \n even with the miners. But the latter were merciless to any of the _cobs' \n creatures_ that came their way, until at length they all but \n disappeared. Still-- \n \n \"_But, Mr. Author, we would rather hear more about the Princess and","\"you see my grandmother knows all about it, and isn't frightened. I \n believe she could walk through that water and it wouldn't wet her a \n bit.\" \n \n \"But, my child,\" said the king, \"you will be cold if you haven't \n something more on. Run, Curdie, my boy, and fetch anything you can lay \n your hands on, to keep the princess warm. We have a long ride before \n us.\" \n \n Curdie was gone in a moment, and soon returned with a great rich fur,","time, although she often thought of her grandmother during the day, and \n often dreamed about her at night, she did not see her. The kids and the \n flowers were as much her delight as ever, and she made as much \n friendship with the miners' children she met on the mountain as Lootie \n would permit; but Lootie had very foolish notions concerning the dignity \n of a princess, not understanding that the truest princess is just the \n one who loves all her brothers and sisters best, and who is most able to","Then Curdie had to explain everything--how he had watched for her sake, \n how he had been wounded and shut up by the soldiers, how he heard the \n noises and could not rise, and how the beautiful old lady had come to \n him, and all that followed. \n \n \"Poor Curdie! to lie there hurt and ill, and me never to know it!\" \n exclaimed the princess, stroking his rough hand. \"I would not have \n hesitated to come and nurse you, if they had told me.\" \n"],["\"I see no good in trying to excuse him. He has no business here anyhow.\" \n \n \"Let me go away then, if you please,\" said Curdie. \n \n \"But we don't please--not except you give a good account of yourself.\" \n \n \"I don't feel quite sure whether I can trust you,\" said Curdie. \n \n \"We are the king's own men-at-arms,\" said the captain, courteously, for \n he was taken with Curdie's appearance and courage. \n","\"I too think you are right, Curdie,\" he said, \"and I will not ask you \n again. But I shall have a chance of doing something for you some time.\" \n \n \"Your Majesty has already allowed me to serve you,\" said Curdie. \n \n \"But, Curdie,\" said his mother, \"why shouldn't you go with the king? We \n can get on very well without you.\" \n \n \"But I can't get on very well without you,\" said Curdie. \"The king is","with me. He shall enter my bodyguard at once, and wait further \n promotion.\" \n \n Peter and his wife, overcome, only murmured almost inaudible thanks. But \n Curdie spoke aloud. \n \n \"Please your Majesty,\" he said, \"I cannot leave my father and mother.\" \n \n \"That's right, Curdie!\" cried the princess. \"_I_ wouldn't if I was you.\" \n \n The king looked at the princess and then at Curdie with a glow of \n satisfaction on his countenance. \n","\"With pleasure, if your majesty will give me a guide,\" said Curdie. \n \n \"I will give you a thousand,\" said the king, with a scoffing air of \n magnificent liberality. \n \n \"One will be quite sufficient,\" said Curdie. \n \n But the king uttered a strange shout, half halloo, half roar, and in \n rushed goblins till the cave was swarming. He said something to the \n first of them which Curdie could not hear, and it was passed from one to","\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","\"So am I,\" said the king. \n \n \"Come along then,\" said the queen; \"and mind you are good, or I'll--\" \n \n \"Oh, no, no, no!\" screamed the king, in the most supplicating of tones. \n \n Curdie heard only a muttered reply in the distance; and then the cave \n was quite still. \n \n They had left the fire burning, and the light came through brighter than \n before. Curdie thought it was time to try again if anything could be","When the king had got out of the way of the water, a little up the \n mountain, he stood with the princess in his arms, looking back with \n amazement on the issuing torrent, which glimmered fierce and foamy \n through the night. There Curdie rejoined them. \n \n \"Now, Curdie,\" said the king, \"what does it mean! Is this what you \n expected?\" \n \n \"It is, your Majesty,\" said Curdie; and proceeded to tell him about the","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","working toward the king's house; and what I want to do to-night is to \n make sure whether they are or not. I will take a light with me--\" \n \n \"Oh, Curdie,\" cried his mother, \"then they will see you.\" \n \n \"I'm no more afraid of them now than I was before,\" rejoined \n Curdie,--\"now that I've got this precious shoe. They can't make another \n such in a hurry, and one bare foot will do for my purpose. Woman as she","king. Whatever he did to them, they would threaten to do the same to the \n princess.\" \n \n \"And they are bad enough to torment her just for their own amusement--I \n know that,\" said his mother. \n \n \"Anyhow, I will keep a watch on them, and see what they are up to,\" said \n Curdie. \"It's too horrible to think of. I daren't let myself do it. But","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","vanished in the darkness far aloft. The sides of the cave were full of \n shining minerals like those of the palace-hall; and the company was \n evidently of a superior order, for every one wore stones about head, or \n arms, or waist, shining, dull, gorgeous colors in the light of the fire. \n Nor had Curdie looked long before he recognized the king himself, and \n found that he had made his way into the inner apartment of the royal \n family. He had never had such a good chance of hearing something! He","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","very kind, but I could not be half the use to him that I am to you. \n Please your Majesty, if you wouldn't mind giving my mother a red \n petticoat! I should have got her one long ago, but for the goblins.\" \n \n \"As soon as we get home,\" said the king, \"Irene and I will search out \n the warmest one to be found, and send it by one of the gentlemen.\" \n \n \"Yes, that we will, Curdie!\" said the princess. \n","\"And next summer we'll come back and see you wear it, Curdie's mother,\" \n she added. \"Sha'n't we, king-papa?\" \n \n \"Yes, my love; I hope so,\" said the king. \n \n Then turning to the miners, he said---- \n \n \"Will you do the best you can for my servants to-night? I hope they will \n be able to return to the house to-morrow.\" \n \n The miners with one voice promised their hospitality. \n","the upper part of the cavern wall. Upon this sat the king and his court, \n the king on a throne hollowed out of a huge block of green copper ore, \n and his court upon lower seats around it. The king had been making them \n a speech, and the applause which followed it was what Curdie had heard. \n One of the court was now addressing the multitude. What he heard him say \n was to the following effect: \n \n \"Hence it appears that two plans have been for some time together","Then the king commanded his servants to mind whatever Curdie should say \n to them, and after shaking hands with him and his father and mother, the \n king and the princess and all their company rode away down the side of \n the new stream which had already devoured half the road, into the starry \n night. \n \n \n \n \n CHAPTER XXXII \n \n THE LAST CHAPTER \n \n \n ALL the rest went up the mountain, and separated in groups to the homes","went to his work, and Curdie and his mother set out to take the princess \n home. They had difficulty in getting her dry across the streams, and \n Curdie had again and again to carry her, but at last they got safe on \n the broader part of the road, and walked gently down toward the king's \n house. And what should they see as they turned the last corner, but the \n last of the king's troop riding through the gate! \n \n \"Oh, Curdie!\" cried Irene, clapping her hands right joyfully, \"my","and the news that dead goblins were tossing about in the current through \n the house. They had been caught in their own snare; instead of the mine \n they had flooded their own country, whence they were now swept up \n drowned. Irene shuddered, but the king held her close to his bosom. Then \n he turned to Sir Walter, and said-- \n \n \"Bring Curdie's father and mother here.\" \n \n \"I wish,\" said the king, when they stood before him, \"to take your son","projection gave way, down he came with a rush on the floor of the \n cavern, bringing with him a great rumbling shower of stones. \n \n The goblins jumped from their seats in more anger than consternation, \n for they had never yet seen anything to be afraid of in the palace. But \n when they saw Curdie with his pick in his hand, their rage was mingled \n with fear, for they took him for the first of an invasion of miners. The \n king notwithstanding drew himself up to his full height of four feet,"],["you know, with the long hair of silver.\" \n \n The king only gazed at his little princess with a look which she could \n not understand. \n \n \"She's got her crown in her bedroom,\" she went on; \"but I've not been in \n there yet. You know she's here, don't you?\" \n \n \"No,\" said the king very quietly. \n \n \"Then it must be all a dream,\" said Irene. \"I half thought it was; but","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","on. When the old lady had succeeded in getting her thread fairly in \n operation again, she said to the princess, but without looking at her: \n \n \"Do you know my name, child?\" \n \n \"No, I don't know it,\" answered the princess. \n \n \"My name is Irene.\" \n \n \"That's _my_ name!\" cried the princess. \n \n \"I know that. I let you have mine. I haven't got your name. You've got \n mine.\" \n","This was the question he almost always put to her first after their meal \n together; and Irene had been waiting for it with some impatience, for \n now, she thought, she should be able to settle a question which \n constantly perplexed her. \n \n \"I should like you to take me to see my great old grandmother.\" \n \n The king looked grave, and said-- \n \n \"What does my little daughter mean?\" \n \n \"I mean the Queen Irene that lives up in the tower--the very old lady,","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Not for some time yet,\" answered the king, and the tears came in his \n eyes. \n \n Irene did not remember her mother, and did not know why her father \n looked so, and why the tears came in his eyes; but she put her arms \n round his neck and kissed him, and asked no more questions. \n \n The king was much disturbed on hearing the report of the \n gentlemen-at-arms concerning the creatures they had seen; and I presume \n would have taken Irene with him that very day, but for what the presence","\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \n home. Mayn't I call this my home?\" \n \n \"You may, my child. And I trust you will always think it your home. Now \n come. I must take you back without any one seeing you.\" \n \n \"Please, I want to ask you one question more,\" said Irene. \"Is it \n because you have your crown on that you look so young?\" \n","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","\"I've got it now, you see,\" she said, coming back to the princess, \"all \n ready for you when you want it.\" \n \n Going to her cabinet, she laid it in the same drawer as before. \n \n \"And here is your ring,\" she added, taking it from the little finger of \n her left hand, and putting it on the forefinger of Irene's right hand. \n \n \"Oh, thank you, grandmother. I feel so safe now!\" \n","and best men to put into office, and wherever he found himself mistaken, \n and those he had appointed incapable or unjust, he removed them at once. \n Hence you see it was his care of the people that kept him from seeing \n his princess so often as he would have liked. You may wonder why he did \n not take her about with him; but there were several reasons against his \n doing so, and I suspect her great-great-grandmother had had a principal \n hand in preventing it. Once more Irene heard the bugle-blast, and once","tell him how it was that she had come to his rescue. So Irene too had to \n tell a long story, which she did in rather a roundabout manner, \n interrupted by many questions concerning things she had not explained. \n But her tale, as he did not believe more than half of it, left \n everything as unaccountable to him as before, and he was nearly as much \n perplexed as to what he must think of the princess. He could not believe \n that she was deliberately telling stories, and the only conclusion he","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","The princess was a sweet little creature, and at the time my story \n begins was about eight years old. I think, but she got older very fast. \n Her face was fair and pretty, with eyes like two bits of night-sky, each \n with a star dissolved in the blue. Those eyes you would have thought \n must have known they came from there, so often were they turned up in \n that direction. The ceiling of her nursery was blue, with stars in it, \n as like the sky as they could make it. But I doubt if ever she saw the","it--in order, he fully believed, to lay hands on the little princess, \n and carry her off for a wife to their horrid Harelip. \n \n \n \n \n CHAPTER XXIV \n \n IRENE BEHAVES LIKE A PRINCESS \n \n \n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \n bending above her, the housekeeper looking over the nurse's shoulder, \n and the laundry-maid looking over the housekeeper's. The room was full","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","walked with her into the great hall, which was hardly ever entered \n except when he came to see his little princess. There he sat down with \n two of his councillors who had accompanied him, to have some \n refreshment, and Irene bestowed herself on his right hand, and drank her \n milk out of a wooden bowl curiously carved. \n \n After the king had eaten and drunk, he turned to the princess and said, \n stroking her hair-- \n \n \"Now, my child, what shall we do next?\" \n","after the other in the silvery path up the stair, looking behind as she \n went, to see the shadow they made in the middle of the silver. Some \n little girls would have been afraid to find themselves thus alone in the \n middle of the night, but Irene was a princess. \n \n As she went slowly up the stairs, not quite sure that she was not \n dreaming, suddenly a great longing woke up in her heart to try once more \n whether she could not find the old, old lady with the silvery hair. \n","lady enough to understand this, and so she was in a great difficulty, \n for, if she insisted, some one might hear the princess cry and run to \n see, and then all would come out. But here Curdie came again to the \n rescue. \n \n \"Never mind, Princess Irene,\" he said. \"You mustn't kiss me to-night. \n But you sha'n't break your word. I will come another time. You may be \n sure I will.\" \n","That the princess was a real princess, you might see now quite plainly; \n for she didn't hang on to the handle of the door, and stare without \n moving, as I have known some do who ought to have been princesses, but \n were only rather vulgar little girls. She did as she was told, stepped \n inside the door at once, and shut it gently behind her. \n \n \"Come to me, my dear,\" said the old lady. \n \n And again the princess did as she was told. She approached the old","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n"],["The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","\"Irene.\" \n \n \"What more?\" \n \n \"I don't know what more.--What more is my name, Lootie?\" \n \n \"Princesses haven't got more than one name. They don't want it.\" \n \n \"Oh then, Curdie, you must call me just Irene, and no more.\" \n \n \"No, indeed,\" said the nurse indignantly. \"He shall do no such thing.\" \n \n \"What shall he call me, then, Lootie?\" \n","\"Your royal Highness.\" \n \n \"My royal Highness! What's that? No, no, Lootie, I will not be called \n names. I don't like them. You said to me once yourself that it's only \n rude children that call names; and I'm sure Curdie wouldn't be \n rude.--Curdie, my name's Irene.\" \n \n \"Well, Irene,\" said Curdie, with a glance at the nurse which showed he","whose tops a stream was pouring in a watery arch, now to pick a shining \n stone from a rock by the wayside, now to watch the flight of some bird. \n Suddenly the shadow of a great mountain peak came up from behind, and \n shot in front of them. When the nurse saw it, she started and shook, and \n tremulously grasping the hand of the princess turned and began to run \n down the hill. \n \n \"What's all the haste, nursie?\" asked Irene, running alongside of her. \n","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","nice-looking as you are, some king or other would have married you, and \n then what would have become of me?\" \n \n \"You are an angel!\" repeated the nurse, again embracing her. \n \n \"Now,\" insisted Irene, \"you _will_ come and see my grandmother--won't \n you?\" \n \n \"I will go with you anywhere you like, my cherub,\" she answered; and in \n two minutes the weary little princess was fast asleep. \n \n \n \n \n CHAPTER V \n","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","it--in order, he fully believed, to lay hands on the little princess, \n and carry her off for a wife to their horrid Harelip. \n \n \n \n \n CHAPTER XXIV \n \n IRENE BEHAVES LIKE A PRINCESS \n \n \n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \n bending above her, the housekeeper looking over the nurse's shoulder, \n and the laundry-maid looking over the housekeeper's. The room was full","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","\"Ah! then you can't help it,\" said Irene, \"and I will not be vexed with \n you any more. I will give you a kiss and go to sleep.\" \n \n \"You little angel!\" cried the nurse, and caught her out of bed, and \n walked about the room with her in her arms, kissing and hugging her. \n \n \"You _will_ let me take you to see my dear old great big grandmother, \n won't you?\" said the princess, as she laid her down again. \n","\"We must not be out a moment longer.\" \n \n \"But we can't help being out a good many moments longer.\" \n \n It was too true. The nurse almost cried. They were much too far from \n home. It was against express orders to be out with the princess one \n moment after the sun was down; and they were nearly a mile up the \n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \n would certainly be dismissed; and to leave the princess would break her","CHAPTER IV \n \n WHAT THE NURSE THOUGHT OF IT \n \n \n \"WHY, where can you have been, princess?\" asked the nurse, taking her in \n her arms. \"It's very unkind of you to hide away so long. I began to be \n afraid--\" \n \n Here she checked herself. \n \n \"What were you afraid of, nursie?\" asked the princess. \n \n \"Never mind,\" she answered. \"Perhaps I will tell you another day. Now","\"There was no necessity. You could make it all up for yourself.\" \n \n \"You don't believe me then!\" exclaimed the princess, astonished and \n angry, as well she might be. \n \n \"Did you expect me to believe you, princess?\" asked the nurse coldly. \"I \n know princesses are in the habit of telling make-believes, but you are \n the first I ever heard of who expected to have them believed,\" she \n added, seeing that the child was strangely in earnest. \n","different thing down there. They won't always mind that song even, down \n there. And if anyone sings it, they stand grinning at him awfully; and \n if he gets frightened, and misses a word, or says a wrong one, they--oh! \n don't they give it him!\" \n \n \"What do they do to him?\" asked Irene, with a trembling voice. \n \n \"Don't go frightening the princess,\" said the nurse. \n","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","\"I should like to see him!\" repeated the nurse, and said no more. She \n did not want to open a new cause of strife with the princess by saying \n more plainly what she meant. Glad enough that she had succeeded both in \n getting home unseen, and in keeping the princess from kissing the \n miner's boy, she resolved to watch her far better in future. Her \n carelessness had already doubled the danger she was in. Formerly the \n goblins were her only fear; now she had to protect her charge from","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","on. When the old lady had succeeded in getting her thread fairly in \n operation again, she said to the princess, but without looking at her: \n \n \"Do you know my name, child?\" \n \n \"No, I don't know it,\" answered the princess. \n \n \"My name is Irene.\" \n \n \"That's _my_ name!\" cried the princess. \n \n \"I know that. I let you have mine. I haven't got your name. You've got \n mine.\" \n"],["which had been dug to get at the ore of which the mountains were full. \n In the course of digging, the miners came upon many of these natural \n caverns. A few of them had far-off openings out on the side of a \n mountain, or into a ravine. \n \n Now in these subterranean caverns lived a strange race of beings, called \n by some gnomes, by some kobolds, by some goblins. There was a legend \n current in the country that at one time they lived above ground, and","after his father, had stayed in the mine all night again and again, and \n although they had several times encountered a few stray goblins, had \n never yet failed in driving them away. As I have indicated already, the \n chief defence against them was verse, for they hated verse of every \n kind, and some kinds they could not endure at all. I suspect they could \n not make any themselves, and that was why they disliked it so much. At \n all events, those who were most afraid of them were those who could","real sky with the stars in it, for a reason which I had better mention \n at once. \n \n These mountains were full of hollow places underneath; huge caverns, and \n winding ways, some with water running through them, and some shining \n with all colors of the rainbow when a light was taken in. There would \n not have been much known about them, had there not been mines there, \n great deep pits, with long galleries and passages running off from them,","he had come with the rest of the miners in the progress of their \n excavations. The goblins had talked of coming back for the rest of their \n household gear: he saw nothing that would have made him suspect a family \n had taken shelter there for a single night. The floor was rough and \n stony; the walls full of projecting corners; the roof in one place \n twenty feet high, in another endangering his forehead; while on one side \n a stream, no thicker than a needle, it is true, but still sufficient to","They entered the hill by a natural opening under a huge rock, where a \n little stream rushed out. They followed its course for a few yards, \n when the passage took a turn, and sloped steeply into the heart of the \n hill. With many angles and windings and branchings off, and sometimes \n with steps where it came upon a natural gulf, it led them deep into the \n hill before they arrived at the place where they were at present digging \n out the precious ore. This was of various kinds, for the mountain was","Keeping in the shade, the watchers had a few moments to recover \n themselves before the hideous assembly suspected their presence; but all \n at once, as if by common consent, they scampered off in the direction \n of a great rock, and vanished before the men had come to sufficiently to \n think of following them. \n \n My readers will suspect what these were; but I will now give them full \n information concerning them. They were of course household animals \n belonging to the goblins, whose ancestors had taken their ancestors many","have to dig away alone in a passage no bigger than gave him just room to \n work--sometimes in uncomfortable cramped positions. If they stopped for \n a moment they could hear everywhere around them, some nearer, some \n farther off, the sounds of their companions burrowing away in all \n directions in the inside of the great mountain--some boring holes in the \n rock in order to blow it up with gunpowder, others shoveling the broken \n ore into baskets to be carried to the mouth of the mine, others hitting","their roofs; and their floors were rough with boulders and large round \n stones, showing that there water must have once run. He waited again at \n this corner till they had disappeared round the next, and so followed \n them a long way through one passage after another. The passages grew \n more and more lofty, and were more and more covered in the roof with \n shining stalactites. \n \n It was a strange enough procession which he followed. But the strangest \n part of it was the household animals which crowded amongst the feet of","the goblins. It was true they had no wild animals down there--at least \n they did not know of any; but they had a wonderful number of tame ones. \n I must, however, reserve any contributions toward the natural history of \n these for a later position in my story. \n \n At length, turning a corner too abruptly, he had almost rushed into the \n middle of the goblin family; for there they had already set down all \n their burdens on the floor of a cave considerably larger than that which","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","inspecting them closely enough in the dusk in which they always \n appeared, to satisfy himself whether it was a correct report. Indeed, he \n had not been able even to satisfy himself as to whether they had no \n fingers, although that also was commonly said to be the fact. One of the \n miners, indeed, who had had more schooling than the rest, was wont to \n argue that such must have been the primordial condition of humanity, and \n that education and handicraft had developed both toes and fingers--with","But still he had made no discovery as to what the goblin miners were \n about. \n \n \n \n \n CHAPTER XIII \n \n THE COBS' CREATURES \n \n \n ABOUT this time, the gentlemen whom the king had left behind him to \n watch over the princess, had each occasion to doubt the testimony of his \n own eyes, for more than strange were the objects to which they would \n bear witness. They were of one sort--creatures--but so grotesque and","dropped work, they were satisfied that the mine was secure. \n \n They had heard goblin hammers and pickaxes busy all the time, and at \n length fancied they heard sounds of water they had never heard before. \n But that was otherwise accounted for when they left the mine; for they \n stepped out into a tremendous storm which was raging all over the \n mountain. The thunder was bellowing, and the lightning lancing out of a \n huge black cloud which lay above it, and hung down its edges of thick","\"There!\" said the boy, as he stood still opposite them. \"There! that'll \n do for them. They can't bear singing, and they can't stand that song. \n They can't sing themselves, for they have no more voice than a crow; and \n they don't like other people to sing.\" \n \n The boy was dressed in a miner's dress, with a curious cap on his head. \n He was a very nice-looking boy, with eyes as dark as the mines in which","reservoirs of the mountain, as well as running through portions of it. \n While the part hollowed by the miners remained shut off from that \n inhabited by the goblins, they had had no opportunity of injuring them \n thus; but now that a passage was broken through, and the goblins' part \n proved the higher in the mountain, it was clear to Curdie that the mine \n could be destroyed in an hour. Water was always the chief danger to \n which the miners were exposed. They met with a little choke-damp","The goblins, as Curdie had discovered, were mining on--at work both day \n and night, in divisions, urging the scheme after which he lay in wait. \n In the course of their tunneling, they had broken into the channel of a \n small stream, but the break being in the top of it, no water had escaped \n to interfere with their work. Some of the creatures, hovering as they \n often did about their masters, had found the hole, and had, with the \n curiosity which had grown to a passion from the restraints of their","all taken refuge in the subterranean caverns, whence they never came out \n but at night, and then seldom showed themselves in any numbers, and \n never to many people at once. It was only in the least frequented and \n most difficult parts of the mountains that they were said to gather even \n at night in the open air. Those who had caught sight of any of them said \n that they had greatly altered in the course of generations; and no \n wonder, seeing they lived away from the sun, in cold and wet and dark","the rest, and work all night. But you could not tell night from day down \n there, except from feeling tired and sleepy; for no light of the sun \n ever came into those gloomy regions. Some who had thus remained behind \n during the night, although certain there were none of their companions \n at work, would declare the next morning that they heard, every time they \n halted for a moment to take breath, a tap-tapping all about them, as if \n the mountain were then more full of miners than ever it was during the","determined than ever to go on with my observations. Just as we came to \n the channel by which we got out, I heard the miners at work somewhere \n near--I think down below us. Now since I began to watch them, they have \n mined a good half mile, in a straight line; and so far as I am aware, \n they are working in no other part of the mountain. But I never could \n tell in what direction they were going. When we came out in the king's \n garden, however, I thought at once whether it was possible they were","\"But you still think the lode does come through into our house?\" said \n the first voice. \n \n \"Yes, but a good bit farther on than he has got to yet. If he had struck \n a stroke more to the side just here,\" said the goblin, tapping the very \n stone, as it seemed to Curdie, against which his head lay, \"he would \n have been through; but he's a couple of yards past it now, and if he \n follow the lode it will be a week before it leads him in. You see it"],["\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n","No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n","princess, but they were so anxious to find her that no one thought of \n detaining them until it was too late. \n \n Having thus rescued the servants, they set about searching the house \n once more. None of them could give the least information concerning the \n princess. Lootie was almost silly with terror, and although scarcely \n able to walk, would not leave Curdie's side for a single moment. Again \n he allowed the others to search the rest of the house--where, except a","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","They all parted asunder as the king made a sign to her to come forward. \n She obeyed, and he gave her his hand, but could not speak. \n \n \"And now, king-papa,\" the princess went on, \"I must tell you another \n thing. One night long ago Curdie drove the goblins away and brought \n Lootie and me safe from the mountain. And I promised him a kiss when we \n got home, but Lootie wouldn't let me give it to him. I would not have","THE king's harper, who always formed a part of his escort, was chanting \n a ballad which he made as he went on playing on his instrument--about \n the princess and the goblins, and the prowess of Curdie, when all at \n once he ceased, with his eyes on one of the doors of the hall. Thereupon \n the eyes of the king and his guests turned thitherward also. The next \n moment, through the open doorway came the princess Irene. She went","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","proper foot, and sprang to Lootie's rescue. The prince had two \n defenceless feet, and on both of them Curdie stamped just as he reached \n the hole. He dropped his burden and rolled shrieking into the earth. \n Curdie made one stab at him as he disappeared, caught hold of the \n senseless Lootie, and having dragged her back to the corner, there \n mounted guard over her, preparing once more to encounter the queen. Her \n face streaming with blood, and her eyes flashing green lightning through","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","of the miners. Curdie and his father and mother took Lootie with them. \n And the whole way, a light, of which all but Lootie understood the \n origin, shone upon their path. But when they looked round they could see \n nothing of the silvery globe. \n \n For days and days the water continued to rush from the doors and windows \n of the king's house, and a few goblin bodies were swept out into the \n road. \n \n Curdie saw that something must be done. He spoke to his father and the","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","for the very thought of that sweet little face down amongst the goblins \n was unendurable. \n \n When Curdie ran in at the gate with the princess in his arms, they were \n all so absorbed in their own misery and awed by the king's presence and \n grief, that no one observed his arrival. He went straight up to the \n king, where he sat on his horse. \n \n \"Papa! papa!\" the princess cried, stretching out her arms to him; \"here \n I am!\" \n","went to his work, and Curdie and his mother set out to take the princess \n home. They had difficulty in getting her dry across the streams, and \n Curdie had again and again to carry her, but at last they got safe on \n the broader part of the road, and walked gently down toward the king's \n house. And what should they see as they turned the last corner, but the \n last of the king's troop riding through the gate! \n \n \"Oh, Curdie!\" cried Irene, clapping her hands right joyfully, \"my","\"My precious darling princess! where have you been? What has happened to \n you? We've all been crying our eyes out, and searching the house from \n top to bottom for you.\" \n \n \"Not quite from the top,\" thought Irene to herself; and she might have \n added--\"not quite to the bottom,\" perhaps, if she had known all. But the \n one she would not, and the other she could not say. \n \n \"Oh, Lootie! I've had such a dreadful adventure!\" she replied, and told","Curdie; but the princess pulled her hand from hers, and was just \n throwing her arms around Curdie's neck, when she caught her again and \n dragged her away. \n \n \"Lootie, Lootie, I promised Curdie a kiss,\" cried Irene. \n \n \"A princess mustn't give kisses. It's not at all proper,\" said \n Lootie. \n \n \"But I promised,\" said the princess. \n \n \"There's no occasion; he's only a miner-boy.\" \n","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","Curdie. We don't care about the goblins and their nasty creatures. They \n frighten us--rather._\" \n \n \"_But you know if you once get rid of the goblins there is no fear of \n the princess or of Curdie._\" \n \n \"_But we want to know more about them._\" \n \n \"_Some day, perhaps, I may tell you the further history of both of them; \n how Curdie came to visit Irene's grandmother, and what she did for him;"],["\"I've got it now, you see,\" she said, coming back to the princess, \"all \n ready for you when you want it.\" \n \n Going to her cabinet, she laid it in the same drawer as before. \n \n \"And here is your ring,\" she added, taking it from the little finger of \n her left hand, and putting it on the forefinger of Irene's right hand. \n \n \"Oh, thank you, grandmother. I feel so safe now!\" \n","you know, with the long hair of silver.\" \n \n The king only gazed at his little princess with a look which she could \n not understand. \n \n \"She's got her crown in her bedroom,\" she went on; \"but I've not been in \n there yet. You know she's here, don't you?\" \n \n \"No,\" said the king very quietly. \n \n \"Then it must be all a dream,\" said Irene. \"I half thought it was; but","CHAPTER XX \n \n IRENE'S CLUE \n \n \n THAT same morning, early, the princess woke in a terrible fright. There \n was a hideous noise in her room--of creatures snarling and hissing and \n racketing about as if they were fighting. The moment she came to \n herself, she remembered something she had never thought of again--what \n her grandmother told her to do when she was frightened. She immediately \n took off her ring and put it under her pillow. As she did so, she","The old lady left her, and going to a strange-looking cabinet, opened it \n and took out a curious silver casket. Then she sat down on a low chair, \n and calling Irene, made her kneel before her, while she looked at her \n hand. Having examined it, she opened the casket, and took from it a \n little ointment. The sweetest odor filled the room--like that of roses \n and lilies--as she rubbed the ointment gently all over the hot swollen","heart. It was no wonder she ran. But Irene was not in the least \n frightened, not knowing anything to be frightened at. She kept on \n chattering as well as she could, but it was not easy. \n \n \"Lootie! Lootie! why do you run so fast? It shakes my teeth when I \n talk.\" \n \n \"Then don't talk,\" said Lootie. \n \n But the princess went on talking. She was always saying, \"Look, look,","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","tell him how it was that she had come to his rescue. So Irene too had to \n tell a long story, which she did in rather a roundabout manner, \n interrupted by many questions concerning things she had not explained. \n But her tale, as he did not believe more than half of it, left \n everything as unaccountable to him as before, and he was nearly as much \n perplexed as to what he must think of the princess. He could not believe \n that she was deliberately telling stories, and the only conclusion he","whose tops a stream was pouring in a watery arch, now to pick a shining \n stone from a rock by the wayside, now to watch the flight of some bird. \n Suddenly the shadow of a great mountain peak came up from behind, and \n shot in front of them. When the nurse saw it, she started and shook, and \n tremulously grasping the hand of the princess turned and began to run \n down the hill. \n \n \"What's all the haste, nursie?\" asked Irene, running alongside of her. \n","she would have taken herself for some gypsy-child whose face was washed \n and hair combed about once in a month. The lady laughed too, and lifting \n her again upon her knee, took off her cloak and night-gown. Then she \n carried her to the side of the room. Irene wondered what she was going \n to do with her, but asked no questions--only starting a little when she \n found that she was going to lay her in the large silver bath; for as she \n looked into it, again she saw no bottom, but the stars shining miles","\"You are very tired, my child,\" the lady went on. \"Your hands are hurt \n with the stones, and I have counted nine bruises on you. Just look what \n you are like.\" \n \n And she held up to her a little mirror which she had brought from the \n cabinet. The princess burst into a merry laugh at the sight. She was so \n draggled with the stream, and dirty with creeping through narrow places, \n that if she had seen the reflection without knowing it was a reflection,","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","was within a few paces, she rushed at him, made one tremendous stamp at \n his opposing foot, which happily he withdrew in time, and caught him \n round the waist, to dash him on the marble floor. But just as she caught \n him, he came down with all the weight of his iron-shod shoe upon her \n skin-shod foot, and with a hideous howl she dropped him, squatted on the \n floor and took her foot in both her hands. Meanwhile the rest rushed on","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","\"My precious darling princess! where have you been? What has happened to \n you? We've all been crying our eyes out, and searching the house from \n top to bottom for you.\" \n \n \"Not quite from the top,\" thought Irene to herself; and she might have \n added--\"not quite to the bottom,\" perhaps, if she had known all. But the \n one she would not, and the other she could not say. \n \n \"Oh, Lootie! I've had such a dreadful adventure!\" she replied, and told","be composed. \n \n \"I see you want your tea, princess,\" said the nurse: \"I will go and get \n it. The room feels close: I will open the window a little. The evening \n is mild: it won't hurt you.\" \n \n \"There's no fear of that, Lootie,\" said Irene, wishing she had put off \n going for the tea till it was darker, when she might have made her \n attempt with every advantage. \n","\"Sit down again, Irene. Nothing pleases me better than to see any one \n sit in my chair. I am only too glad to stand so long as any one will sit \n in it.\" \n \n \"How kind of you!\" said the princess, and sat down again. \n \n \"It makes me happy,\" said the lady. \n \n \"But,\" said Irene, still puzzled, \"won't the thread get in somebody's \n way and be broken, if the one end is fast to my ring and the other laid","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","different thing down there. They won't always mind that song even, down \n there. And if anyone sings it, they stand grinning at him awfully; and \n if he gets frightened, and misses a word, or says a wrong one, they--oh! \n don't they give it him!\" \n \n \"What do they do to him?\" asked Irene, with a trembling voice. \n \n \"Don't go frightening the princess,\" said the nurse. \n","and took her hands. In an instant she was on the saddle, and clasped in \n his great strong arms. I wish I could describe the king, so that you \n could see him in your mind. He had gentle blue eyes, but a nose that \n made him look like an eagle. A long dark beard, streaked with silvery \n lines, flowed from his mouth almost to his waist, and as Irene sat on \n the saddle and hid her glad face upon his bosom, it mingled with the","be locked immediately the sun set, and opened after upon no pretence \n whatever. The men-at-arms redoubled their vigilance, and for some time \n there was no further cause of alarm. \n \n When the princess woke the next morning, her nurse was bending over her. \n \n \"How your ring does glow this morning, princess!--just like a fiery \n rose!\" she said. \n \n \"Does it, Lootie?\" returned Irene. \"Who gave me the ring, Lootie? I know"],["No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","with another company had gone off to search the house. They captured \n every one they met, and when they could find no more, they hurried away \n to carry them safe to the caverns below. But when the butler, who was \n amongst them, found that their path lay through the wine cellar, he \n bethought himself of persuading them to taste the wine, and, as he had \n hoped, they no sooner tasted than they wanted more. The routed goblins,","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n","and he was soon down; but the captain had got his back to the wall and \n stood out longer. The goblins would have torn them all to pieces, but \n the king had given orders to carry them away alive, and over each of \n them, in twelve groups, was standing a knot of goblins, while as many as \n could find room were sitting upon their prostrate bodies. \n \n Curdie burst in dancing and gyrating and stamping and singing like a \n small incarnate whirlwind, \n","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","the goblins. It was true they had no wild animals down there--at least \n they did not know of any; but they had a wonderful number of tame ones. \n I must, however, reserve any contributions toward the natural history of \n these for a later position in my story. \n \n At length, turning a corner too abruptly, he had almost rushed into the \n middle of the goblin family; for there they had already set down all \n their burdens on the floor of a cave considerably larger than that which","it, she came on with her mouth open and her teeth grinning like a \n tiger's, followed by the king and her bodyguard of the thickest goblins. \n But the same moment in rushed the captain and his men, and ran at them \n stamping furiously. They dared not encounter such an onset. Away they \n scurried, the queen foremost. Of course the right thing would have been \n to take the king and queen prisoners, and hold them hostages for the","kept to the lower part of the house, which was now quiet enough, began \n to hear a confused sound as of a distant hubbub, and set out to find \n where it came from. The noise grew as his sharp ears guided him to a \n stair and so to the wine cellar. It was full of goblins, whom the butler \n was supplying with wine as fast as he could draw it. \n \n While the queen and her party had encountered the men-at-arms, Harelip","dismayed goblin lurking here and there, they found no one--while he \n requested Lootie to take him to the princess's room. She was as \n submissive and obedient as if he had been the king. He found the \n bed-clothes tossed about, and most of them on the floor, while the \n princess's garments were scattered all over the room, which was in the \n greatest confusion. It was only too evident that the goblins had been","last compelled to acknowledge himself in an evil plight. He sat down and \n tried to think, but soon fell fast asleep. \n \n \n \n \n CHAPTER XIX \n \n GOBLIN COUNSELS \n \n \n HE must have slept a long time, for when he awoke, he felt wonderfully \n restored--indeed he felt almost well, and he was also very hungry. There \n were voices in the outer cave. \n \n Once more then, it was night; for the goblins slept during the day, and","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","rather than hurt a woman, even if she was a goblin; but here was an \n affair of life and death: forgetting her shoes, he made a great stamp on \n one of her feet. But she instantly returned it with very different \n effect, causing him frightful pain and almost disabling him. His only \n chance with her would have been to attack the granite shoes with his \n pickaxe, but before he could think of that, she had caught him up in her \n arms, and was rushing with him across the cave. She dashed him into a","some of them bad, that he succeeded in killing him with his pocket \n knife. Having dragged him out, he made haste to get in again before \n another should stop up the way. \n \n I need not follow him farther in this night's adventures. He returned to \n his breakfast, satisfied that the goblins were mining in the direction \n of the palace--on so low a level that their intention must, he thought, \n be to burrow under the walls of the king's house, and rise up inside","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","and then, with the ball in his hand, unrolling as he went, set out in \n the dark through the natural gangs of the goblins' territory. The first \n night or two he came upon nothing worth remembering; saw only a little \n of the home-life of the _cobs_ in the various caves they called houses; \n failed in coming upon anything to cast light upon the foregoing design \n which kept the inundation for the present in the background. But at \n length, I think on the third or fourth night, he found, partly guided by","But still he had made no discovery as to what the goblin miners were \n about. \n \n \n \n \n CHAPTER XIII \n \n THE COBS' CREATURES \n \n \n ABOUT this time, the gentlemen whom the king had left behind him to \n watch over the princess, had each occasion to doubt the testimony of his \n own eyes, for more than strange were the objects to which they would \n bear witness. They were of one sort--creatures--but so grotesque and","after his father, had stayed in the mine all night again and again, and \n although they had several times encountered a few stray goblins, had \n never yet failed in driving them away. As I have indicated already, the \n chief defence against them was verse, for they hated verse of every \n kind, and some kinds they could not endure at all. I suspect they could \n not make any themselves, and that was why they disliked it so much. At \n all events, those who were most afraid of them were those who could","him for one of the goblin creatures, had wounded him. \n \n They carried him into the house, and laid him down in the hall. The \n report spread that they had caught a robber, and the servants crowded in \n to see the villain. Amongst the rest came the nurse. The moment she saw \n him she exclaimed with indignation: \n \n \"I declare it's the same young rascal of a miner that was rude to me and \n the princess on the mountain. He actually wanted to kiss the princess."],["there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","Curdie as well. \n \n \n \n \n CHAPTER VII \n \n THE MINES \n \n \n CURDIE went home whistling. He resolved to say nothing about the \n princess for fear of getting the nurse into trouble, for while he \n enjoyed teasing her because of her absurdity, he was careful not to do \n her any harm. He saw no more of the goblins, and was soon fast asleep in \n his bed. \n \n He woke in the middle of the night, and thought he heard curious noises","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","of the miners. Curdie and his father and mother took Lootie with them. \n And the whole way, a light, of which all but Lootie understood the \n origin, shone upon their path. But when they looked round they could see \n nothing of the silvery globe. \n \n For days and days the water continued to rush from the doors and windows \n of the king's house, and a few goblin bodies were swept out into the \n road. \n \n Curdie saw that something must be done. He spoke to his father and the","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","Curdie. We don't care about the goblins and their nasty creatures. They \n frighten us--rather._\" \n \n \"_But you know if you once get rid of the goblins there is no fear of \n the princess or of Curdie._\" \n \n \"_But we want to know more about them._\" \n \n \"_Some day, perhaps, I may tell you the further history of both of them; \n how Curdie came to visit Irene's grandmother, and what she did for him;","\"By a hole in the mountain.\" \n \n \"But you are a miner! Look at your pickaxe!\" \n \n Curdie did look at it, answering, \n \n \"I came upon it, lying on the ground, a little way from here. I tumbled \n over some wild beasts who were playing with it. Look, your majesty.\" And \n Curdie showed him how he was scratched and bitten. \n \n [Illustration: The goblins fell back a little when he began, and made","have passed. It was with great difficulty that he forced his way through \n one of them, and up to the door. \n \n The moment his hand fell on the latch, through all the uproar of winds \n and waters came the joyous cry of the princess:-- \n \n \"There's Curdie! Curdie! Curdie!\" \n \n She was sitting wrapped in blankets on the bed, his mother trying for \n the hundredth time to light the fire which had been drowned by the rain","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","for the very thought of that sweet little face down amongst the goblins \n was unendurable. \n \n When Curdie ran in at the gate with the princess in his arms, they were \n all so absorbed in their own misery and awed by the king's presence and \n grief, that no one observed his arrival. He went straight up to the \n king, where he sat on his horse. \n \n \"Papa! papa!\" the princess cried, stretching out her arms to him; \"here \n I am!\" \n","\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","\"I'll do my best,\" said Curdie. \"I'm not afraid.\" \n \n \"We all know that,\" they returned, and left him. \n \n \n \n \n CHAPTER VIII \n \n THE GOBLINS \n \n \n FOR some time Curdie worked away briskly, throwing all the ore he had \n disengaged on one side behind him, to be ready for carrying out in the \n morning. He heard a good deal of goblin-tapping, but it all sounded far","narrow--far too narrow for a goblin to get through, and so I presume \n they never thought that Curdie might. He was beginning to feel very \n uncomfortable lest he could not see the end. The princess when he heard \n her voice almost close to his ear, whispering-- \n \n \"Aren't you coming, Curdie?\" \n \n And when he turned the next corner, there she stood waiting for him. \n \n \"I knew you couldn't go wrong in that narrow hole, but now you must keep","projection gave way, down he came with a rush on the floor of the \n cavern, bringing with him a great rumbling shower of stones. \n \n The goblins jumped from their seats in more anger than consternation, \n for they had never yet seen anything to be afraid of in the palace. But \n when they saw Curdie with his pick in his hand, their rage was mingled \n with fear, for they took him for the first of an invasion of miners. The \n king notwithstanding drew himself up to his full height of four feet,","\"With pleasure, if your majesty will give me a guide,\" said Curdie. \n \n \"I will give you a thousand,\" said the king, with a scoffing air of \n magnificent liberality. \n \n \"One will be quite sufficient,\" said Curdie. \n \n But the king uttered a strange shout, half halloo, half roar, and in \n rushed goblins till the cave was swarming. He said something to the \n first of them which Curdie could not hear, and it was passed from one to","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","just room to walk. Make haste, Curdie.\" \n \n He tried, but the hole was too small for him to get in. \n \n \"Go on a little bit,\" he said, shouldering his pickaxe. \n \n In a few moments he had cleared a large opening and followed her. They \n went on, down and down with the running water, Curdie getting more and \n more afraid it was leading them to some terrible gulf in the heart of \n the mountain. In one or two places he had to break away the rock to make","They all parted asunder as the king made a sign to her to come forward. \n She obeyed, and he gave her his hand, but could not speak. \n \n \"And now, king-papa,\" the princess went on, \"I must tell you another \n thing. One night long ago Curdie drove the goblins away and brought \n Lootie and me safe from the mountain. And I promised him a kiss when we \n got home, but Lootie wouldn't let me give it to him. I would not have","\"What is that noise?\" she asked. \"Do you know, Curdie?\" \n \n \"Yes. It is the goblins digging and burrowing,\" he answered. \n \n \"And don't you know for what purpose they do it?\" \n \n \"No; I haven't the least idea. Would you like to see them?\" he asked, \n wishing to have another try after their secret. \n \n \"If my thread took me there, I shouldn't much mind; but I don't want to"],["\"What is that noise?\" she asked. \"Do you know, Curdie?\" \n \n \"Yes. It is the goblins digging and burrowing,\" he answered. \n \n \"And don't you know for what purpose they do it?\" \n \n \"No; I haven't the least idea. Would you like to see them?\" he asked, \n wishing to have another try after their secret. \n \n \"If my thread took me there, I shouldn't much mind; but I don't want to","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","some of them bad, that he succeeded in killing him with his pocket \n knife. Having dragged him out, he made haste to get in again before \n another should stop up the way. \n \n I need not follow him farther in this night's adventures. He returned to \n his breakfast, satisfied that the goblins were mining in the direction \n of the palace--on so low a level that their intention must, he thought, \n be to burrow under the walls of the king's house, and rise up inside","The goblins, as Curdie had discovered, were mining on--at work both day \n and night, in divisions, urging the scheme after which he lay in wait. \n In the course of their tunneling, they had broken into the channel of a \n small stream, but the break being in the top of it, no water had escaped \n to interfere with their work. Some of the creatures, hovering as they \n often did about their masters, had found the hole, and had, with the \n curiosity which had grown to a passion from the restraints of their","inside the rock. After a while he heard it again. It was a \n goblin-voice--there could be no doubt about that--and this time he could \n make out the words. \n \n \"Hadn't we better be moving?\" it said. \n \n A rougher and deeper voice replied: \n \n \"There's no hurry. That wretched little mole won't be through to-night, \n if he work ever so hard. He's by no means at the thinnest place.\" \n","ill-success. Every other night or so he followed the goblins about, as \n they went on digging and boring, and getting as near them as he could, \n watched them from behind stones and rocks; but as yet he seemed no \n nearer finding out what they had in view. As at first, he always kept \n hold of the end of his string, while his pickaxe left just outside the \n hole by which he entered the goblins' country from the mine, continued \n to serve as an anchor and hold fast the other end. The goblins hearing","possible, the special evil design the goblins had now in their heads. \n \n Although he knew all the gangs and all the natural galleries with which \n they communicated in the mined part of the mountain, he had not the \n least idea where the palace of the king of the gnomes was; otherwise he \n would have set out at once on the enterprise of discovering what the \n said design was. He judged, and rightly, that it must lie in a farther \n part of the mountain, between which and the mine there was as yet no","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin","communication. There must be one nearly completed, however; for it could \n be but a thin partition which now separated them. If only he could get \n through in time to follow the goblins as they retreated! A few blows \n would doubtless be sufficient--just where his ear now lay; but if he \n attempted to strike there with his pickaxe, he would only hasten the \n departure of the family, put them on their guard, and perhaps lose their \n involuntary guidance. He therefore began to feel the wall with his","and then, with the ball in his hand, unrolling as he went, set out in \n the dark through the natural gangs of the goblins' territory. The first \n night or two he came upon nothing worth remembering; saw only a little \n of the home-life of the _cobs_ in the various caves they called houses; \n failed in coming upon anything to cast light upon the foregoing design \n which kept the inundation for the present in the background. But at \n length, I think on the third or fourth night, he found, partly guided by","rock; but at length what seemed the far-off noise of a great shouting \n reached his ears, which however presently ceased. After advancing a good \n way farther, he thought he heard a single voice. It sounded clearer and \n clearer as he went on, until at last he could almost distinguish the \n words. In a moment or two, keeping after the goblins round another \n corner, he once more started back--this time in amazement. \n \n He was at the entrance of a magnificent cavern, of an oval shape, once","rest of the miners, and they at once proceeded to make another outlet \n for the waters. By setting all hands to the work, tunneling here and \n building there, they soon succeeded; and having also made a little \n tunnel to drain the water away from under the king's house, they were \n soon able to get into the wine cellar, where they found a multitude of \n dead goblins--among the rest the queen, with the skin-shoe gone, and the","of the goblin excavators: they were going no deeper, but had commenced \n running on a level; and he watched them, therefore, more closely than \n ever. All at once, one night, coming to a slope of very hard rock, they \n began to ascend along the inclined plane of its surface. Having reached \n its top, they went again on a level for a night or two, after which they \n began to ascend once more, and kept on at a pretty steep angle. At \n length Curdie judged it time to transfer his observation to another","behind the rock where the stream ran out, for he had been listening all \n round it in the hope it might convey to his ear some indication of the \n whereabouts of the goblin miners, when just as he came into the \n moonlight on the lawn, a whizz in his ear and a blow upon his leg \n startled him. He instantly squatted in the hope of eluding further \n notice. But when he heard the sound of running feet, he jumped up to \n take the chance of escape by flight. He fell, however, with a keen shoot","he had come with the rest of the miners in the progress of their \n excavations. The goblins had talked of coming back for the rest of their \n household gear: he saw nothing that would have made him suspect a family \n had taken shelter there for a single night. The floor was rough and \n stony; the walls full of projecting corners; the roof in one place \n twenty feet high, in another endangering his forehead; while on one side \n a stream, no thicker than a needle, it is true, but still sufficient to","floor of the cavern, whence came a sound of running water which they had \n been hearing for some time. \n \n \"It goes into the ground now, Curdie,\" she said, stopping. \n \n He had been listening to another sound, which his practised ear had \n caught long ago, and which also had been growing louder. It was the \n noise the goblin miners made at their work, and they seemed to be at no \n great distance now. Irene heard it the moment she stopped. \n","the hole like a tiger, and tore and pulled. The sides gave way, and it \n was soon large enough for him to crawl through. He would not betray \n himself by rekindling his lamp, but the torches of the retreating \n company, departing in a straight line up a long avenue from the door of \n their cave, threw back light enough to afford him a glance round the \n deserted home of the goblins. To his surprise, he could discover nothing \n to distinguish it from an ordinary cave in the rock, upon many of which","\"But you still think the lode does come through into our house?\" said \n the first voice. \n \n \"Yes, but a good bit farther on than he has got to yet. If he had struck \n a stroke more to the side just here,\" said the goblin, tapping the very \n stone, as it seemed to Curdie, against which his head lay, \"he would \n have been through; but he's a couple of yards past it now, and if he \n follow the lode it will be a week before it leads him in. You see it","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","He dropped his voice so low that Curdie could hear only a growl. The \n growl went on in a low bass for a good while, as inarticulate as if the \n goblin's tongue had been a sausage; and it was not until his wife spoke \n again that it rose to its former pitch. \n \n \"But what shall we do when you are at the palace?\" she asked. \n \n \"I will see you safe in the new house I've been digging for you for the"],["afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","Curdie. We don't care about the goblins and their nasty creatures. They \n frighten us--rather._\" \n \n \"_But you know if you once get rid of the goblins there is no fear of \n the princess or of Curdie._\" \n \n \"_But we want to know more about them._\" \n \n \"_Some day, perhaps, I may tell you the further history of both of them; \n how Curdie came to visit Irene's grandmother, and what she did for him;","THE king's harper, who always formed a part of his escort, was chanting \n a ballad which he made as he went on playing on his instrument--about \n the princess and the goblins, and the prowess of Curdie, when all at \n once he ceased, with his eyes on one of the doors of the hall. Thereupon \n the eyes of the king and his guests turned thitherward also. The next \n moment, through the open doorway came the princess Irene. She went","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Then you didn't see the cobs?\" asked Curdie. \n \n \"No; I haven't been into the mountain, I told you, Curdie.\" \n \n \"But the cobs have been into your house--all over it--and into your \n bedroom making such a row!\" \n \n \"What did they want there? It was very rude of them.\" \n \n \"They wanted you--to carry you off into the mountain with them, for a \n wife to their Prince Harelip.\" \n","\"Yes; but they think so much of themselves!\" said his mother. \"Small \n creatures always do. The bantam is the proudest cock in my little yard.\" \n \n \"And I fancy,\" said Curdie, \"if they once get her, they would tell the \n king they would kill her except, he consented to the marriage.\" \n \n \"They might say so,\" said his father, \"but they wouldn't kill her; they \n would keep her alive for the sake of the hold it gave them over our","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","\"I should like to see him!\" repeated the nurse, and said no more. She \n did not want to open a new cause of strife with the princess by saying \n more plainly what she meant. Glad enough that she had succeeded both in \n getting home unseen, and in keeping the princess from kissing the \n miner's boy, she resolved to watch her far better in future. Her \n carelessness had already doubled the danger she was in. Formerly the \n goblins were her only fear; now she had to protect her charge from","him for one of the goblin creatures, had wounded him. \n \n They carried him into the house, and laid him down in the hall. The \n report spread that they had caught a robber, and the servants crowded in \n to see the villain. Amongst the rest came the nurse. The moment she saw \n him she exclaimed with indignation: \n \n \"I declare it's the same young rascal of a miner that was rude to me and \n the princess on the mountain. He actually wanted to kiss the princess.","dismayed goblin lurking here and there, they found no one--while he \n requested Lootie to take him to the princess's room. She was as \n submissive and obedient as if he had been the king. He found the \n bed-clothes tossed about, and most of them on the floor, while the \n princess's garments were scattered all over the room, which was in the \n greatest confusion. It was only too evident that the goblins had been","They all parted asunder as the king made a sign to her to come forward. \n She obeyed, and he gave her his hand, but could not speak. \n \n \"And now, king-papa,\" the princess went on, \"I must tell you another \n thing. One night long ago Curdie drove the goblins away and brought \n Lootie and me safe from the mountain. And I promised him a kiss when we \n got home, but Lootie wouldn't let me give it to him. I would not have","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","very kind, but I could not be half the use to him that I am to you. \n Please your Majesty, if you wouldn't mind giving my mother a red \n petticoat! I should have got her one long ago, but for the goblins.\" \n \n \"As soon as we get home,\" said the king, \"Irene and I will search out \n the warmest one to be found, and send it by one of the gentlemen.\" \n \n \"Yes, that we will, Curdie!\" said the princess. \n","often she would take to her heels when nothing worse than a fleecy cloud \n crossing the sun threw a shadow on the hillside; and many an evening \n they were home a full hour before the sunlight had left the weathercock \n on the stables. If it had not been for such behavior, Irene would by \n this time have almost forgotten the goblins. She never forgot Curdie, \n but him she remembered for his own sake, and indeed would have \n remembered him if only because a princess never forgets her debts until \n they are paid. \n","for the very thought of that sweet little face down amongst the goblins \n was unendurable. \n \n When Curdie ran in at the gate with the princess in his arms, they were \n all so absorbed in their own misery and awed by the king's presence and \n grief, that no one observed his arrival. He went straight up to the \n king, where he sat on his horse. \n \n \"Papa! papa!\" the princess cried, stretching out her arms to him; \"here \n I am!\" \n","and the news that dead goblins were tossing about in the current through \n the house. They had been caught in their own snare; instead of the mine \n they had flooded their own country, whence they were now swept up \n drowned. Irene shuddered, but the king held her close to his bosom. Then \n he turned to Sir Walter, and said-- \n \n \"Bring Curdie's father and mother here.\" \n \n \"I wish,\" said the king, when they stood before him, \"to take your son","Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n"],["\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","went to his work, and Curdie and his mother set out to take the princess \n home. They had difficulty in getting her dry across the streams, and \n Curdie had again and again to carry her, but at last they got safe on \n the broader part of the road, and walked gently down toward the king's \n house. And what should they see as they turned the last corner, but the \n last of the king's troop riding through the gate! \n \n \"Oh, Curdie!\" cried Irene, clapping her hands right joyfully, \"my","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","Then Curdie had to explain everything--how he had watched for her sake, \n how he had been wounded and shut up by the soldiers, how he heard the \n noises and could not rise, and how the beautiful old lady had come to \n him, and all that followed. \n \n \"Poor Curdie! to lie there hurt and ill, and me never to know it!\" \n exclaimed the princess, stroking his rough hand. \"I would not have \n hesitated to come and nurse you, if they had told me.\" \n","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","Curdie. We don't care about the goblins and their nasty creatures. They \n frighten us--rather._\" \n \n \"_But you know if you once get rid of the goblins there is no fear of \n the princess or of Curdie._\" \n \n \"_But we want to know more about them._\" \n \n \"_Some day, perhaps, I may tell you the further history of both of them; \n how Curdie came to visit Irene's grandmother, and what she did for him;","Curdie; but the princess pulled her hand from hers, and was just \n throwing her arms around Curdie's neck, when she caught her again and \n dragged her away. \n \n \"Lootie, Lootie, I promised Curdie a kiss,\" cried Irene. \n \n \"A princess mustn't give kisses. It's not at all proper,\" said \n Lootie. \n \n \"But I promised,\" said the princess. \n \n \"There's no occasion; he's only a miner-boy.\" \n","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","lady enough to understand this, and so she was in a great difficulty, \n for, if she insisted, some one might hear the princess cry and run to \n see, and then all would come out. But here Curdie came again to the \n rescue. \n \n \"Never mind, Princess Irene,\" he said. \"You mustn't kiss me to-night. \n But you sha'n't break your word. I will come another time. You may be \n sure I will.\" \n","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","have passed. It was with great difficulty that he forced his way through \n one of them, and up to the door. \n \n The moment his hand fell on the latch, through all the uproar of winds \n and waters came the joyous cry of the princess:-- \n \n \"There's Curdie! Curdie! Curdie!\" \n \n She was sitting wrapped in blankets on the bed, his mother trying for \n the hundredth time to light the fire which had been drowned by the rain","Irene called out-- \n \n \"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \n grandmother had been to see you.--Don't you smell the roses? It was my \n grandmother healed your leg, and sent you to help me.\" \n \n \"No, Princess Irene,\" said Curdie; \"I wasn't good enough to be allowed \n to help you: I didn't believe you. Your grandmother took care of you \n without me.\" \n","\"You can tell me all about it when we get out, then. There's no time to \n lose now,\" said Curdie. \n \n And Irene went to work, as fresh as when she began. \n \n \"There's such a lot of stones!\" she said. \"It will take me a long time \n to get them all away.\" \n \n \"How far on have you got?\" asked Curdie. \n \n \"I've got about the half way, but the other half is ever so much \n bigger.\" \n","\"Irene,\" he said, \"I am very sorry I did not believe you.\" \n \n \"Oh, never mind, Curdie!\" answered the princess. \"You couldn't, you \n know. You do believe me now, don't you?\" \n \n \"I can't help it now. I ought to have helped it before.\" \n \n \"Why can't you help it now?\" \n \n \"Because, just as I was going into the mountain to look for you, I got \n hold of your thread, and it brought me here.\"","with me. He shall enter my bodyguard at once, and wait further \n promotion.\" \n \n Peter and his wife, overcome, only murmured almost inaudible thanks. But \n Curdie spoke aloud. \n \n \"Please your Majesty,\" he said, \"I cannot leave my father and mother.\" \n \n \"That's right, Curdie!\" cried the princess. \"_I_ wouldn't if I was you.\" \n \n The king looked at the princess and then at Curdie with a glow of \n satisfaction on his countenance. \n"],["The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","\"He is a good boy, and a brave boy, and he has been very kind to us. \n Lootie! Lootie! I promised.\" \n \n \"Then you shouldn't have promised.\" \n \n \"Lootie, I promised him a kiss.\" \n \n \"Your royal Highness,\" said Lootie, suddenly growing very respectful, \n \"must come in directly.\" \n \n \"Nurse, a princess must _not_ break her word,\" said Irene, drawing \n herself up and standing stockstill. \n","\"Irene.\" \n \n \"What more?\" \n \n \"I don't know what more.--What more is my name, Lootie?\" \n \n \"Princesses haven't got more than one name. They don't want it.\" \n \n \"Oh then, Curdie, you must call me just Irene, and no more.\" \n \n \"No, indeed,\" said the nurse indignantly. \"He shall do no such thing.\" \n \n \"What shall he call me, then, Lootie?\" \n","\"Your royal Highness.\" \n \n \"My royal Highness! What's that? No, no, Lootie, I will not be called \n names. I don't like them. You said to me once yourself that it's only \n rude children that call names; and I'm sure Curdie wouldn't be \n rude.--Curdie, my name's Irene.\" \n \n \"Well, Irene,\" said Curdie, with a glance at the nurse which showed he","whose tops a stream was pouring in a watery arch, now to pick a shining \n stone from a rock by the wayside, now to watch the flight of some bird. \n Suddenly the shadow of a great mountain peak came up from behind, and \n shot in front of them. When the nurse saw it, she started and shook, and \n tremulously grasping the hand of the princess turned and began to run \n down the hill. \n \n \"What's all the haste, nursie?\" asked Irene, running alongside of her. \n","\"Of course we shall,\" returned Irene. \n \n \"Why do you think so?\" asked Curdie. \n \n \"Because my grandmother is taking care of us.\" \n \n \"That's all nonsense,\" said Curdie. \"I don't know what you mean.\" \n \n \"Then if you don't know what I mean, what right have you to call it \n nonsense?\" asked the princess, a little offended. \n \n \"I beg your pardon, Irene,\" said Curdie; \"I did not mean to vex you.\"","nice-looking as you are, some king or other would have married you, and \n then what would have become of me?\" \n \n \"You are an angel!\" repeated the nurse, again embracing her. \n \n \"Now,\" insisted Irene, \"you _will_ come and see my grandmother--won't \n you?\" \n \n \"I will go with you anywhere you like, my cherub,\" she answered; and in \n two minutes the weary little princess was fast asleep. \n \n \n \n \n CHAPTER V \n","to be believed does not at all agree with princesses; for a real \n princess cannot tell a lie. So all the afternoon she did not speak a \n word. Only when the nurse spoke to her, she answered her, for a real \n princess is never rude--even when she does well to be offended. \n \n Of course the nurse was not comfortable in her mind--not that she \n suspected the least truth in Irene's story, but that she loved her \n dearly, and was vexed with herself for having been cross to her. She","it--in order, he fully believed, to lay hands on the little princess, \n and carry her off for a wife to their horrid Harelip. \n \n \n \n \n CHAPTER XXIV \n \n IRENE BEHAVES LIKE A PRINCESS \n \n \n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \n bending above her, the housekeeper looking over the nurse's shoulder, \n and the laundry-maid looking over the housekeeper's. The room was full","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","\"Ah! then you can't help it,\" said Irene, \"and I will not be vexed with \n you any more. I will give you a kiss and go to sleep.\" \n \n \"You little angel!\" cried the nurse, and caught her out of bed, and \n walked about the room with her in her arms, kissing and hugging her. \n \n \"You _will_ let me take you to see my dear old great big grandmother, \n won't you?\" said the princess, as she laid her down again. \n","\"We must not be out a moment longer.\" \n \n \"But we can't help being out a good many moments longer.\" \n \n It was too true. The nurse almost cried. They were much too far from \n home. It was against express orders to be out with the princess one \n moment after the sun was down; and they were nearly a mile up the \n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \n would certainly be dismissed; and to leave the princess would break her","CHAPTER IV \n \n WHAT THE NURSE THOUGHT OF IT \n \n \n \"WHY, where can you have been, princess?\" asked the nurse, taking her in \n her arms. \"It's very unkind of you to hide away so long. I began to be \n afraid--\" \n \n Here she checked herself. \n \n \"What were you afraid of, nursie?\" asked the princess. \n \n \"Never mind,\" she answered. \"Perhaps I will tell you another day. Now","\"There was no necessity. You could make it all up for yourself.\" \n \n \"You don't believe me then!\" exclaimed the princess, astonished and \n angry, as well she might be. \n \n \"Did you expect me to believe you, princess?\" asked the nurse coldly. \"I \n know princesses are in the habit of telling make-believes, but you are \n the first I ever heard of who expected to have them believed,\" she \n added, seeing that the child was strangely in earnest. \n","different thing down there. They won't always mind that song even, down \n there. And if anyone sings it, they stand grinning at him awfully; and \n if he gets frightened, and misses a word, or says a wrong one, they--oh! \n don't they give it him!\" \n \n \"What do they do to him?\" asked Irene, with a trembling voice. \n \n \"Don't go frightening the princess,\" said the nurse. \n","\"There's a princess!\" exclaimed Curdie, in a tone of delight, but still \n speaking in little more than a whisper. \"I can't think how you got here, \n though.\" \n \n \"My grandmother sent me after her thread.\" \n \n \"I don't know what you mean,\" said Curdie; \"but so you're there, it \n doesn't much matter.\" \n \n \"Oh, yes it does!\" returned Irene. \"I should never have been here but \n for her.\" \n","\"I should like to see him!\" repeated the nurse, and said no more. She \n did not want to open a new cause of strife with the princess by saying \n more plainly what she meant. Glad enough that she had succeeded both in \n getting home unseen, and in keeping the princess from kissing the \n miner's boy, she resolved to watch her far better in future. Her \n carelessness had already doubled the danger she was in. Formerly the \n goblins were her only fear; now she had to protect her charge from","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","on. When the old lady had succeeded in getting her thread fairly in \n operation again, she said to the princess, but without looking at her: \n \n \"Do you know my name, child?\" \n \n \"No, I don't know it,\" answered the princess. \n \n \"My name is Irene.\" \n \n \"That's _my_ name!\" cried the princess. \n \n \"I know that. I let you have mine. I haven't got your name. You've got \n mine.\" \n"],["which had been dug to get at the ore of which the mountains were full. \n In the course of digging, the miners came upon many of these natural \n caverns. A few of them had far-off openings out on the side of a \n mountain, or into a ravine. \n \n Now in these subterranean caverns lived a strange race of beings, called \n by some gnomes, by some kobolds, by some goblins. There was a legend \n current in the country that at one time they lived above ground, and","real sky with the stars in it, for a reason which I had better mention \n at once. \n \n These mountains were full of hollow places underneath; huge caverns, and \n winding ways, some with water running through them, and some shining \n with all colors of the rainbow when a light was taken in. There would \n not have been much known about them, had there not been mines there, \n great deep pits, with long galleries and passages running off from them,","he had come with the rest of the miners in the progress of their \n excavations. The goblins had talked of coming back for the rest of their \n household gear: he saw nothing that would have made him suspect a family \n had taken shelter there for a single night. The floor was rough and \n stony; the walls full of projecting corners; the roof in one place \n twenty feet high, in another endangering his forehead; while on one side \n a stream, no thicker than a needle, it is true, but still sufficient to","They entered the hill by a natural opening under a huge rock, where a \n little stream rushed out. They followed its course for a few yards, \n when the passage took a turn, and sloped steeply into the heart of the \n hill. With many angles and windings and branchings off, and sometimes \n with steps where it came upon a natural gulf, it led them deep into the \n hill before they arrived at the place where they were at present digging \n out the precious ore. This was of various kinds, for the mountain was","after his father, had stayed in the mine all night again and again, and \n although they had several times encountered a few stray goblins, had \n never yet failed in driving them away. As I have indicated already, the \n chief defence against them was verse, for they hated verse of every \n kind, and some kinds they could not endure at all. I suspect they could \n not make any themselves, and that was why they disliked it so much. At \n all events, those who were most afraid of them were those who could","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","determined than ever to go on with my observations. Just as we came to \n the channel by which we got out, I heard the miners at work somewhere \n near--I think down below us. Now since I began to watch them, they have \n mined a good half mile, in a straight line; and so far as I am aware, \n they are working in no other part of the mountain. But I never could \n tell in what direction they were going. When we came out in the king's \n garden, however, I thought at once whether it was possible they were","Curdie as well. \n \n \n \n \n CHAPTER VII \n \n THE MINES \n \n \n CURDIE went home whistling. He resolved to say nothing about the \n princess for fear of getting the nurse into trouble, for while he \n enjoyed teasing her because of her absurdity, he was careful not to do \n her any harm. He saw no more of the goblins, and was soon fast asleep in \n his bed. \n \n He woke in the middle of the night, and thought he heard curious noises","have to dig away alone in a passage no bigger than gave him just room to \n work--sometimes in uncomfortable cramped positions. If they stopped for \n a moment they could hear everywhere around them, some nearer, some \n farther off, the sounds of their companions burrowing away in all \n directions in the inside of the great mountain--some boring holes in the \n rock in order to blow it up with gunpowder, others shoveling the broken \n ore into baskets to be carried to the mouth of the mine, others hitting","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin","dropped work, they were satisfied that the mine was secure. \n \n They had heard goblin hammers and pickaxes busy all the time, and at \n length fancied they heard sounds of water they had never heard before. \n But that was otherwise accounted for when they left the mine; for they \n stepped out into a tremendous storm which was raging all over the \n mountain. The thunder was bellowing, and the lightning lancing out of a \n huge black cloud which lay above it, and hung down its edges of thick","second scheme of the goblins, who, fancying the miners of more \n importance to the upper world than they were, had resolved, if they \n should fail in carrying off the king's daughter, to flood the mine and \n drown the miners. Then he explained what the miners had done to prevent \n it. The goblins had, in pursuance of their design, let loose all the \n underground reservoirs and streams, expecting the water to run down into \n the mine, which was lower than their part of the mountain, for they had,","reservoirs of the mountain, as well as running through portions of it. \n While the part hollowed by the miners remained shut off from that \n inhabited by the goblins, they had had no opportunity of injuring them \n thus; but now that a passage was broken through, and the goblins' part \n proved the higher in the mountain, it was clear to Curdie that the mine \n could be destroyed in an hour. Water was always the chief danger to \n which the miners were exposed. They met with a little choke-damp","the rest, and work all night. But you could not tell night from day down \n there, except from feeling tired and sleepy; for no light of the sun \n ever came into those gloomy regions. Some who had thus remained behind \n during the night, although certain there were none of their companions \n at work, would declare the next morning that they heard, every time they \n halted for a moment to take breath, a tap-tapping all about them, as if \n the mountain were then more full of miners than ever it was during the","\"There!\" said the boy, as he stood still opposite them. \"There! that'll \n do for them. They can't bear singing, and they can't stand that song. \n They can't sing themselves, for they have no more voice than a crow; and \n they don't like other people to sing.\" \n \n The boy was dressed in a miner's dress, with a curious cap on his head. \n He was a very nice-looking boy, with eyes as dark as the mines in which","\"But you still think the lode does come through into our house?\" said \n the first voice. \n \n \"Yes, but a good bit farther on than he has got to yet. If he had struck \n a stroke more to the side just here,\" said the goblin, tapping the very \n stone, as it seemed to Curdie, against which his head lay, \"he would \n have been through; but he's a couple of yards past it now, and if he \n follow the lode it will be a week before it leads him in. You see it","\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","rest of the miners, and they at once proceeded to make another outlet \n for the waters. By setting all hands to the work, tunneling here and \n building there, they soon succeeded; and having also made a little \n tunnel to drain the water away from under the king's house, they were \n soon able to get into the wine cellar, where they found a multitude of \n dead goblins--among the rest the queen, with the skin-shoe gone, and the","all taken refuge in the subterranean caverns, whence they never came out \n but at night, and then seldom showed themselves in any numbers, and \n never to many people at once. It was only in the least frequented and \n most difficult parts of the mountains that they were said to gather even \n at night in the open air. Those who had caught sight of any of them said \n that they had greatly altered in the course of generations; and no \n wonder, seeing they lived away from the sun, in cold and wet and dark","that the outside of the mountain was sufficiently like their own dismal \n regions to be endurable to their mole-eyes, so thoroughly had they \n become disused to any light beyond that of their own fires and torches. \n \n Curdie listened, and soon found that they were talking of himself. \n \n \"How long will it take?\" asked Harelip. \n \n \"Not many days, I should think,\" answered the king. \"They are poor \n feeble creatures, those sun-people, and want to be always eating. _We_"],["No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","THE king's harper, who always formed a part of his escort, was chanting \n a ballad which he made as he went on playing on his instrument--about \n the princess and the goblins, and the prowess of Curdie, when all at \n once he ceased, with his eyes on one of the doors of the hall. Thereupon \n the eyes of the king and his guests turned thitherward also. The next \n moment, through the open doorway came the princess Irene. She went","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","\"Run, Irene!\" cried Curdie, for though he was not now in the least \n afraid for himself, he was for the princess. \n \n Irene looked once round, saw the fearful creatures awake, and like the \n wise princess she was, dashed the torch on the ground and extinguished \n it, crying out-- \n \n \"Here, Curdie, take my hand.\" \n \n He darted to her side, forgetting neither the queen's shoe nor his","killed by Curdie; but they came to the conclusion that it had been slain \n in the mines, and had crept out there to die; and except an occasional \n glimpse of a live one they saw nothing to cause alarm. Curdie kept \n watching in the mountain, and the goblins kept burrowing deeper into the \n earth. As long as they went deeper, there was, Curdie judged, no \n immediate danger. \n \n To Irene, the summer was as full of pleasure as ever, and for a long","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","Curdie. We don't care about the goblins and their nasty creatures. They \n frighten us--rather._\" \n \n \"_But you know if you once get rid of the goblins there is no fear of \n the princess or of Curdie._\" \n \n \"_But we want to know more about them._\" \n \n \"_Some day, perhaps, I may tell you the further history of both of them; \n how Curdie came to visit Irene's grandmother, and what she did for him;","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","there was no way to get them out, except by riding them through the \n stream, which was now pouring from the lower windows as well as the \n door. As one horse was quite enough for any man to manage through such a \n torrent, Curdie got on the king's white charger, and leading the way, \n brought them all in safety to the rising ground. \n \n \"Look, look, Curdie!\" cried Irene, the moment that, having dismounted, \n he led the horse up to the king. \n","often she would take to her heels when nothing worse than a fleecy cloud \n crossing the sun threw a shadow on the hillside; and many an evening \n they were home a full hour before the sunlight had left the weathercock \n on the stables. If it had not been for such behavior, Irene would by \n this time have almost forgotten the goblins. She never forgot Curdie, \n but him she remembered for his own sake, and indeed would have \n remembered him if only because a princess never forgets her debts until \n they are paid. \n","and the news that dead goblins were tossing about in the current through \n the house. They had been caught in their own snare; instead of the mine \n they had flooded their own country, whence they were now swept up \n drowned. Irene shuddered, but the king held her close to his bosom. Then \n he turned to Sir Walter, and said-- \n \n \"Bring Curdie's father and mother here.\" \n \n \"I wish,\" said the king, when they stood before him, \"to take your son","get up the mountain?\" \n \n The king, who was the wisest man in the kingdom, knew well there was a \n time when things must be done, and questions left till afterward. He had \n faith in Curdie, and rose instantly, with Irene in his arms. \n \n \"Every man and woman follow me,\" he said, and strode out into the \n darkness. \n \n Before he had reached the gate, the noise had grown to a great \n thundering roar, and the ground trembled beneath their feet, and before","\"Oh, Curdie! I'm so glad! Let's get out of this horrid place as fast as \n we can.\" \n \n \"That's easier said than done,\" returned he. \n \n \"Oh, no! it's quite easy,\" said Irene. \"We have only to follow my \n thread. I am sure that it's going to take us out now.\" \n \n She had already begun to follow it over the fallen slab into the hole,","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","very kind, but I could not be half the use to him that I am to you. \n Please your Majesty, if you wouldn't mind giving my mother a red \n petticoat! I should have got her one long ago, but for the goblins.\" \n \n \"As soon as we get home,\" said the king, \"Irene and I will search out \n the warmest one to be found, and send it by one of the gentlemen.\" \n \n \"Yes, that we will, Curdie!\" said the princess. \n","last compelled to acknowledge himself in an evil plight. He sat down and \n tried to think, but soon fell fast asleep. \n \n \n \n \n CHAPTER XIX \n \n GOBLIN COUNSELS \n \n \n HE must have slept a long time, for when he awoke, he felt wonderfully \n restored--indeed he felt almost well, and he was also very hungry. There \n were voices in the outer cave. \n \n Once more then, it was night; for the goblins slept during the day, and","How pleasant the night-air felt upon the outside of the mountain after \n what he had gone through in the inside of it! He hurried up the hill, \n without meeting a single goblin on the way, and called and tapped at the \n window until he woke his father, who soon rose and let him in. He told \n him the whole story, and, just as he had expected, his father thought it \n best to work that lode no farther, but at the same time to pretend \n occasionally to be at work there still, in order that the goblins might","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin"],["themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","\"You say so, dad. I think myself I'm all right. But I could carry ten \n times as much if it wasn't for my feet.\" \n \n \"That is your weak point, I confess, my boy.\" \n \n \"Ain't it yours, too, father?\" \n \n \"Well, to be honest, it is a goblin-weakness. Why they come so soft, I \n declare I haven't an idea.\" \n \n \"Specially when your head's so hard, you know, father.\" \n","after his father, had stayed in the mine all night again and again, and \n although they had several times encountered a few stray goblins, had \n never yet failed in driving them away. As I have indicated already, the \n chief defence against them was verse, for they hated verse of every \n kind, and some kinds they could not endure at all. I suspect they could \n not make any themselves, and that was why they disliked it so much. At \n all events, those who were most afraid of them were those who could","and not wishing to kill any of them, he turned the end which was square \n and blunt like a hammer, and with that came down a great blow on the \n head of the goblin nearest him. Hard as the heads of all goblins are, he \n thought he must feel that. And so he did, no doubt; but he only gave a \n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \n time, and just at that critical moment, remembered the vulnerable part","\"I don't know him.\" \n \n \"I'm his son, though.\" \n \n \"And why should the goblins mind _you_, pray?\" \n \n \"Because I don't mind them. I'm used to them.\" \n \n \"What difference does that make?\" \n \n \"If you're not afraid of them, they're afraid of you. I'm not afraid of \n them. That's all. But it's all that's wanted--up here, that is. It's a","behind the rock where the stream ran out, for he had been listening all \n round it in the hope it might convey to his ear some indication of the \n whereabouts of the goblin miners, when just as he came into the \n moonlight on the lawn, a whizz in his ear and a blow upon his leg \n startled him. He instantly squatted in the hope of eluding further \n notice. But when he heard the sound of running feet, he jumped up to \n take the chance of escape by flight. He fell, however, with a keen shoot","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","neither make verses themselves, nor remember the verses that other \n people made for them; while those who were never afraid were those who \n could make verses for themselves; for although there were certain old \n rhymes which were very effectual, yet it was well known that a new \n rhyme, if of the right sort, was even more distasteful to them, and \n therefore more effectual in putting them to flight. \n \n Perhaps my readers may be wondering what the goblins could be about,","eleven of the knights on their legs again. \n \n \"Stamp on their feet!\" he cried, as each man rose, and in a few minutes \n the hall was nearly empty, the goblins running from it as fast as they \n could, howling and shrieking and limping, and cowering every now and \n then as they ran to cuddle their wounded feet in their hard hands, or to \n protect them from the frightful stamp-stamp of the armed men. \n","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","some of them bad, that he succeeded in killing him with his pocket \n knife. Having dragged him out, he made haste to get in again before \n another should stop up the way. \n \n I need not follow him farther in this night's adventures. He returned to \n his breakfast, satisfied that the goblins were mining in the direction \n of the palace--on so low a level that their intention must, he thought, \n be to burrow under the walls of the king's house, and rise up inside","But still he had made no discovery as to what the goblin miners were \n about. \n \n \n \n \n CHAPTER XIII \n \n THE COBS' CREATURES \n \n \n ABOUT this time, the gentlemen whom the king had left behind him to \n watch over the princess, had each occasion to doubt the testimony of his \n own eyes, for more than strange were the objects to which they would \n bear witness. They were of one sort--creatures--but so grotesque and","the goblins. It was true they had no wild animals down there--at least \n they did not know of any; but they had a wonderful number of tame ones. \n I must, however, reserve any contributions toward the natural history of \n these for a later position in my story. \n \n At length, turning a corner too abruptly, he had almost rushed into the \n middle of the goblin family; for there they had already set down all \n their burdens on the floor of a cave considerably larger than that which","last compelled to acknowledge himself in an evil plight. He sat down and \n tried to think, but soon fell fast asleep. \n \n \n \n \n CHAPTER XIX \n \n GOBLIN COUNSELS \n \n \n HE must have slept a long time, for when he awoke, he felt wonderfully \n restored--indeed he felt almost well, and he was also very hungry. There \n were voices in the outer cave. \n \n Once more then, it was night; for the goblins slept during the day, and","HE had all at once remembered the resolution of the goblins to carry out \n their second plan upon the failure of the first. No doubt they were \n already busy, and the mine was therefore in the greatest danger of being \n flooded and rendered useless--not to speak of the lives of the miners. \n \n When he reached the mouth of the mine, after rousing all the miners \n within reach, he found his father and a good many more just entering. \n They all hurried to the gang by which he had found a way into the goblin","rather than hurt a woman, even if she was a goblin; but here was an \n affair of life and death: forgetting her shoes, he made a great stamp on \n one of her feet. But she instantly returned it with very different \n effect, causing him frightful pain and almost disabling him. His only \n chance with her would have been to attack the granite shoes with his \n pickaxe, but before he could think of that, she had caught him up in her \n arms, and was rushing with him across the cave. She dashed him into a","Keeping in the shade, the watchers had a few moments to recover \n themselves before the hideous assembly suspected their presence; but all \n at once, as if by common consent, they scampered off in the direction \n of a great rock, and vanished before the men had come to sufficiently to \n think of following them. \n \n My readers will suspect what these were; but I will now give them full \n information concerning them. They were of course household animals \n belonging to the goblins, whose ancestors had taken their ancestors many","\"Yes, my boy. The goblin's glory is his head. To think how the fellows \n up above there have to put on helmets and things when they go fighting. \n Ha! ha!\" \n \n \"But why don't we wear shoes like them, father? I should like \n it--specially when I've got a chest like that on my head.\" \n \n \"Well, you see, it's not the fashion. The king never wears shoes.\" \n \n \"The queen does.\" \n","ill-success. Every other night or so he followed the goblins about, as \n they went on digging and boring, and getting as near them as he could, \n watched them from behind stones and rocks; but as yet he seemed no \n nearer finding out what they had in view. As at first, he always kept \n hold of the end of his string, while his pickaxe left just outside the \n hole by which he entered the goblins' country from the mine, continued \n to serve as an anchor and hold fast the other end. The goblins hearing","\"What is that noise?\" she asked. \"Do you know, Curdie?\" \n \n \"Yes. It is the goblins digging and burrowing,\" he answered. \n \n \"And don't you know for what purpose they do it?\" \n \n \"No; I haven't the least idea. Would you like to see them?\" he asked, \n wishing to have another try after their secret. \n \n \"If my thread took me there, I shouldn't much mind; but I don't want to"],["hand. Her touch was so pleasant and cool, that it seemed to drive away \n the pain and heat wherever it came. \n \n \"Oh, grandmother! it is _so_ nice!\" said Irene. \"Thank you; thank you.\" \n \n Then the old lady went to a chest of drawers, and took out a large \n handkerchief of gossamer-like cambric, which she tied around her hand. \n \n \"I don't think that I can let you go away to-night,\" she said. \"Do you","The old lady left her, and going to a strange-looking cabinet, opened it \n and took out a curious silver casket. Then she sat down on a low chair, \n and calling Irene, made her kneel before her, while she looked at her \n hand. Having examined it, she opened the casket, and took from it a \n little ointment. The sweetest odor filled the room--like that of roses \n and lilies--as she rubbed the ointment gently all over the hot swollen","\"She speaks,\" thought Irene, \"just as if she had seen me five minutes \n ago, or yesterday at the farthest.--No,\" she answered; \"I don't know \n what you are spinning. Please, I thought you were a dream. Why couldn't \n I find you before, great-great-grandmother?\" \n \n \"That you are hardly old enough to understand. But you would have found \n me sooner if you hadn't come to think I was a dream. I will give you one","\"Yes. But, remember, it may seem to you a very roundabout way indeed, \n and you must not double the thread. Of one thing you may be sure, that \n while you hold it, I hold it too.\" \n \n \"It is very wonderful!\" said Irene thoughtfully. Then suddenly becoming \n aware, she jumped up, crying--\"Oh, grandmother! here I have been sitting \n all this time in your chair, and you standing! I _beg_ your pardon.\" \n \n The lady laid her hand on her shoulder and said: \n","\"Oh, grandmother! you'll make yourself such a mess!\" cried Irene, \n clinging to her. \n \n \"You darling! do you think I care more for my dress than for my little \n girl? Beside--look here!\" \n \n As she spoke she set her down, and Irene saw to her dismay that the \n lovely dress was covered with the mud of her fall on the mountain road. \n But the lady stooped to the fire, and taking from it, by the stalk in","This was the question he almost always put to her first after their meal \n together; and Irene had been waiting for it with some impatience, for \n now, she thought, she should be able to settle a question which \n constantly perplexed her. \n \n \"I should like you to take me to see my great old grandmother.\" \n \n The king looked grave, and said-- \n \n \"What does my little daughter mean?\" \n \n \"I mean the Queen Irene that lives up in the tower--the very old lady,","\"Ah! then you can't help it,\" said Irene, \"and I will not be vexed with \n you any more. I will give you a kiss and go to sleep.\" \n \n \"You little angel!\" cried the nurse, and caught her out of bed, and \n walked about the room with her in her arms, kissing and hugging her. \n \n \"You _will_ let me take you to see my dear old great big grandmother, \n won't you?\" said the princess, as she laid her down again. \n","Irene called out-- \n \n \"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \n grandmother had been to see you.--Don't you smell the roses? It was my \n grandmother healed your leg, and sent you to help me.\" \n \n \"No, Princess Irene,\" said Curdie; \"I wasn't good enough to be allowed \n to help you: I didn't believe you. Your grandmother took care of you \n without me.\" \n","confess that I have sometimes been afraid about my children--sometimes \n about you, Irene.\" \n \n \"Oh, I'm so sorry, grandmother!--To-night, I suppose, you mean.\" \n \n \"Yes--a little to-night; but a good deal when you had all but made up \n your mind that I was a dream, and no real great-great-grandmother. You \n must not suppose that I am blaming you for that, I daresay it was out of \n your power to help it.\" \n","\"I've got it now, you see,\" she said, coming back to the princess, \"all \n ready for you when you want it.\" \n \n Going to her cabinet, she laid it in the same drawer as before. \n \n \"And here is your ring,\" she added, taking it from the little finger of \n her left hand, and putting it on the forefinger of Irene's right hand. \n \n \"Oh, thank you, grandmother. I feel so safe now!\" \n","her fingers, one of the burning roses, passed it once and again and a \n third time over the front of her dress; and when Irene looked, not a \n single stain was to be discovered. \n \n \"There!\" said her grandmother, \"you won't mind coming to me now?\" \n \n But Irene again hung back, eyeing the flaming rose which the lady held \n in her hand. \n \n \"You're not afraid of the rose--are you?\" she said, and she was about to","\"Thank you, grandmother; I will--I will indeed,\" answered Irene, and was \n again silent for some moments thinking. Then she said, \"How was it, \n grandmother, that I saw your beautiful lamp--not the light of it \n only--but the great round silver lamp itself, hanging alone in the great \n open air high up? It was your lamp I saw--wasn't it?\" \n \n \"Yes, my child; it was my lamp.\" \n \n \"Then how was it? I don't see a window all round.\" \n","\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \n home. Mayn't I call this my home?\" \n \n \"You may, my child. And I trust you will always think it your home. Now \n come. I must take you back without any one seeing you.\" \n \n \"Please, I want to ask you one question more,\" said Irene. \"Is it \n because you have your crown on that you look so young?\" \n","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n","a little cry of pain. \n \n \"My child!\" said, her grandmother, \"what is the matter?\" \n \n Irene held her hand into the moonlight, that the old lady might see it, \n and told her all about it, at which she looked grave. But she only \n said--\"Give me your other hand\"; and, having led her out upon the little \n dark landing, opened the door on the opposite side of it. What was \n Irene's surprise to see the loveliest room she had ever seen in her","Irene's, and did something with the two--Irene could not tell what. \n \n \"Give me your hand,\" she said. \n \n Irene held up her right hand. \n \n \"Yes, that is the hand I want,\" said the lady, and put the ring on the \n forefinger of it. \n \n \"What a beautiful ring!\" said Irene. \"What is the stone called?\" \n \n \"It is a fire-opal.\" \n \n \"Please, am I to keep it?\" \n","\"Oh! I'm not to take it with me! You are going to keep it for me!\" \n \n \"You are to take it with you. I've fastened the end of it to the ring on \n your finger.\" \n \n Irene looked at the ring. \n \n \"I can't see it there, grandmother,\" she said. \n \n \"Feel--a little way from the ring--toward the cabinet,\" said the lady. \n","And still she held out her arms. \n \n \"But, grandmother, you're so beautiful and grand with your crown on! and \n I am so dirty with mud and rain!--I should quite spoil your beautiful \n blue dress.\" \n \n With a merry little laugh, the lady sprang from her chair, more lightly \n far than Irene herself could, caught the child to her bosom, and kissing \n the tear-stained face over and over, sat down with her in her lap. \n","\"Dear grandmother,\" said Irene, \"I'm not so sure that I haven't done \n something wrong. I ought to have run up to you at once when the \n long-legged cat came in at the window, instead of running out on the \n mountain, and making myself such a fright.\" \n \n \"You were taken by surprise, my child, and are not so likely to do it \n again. It is when people do wrong things willfully that they are the \n more likely to do them again. Come.\" \n","\"No, thank you,\" said Irene. \"I can walk very well, though I can't run \n so fast as nursie. If you will give me one hand, Lootie will give me \n another, and then I shall get on famously.\" \n \n They soon had her between them, holding a hand of each. \n \n \"Now let's run,\" said the nurse. \n \n \"No, no,\" said the little miner. \"That's the worst thing you can do. If"],["cave would have appalled Curdie, but for the good hope it gave him. They \n were tumbling over each other in heaps in their eagerness to rush from \n the cave, when a new assailant suddenly faced him:--the queen, with \n flaming eyes and expanded nostrils, her hair standing half up from her \n head, rushed at him. She trusted in her shoes; they were of \n granite--hollowed like French _sabots_. Curdie would have endured much","And now Curdie approached the group which, trusting in the queen and her \n shoe, kept their guard over the prostrate captain. The king sat on the \n captain's head, but the queen stood in front, like an infuriated cat, \n with her perpendicular eyes gleaming green, and her hair standing half \n up from her horrid head. Her heart was quaking, however, and she kept \n moving about her skin-shod foot with nervous apprehension. When Curdie","The queen went stumping along in one shoe of stone and one of skin. This \n could not have been pleasant, and my readers may wonder that, with such \n skillful workmen about her, she had not yet replaced the shoe carried \n off by Curdie. As the king however had more than one ground of objection \n to her stone shoes, he no doubt took advantage of the discovery of her \n toes, and threatened to expose her deformity if she had another made. I \n presume he insisted on her being content with skin-shoes, and allowed","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","rather than hurt a woman, even if she was a goblin; but here was an \n affair of life and death: forgetting her shoes, he made a great stamp on \n one of her feet. But she instantly returned it with very different \n effect, causing him frightful pain and almost disabling him. His only \n chance with her would have been to attack the granite shoes with his \n pickaxe, but before he could think of that, she had caught him up in her \n arms, and was rushing with him across the cave. She dashed him into a","\"Yes, my boy. The goblin's glory is his head. To think how the fellows \n up above there have to put on helmets and things when they go fighting. \n Ha! ha!\" \n \n \"But why don't we wear shoes like them, father? I should like \n it--specially when I've got a chest like that on my head.\" \n \n \"Well, you see, it's not the fashion. The king never wears shoes.\" \n \n \"The queen does.\" \n","rest of the miners, and they at once proceeded to make another outlet \n for the waters. By setting all hands to the work, tunneling here and \n building there, they soon succeeded; and having also made a little \n tunnel to drain the water away from under the king's house, they were \n soon able to get into the wine cellar, where they found a multitude of \n dead goblins--among the rest the queen, with the skin-shoe gone, and the","actually true: she had six horrible toes. Overjoyed at his success, and \n seeing by the huge bump in the sheep skins where the other foot was, he \n proceeded to lift them gently, for, if he could only succeed in carrying \n away the other shoe as well, he would be no more afraid of the goblins \n than of so many flies. But as he pulled at the second shoe, the queen \n gave a growl and sat up in bed. The same instant the king awoke also, \n and sat up beside her. \n"," \"Where 'tis all a hole, sir, \n Never can be holes: \n Why should their shoes have soles, sir, \n When they've got no souls? \n \n \"But she upon her foot, sir, \n Has a granite shoe: \n The strongest leather boot, sir, \n Six would soon be through.\" \n \n The queen gave a howl of rage and dismay; and before she recovered her \n presence of mind, Curdie, having begun with the group nearest him, had","back, held the torch low in front of her. Curdie drew his pickaxe \n carefully away, and as he did so, spied one of her feet, projecting from \n under the skins. The great clumsy granite shoe, exposed thus to his \n hand, was a temptation not to be resisted. He laid hold of it, and with \n cautious efforts, drew it off. The moment he succeeded, he saw to his \n astonishment that what he had sung in ignorance, to annoy the queen, was","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","They could not vanish so fast, however, but that many more goblin feet \n had to go limping back over the underground ways of the mountain that \n morning. \n \n Presently however they were reinforced from above by the king and his \n party, with the redoubtable queen at their head. Finding Curdie again \n busy amongst her unfortunate subjects, she rushed at him once more with \n the rage of despair, and this time gave him a bad bruise on the foot."," \"Go to bed, \n Goblin, do. \n Help the queen \n Take off her shoe. \n \n \"If you do, \n It will disclose \n A horrid set \n Of sprouting toes.\" \n \n \"What a lie!\" roared the queen in a rage. \n \n \"By the way, that reminds me,\" said the king, \"that, for as long as we \n have been married, I have never seen your feet, queen. I think you might","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","working toward the king's house; and what I want to do to-night is to \n make sure whether they are or not. I will take a light with me--\" \n \n \"Oh, Curdie,\" cried his mother, \"then they will see you.\" \n \n \"I'm no more afraid of them now than I was before,\" rejoined \n Curdie,--\"now that I've got this precious shoe. They can't make another \n such in a hurry, and one bare foot will do for my purpose. Woman as she","\"Yes; but that's for distinction. The first queen, you see--I mean the \n king's first wife--wore shoes of course, because she came from upstairs; \n and so, when she died, the next queen would not be inferior to her as \n she called it, and would wear shoes too. It was all pride. She is the \n hardest in forbidding them to the rest of the women.\" \n \n \"I'm sure I wouldn't wear them--no, not for--that I wouldn't!\" said the","great roar from the king. \n \n \"Will you be quiet then?\" said the queen wickedly. \n \n \"Yes, yes, queen. I only meant to coax you.\" \n \n \"Hands off!\" cried the queen triumphantly. \"I'm going to bed. You may \n come when you like. But as long as I am queen, I will sleep in my shoes. \n It is my royal privilege. Harelip, go to bed.\" \n \n \"I'm going,\" said Harelip sleepily. \n","take off your shoes when you go to bed! They positively hurt me \n sometimes.\" \n \n \"I will do just as I like,\" retorted the queen sulkily. \n \n \"You ought to do as your hubby wishes you,\" said the king. \n \n \"I will not,\" said the queen. \n \n \"Then I insist upon it,\" said the king. \n \n Apparently his Majesty approached the queen for the purpose of following \n the advice given by Curdie, for the latter heard a scuffle, and then a","\"You forget yourself, my dear!\" said the king. \n \n \"I don't,\" said the queen, \"nor you either. If you expect _me_ to \n approve of such coarse tastes, you will find yourself mistaken. _I_ \n don't wear shoes for nothing.\" \n \n \"You must acknowledge, however,\" the king said, with a little groan, \n \"that this at least is no whim of Harelip's, but a matter of \n state-policy. You are well aware that his gratification comes purely"],["_I_ took good care of that--the wretch! And _he_ was prowling about--was \n he? Just like his impudence!\" \n \n The princess being fast asleep, and Curdie in a faint, she could \n misrepresent at her pleasure. \n \n When he heard this, the captain, although he had considerable doubt of \n its truth, resolved to keep Curdie a prisoner until they could search \n into the affair. So, after they had brought him round a little, and","Curdie as well. \n \n \n \n \n CHAPTER VII \n \n THE MINES \n \n \n CURDIE went home whistling. He resolved to say nothing about the \n princess for fear of getting the nurse into trouble, for while he \n enjoyed teasing her because of her absurdity, he was careful not to do \n her any harm. He saw no more of the goblins, and was soon fast asleep in \n his bed. \n \n He woke in the middle of the night, and thought he heard curious noises","\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","\"That I will. I don't want them to know anything about it. They would \n spoil it all. The cobs would only try some other plan--they are such \n obstinate creatures! I shall take good care, mother. They won't kill and \n eat me either, if they should come upon me. So you needn't mind them.\" \n \n His mother got him what he asked for, and Curdie set out. Close beside \n the door by which the princess left the garden for the mountain, stood a","working all night long, seeing they never carried up the ore and sold \n it; but when I have informed them concerning what Curdie learned the \n very next night, they will be able to understand. \n \n For Curdie had determined, if his father would permit him, to remain \n there alone this night--and that for two reasons: first, he wanted to \n get extra wages in order that he might buy a very warm red petticoat for \n his mother, who had begun to complain of the cold of the mountain air","\"What were they?\" asked his father. \"Your mother may be able to throw \n some light upon them.\" \n \n Then Curdie made a clean breast of it, and told them everything. \n \n They all sat silent for some time, pondering the strange tale. At last \n Curdie's mother spoke. \n \n \"You confess, my boy,\" she said, \"there is something about the whole \n affair you do not understand?\" \n \n \"Yes, of course, mother,\" he answered, \"I cannot understand how a child","working toward the king's house; and what I want to do to-night is to \n make sure whether they are or not. I will take a light with me--\" \n \n \"Oh, Curdie,\" cried his mother, \"then they will see you.\" \n \n \"I'm no more afraid of them now than I was before,\" rejoined \n Curdie,--\"now that I've got this precious shoe. They can't make another \n such in a hurry, and one bare foot will do for my purpose. Woman as she","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","\"What is that noise?\" she asked. \"Do you know, Curdie?\" \n \n \"Yes. It is the goblins digging and burrowing,\" he answered. \n \n \"And don't you know for what purpose they do it?\" \n \n \"No; I haven't the least idea. Would you like to see them?\" he asked, \n wishing to have another try after their secret. \n \n \"If my thread took me there, I shouldn't much mind; but I don't want to","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","just room to walk. Make haste, Curdie.\" \n \n He tried, but the hole was too small for him to get in. \n \n \"Go on a little bit,\" he said, shouldering his pickaxe. \n \n In a few moments he had cleared a large opening and followed her. They \n went on, down and down with the running water, Curdie getting more and \n more afraid it was leading them to some terrible gulf in the heart of \n the mountain. In one or two places he had to break away the rock to make","\"Well, I will tell you all about it--if you will promise to listen to me \n and not do anything rash.\" \n \n \"I call that cool!\" said one of the party laughing. \"He will tell us \n what mischief he was about, if we promise to do as pleases him.\" \n \n \"I was about no mischief,\" said Curdie. \n \n But ere he could say more he turned faint, and fell senseless on the \n grass. Then first they discovered that the bolt they had shot, taking","\"You can tell me all about it when we get out, then. There's no time to \n lose now,\" said Curdie. \n \n And Irene went to work, as fresh as when she began. \n \n \"There's such a lot of stones!\" she said. \"It will take me a long time \n to get them all away.\" \n \n \"How far on have you got?\" asked Curdie. \n \n \"I've got about the half way, but the other half is ever so much \n bigger.\" \n","hands, and soon found that some of the stones were loose enough to be \n drawn out with little noise. \n \n Laying hold of a large one with both his hands, he drew it gently out, \n and let it down softly. \n \n \"What was that noise?\" said the goblin father. \n \n Curdie blew out his light, lest it should shine through. \n \n \"It must be that one miner that stayed behind the rest,\" said the \n mother. \n","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","while Curdie was searching the floor of the cavern for his pickaxe. \n \n [Illustration: Curdie went on after her, flashing his torch about.] \n \n \"Here it is!\" he cried. \"No, it is not!\" he added, in a disappointed \n tone. \"What can it be then?--I declare it's a torch. That _is_ jolly! \n It's better almost than my pickaxe. Much better if it weren't for those","have missed much more than she would a new petticoat even in winter. Not \n that she and Curdie ever thought of how much they worked for each other: \n that would have spoiled everything. \n \n When left alone in the mine, Curdie always worked on for an hour or two \n first, following the lode which, according to Glump, would lead at last \n into the deserted habitation. After that, he would set out on a \n reconnoitering expedition. In order to manage this, or rather the return","pickaxe, and caught hold of her hand, as she sped fearlessly where her \n thread guided her. They heard the queen give a great bellow; but they \n had a good start, for it would be some time before they could get \n torches lighted to pursue them. Just as they thought they saw a gleam \n behind them, the thread brought them to a very narrow opening, through \n which Irene crept easily, and Curdie with difficulty. \n \n \"Now,\" said Curdie; \"I think we shall be safe.\" \n","\"I see no good in trying to excuse him. He has no business here anyhow.\" \n \n \"Let me go away then, if you please,\" said Curdie. \n \n \"But we don't please--not except you give a good account of yourself.\" \n \n \"I don't feel quite sure whether I can trust you,\" said Curdie. \n \n \"We are the king's own men-at-arms,\" said the captain, courteously, for \n he was taken with Curdie's appearance and courage. \n"],["when--thanks to his Majesty's inventive genius--it will be in our power \n to take a thorough revenge upon them once for all, in respect of their \n unfriendly behavior.\" \n \n \"May it please your Majesty--\" cried a voice close by the door, which \n Curdie recognized as that of the goblin he had followed. \n \n \"Who is he that interrupts the Chancellor?\" cried another from near the \n throne. \n \n \"Glump,\" answered several voices. \n","Lootie; but nowhere could he see the princess. Seized with the horrible \n conviction that Harelip had already carried her off, he rushed amongst \n them, unable for wrath to sing any more, but stamping and cutting with \n greater fury than ever. \n \n \"Stamp on their feet; stamp on their feet!\" he shouted, and in a moment \n the goblins were disappearing through the hole in the floor like rats \n and mice. \n","dismayed goblin lurking here and there, they found no one--while he \n requested Lootie to take him to the princess's room. She was as \n submissive and obedient as if he had been the king. He found the \n bed-clothes tossed about, and most of them on the floor, while the \n princess's garments were scattered all over the room, which was in the \n greatest confusion. It was only too evident that the goblins had been","\"Their own people do, though,\" answered Curdie. \n \n The princess asked more questions, and Curdie, as they walked leisurely \n along, gave her a full account, not only of the character and habits of \n the goblins, so far as he knew them, but of his own adventures with \n them, beginning from the very night after that in which he had met her \n and Lootie upon the mountain. When he had finished, he begged Irene to","him for one of the goblin creatures, had wounded him. \n \n They carried him into the house, and laid him down in the hall. The \n report spread that they had caught a robber, and the servants crowded in \n to see the villain. Amongst the rest came the nurse. The moment she saw \n him she exclaimed with indignation: \n \n \"I declare it's the same young rascal of a miner that was rude to me and \n the princess on the mountain. He actually wanted to kiss the princess.","\"Stop that disgusting noise!\" cried the crown-prince valiantly, getting \n up and standing in front of the heap of stones, with his face toward \n Curdie's prison.--\"Do now, or I'll break your head.\" \n \n \"Break away,\" shouted Curdie, and began singing again-- \n \n \"Once there was a goblin \n Living in a hole,--\" \n \n \"I really cannot bear it,\" said the queen. \"If I could only get at his","\"I don't know him.\" \n \n \"I'm his son, though.\" \n \n \"And why should the goblins mind _you_, pray?\" \n \n \"Because I don't mind them. I'm used to them.\" \n \n \"What difference does that make?\" \n \n \"If you're not afraid of them, they're afraid of you. I'm not afraid of \n them. That's all. But it's all that's wanted--up here, that is. It's a","of the goblin-body. He made a sudden rush at the king, and stamped with \n all his might on his Majesty's feet. The king gave a most unkingly howl, \n and almost fell into the fire. Curdie then rushed into the crowd, \n stamping right and left. The goblins drew back howling on every side as \n he approached, but they were so crowded that few of those he attacked \n could escape his tread; and the shrieking and roaring that filled the","THE king's harper, who always formed a part of his escort, was chanting \n a ballad which he made as he went on playing on his instrument--about \n the princess and the goblins, and the prowess of Curdie, when all at \n once he ceased, with his eyes on one of the doors of the hall. Thereupon \n the eyes of the king and his guests turned thitherward also. The next \n moment, through the open doorway came the princess Irene. She went","hall, in which, the moment he entered it, arose a great goblin shout. \n The last of the men-at-arms, the captain himself, was on the floor, \n buried beneath a wallowing crowd of goblins. For, while each knight was \n busy defending himself as well as he could, by stabs in the thick bodies \n of the goblins, for he had soon found their heads all but invulnerable, \n the queen had attacked his legs and feet with her horrible granite shoe,","for the very thought of that sweet little face down amongst the goblins \n was unendurable. \n \n When Curdie ran in at the gate with the princess in his arms, they were \n all so absorbed in their own misery and awed by the king's presence and \n grief, that no one observed his arrival. He went straight up to the \n king, where he sat on his horse. \n \n \"Papa! papa!\" the princess cried, stretching out her arms to him; \"here \n I am!\" \n","confidently as if she knew every step of the way. Curdie went on after \n her, flashing his torch about, and trying to see something of what lay \n around them. Suddenly he started back a pace as the light fell upon \n something close by which Irene was passing. It was a platform of rock \n raised a few feet from the floor and covered with sheep skins, upon \n which lay two horrible figures asleep, at once recognized by Curdie as \n the king and queen of the goblins. He lowered his torch instantly lest","last compelled to acknowledge himself in an evil plight. He sat down and \n tried to think, but soon fell fast asleep. \n \n \n \n \n CHAPTER XIX \n \n GOBLIN COUNSELS \n \n \n HE must have slept a long time, for when he awoke, he felt wonderfully \n restored--indeed he felt almost well, and he was also very hungry. There \n were voices in the outer cave. \n \n Once more then, it was night; for the goblins slept during the day, and","and he was soon down; but the captain had got his back to the wall and \n stood out longer. The goblins would have torn them all to pieces, but \n the king had given orders to carry them away alive, and over each of \n them, in twelve groups, was standing a knot of goblins, while as many as \n could find room were sitting upon their prostrate bodies. \n \n Curdie burst in dancing and gyrating and stamping and singing like a \n small incarnate whirlwind, \n","themselves, to which they might retreat when the miners should threaten \n to break into their dwellings. But he had learned two things of far \n greater importance. The first was, that some grievous calamity was \n preparing, and almost ready to fall upon the heads of the miners; the \n second was--the one weak point of a goblin's body: he had not known that \n their feet were so tender as he had now reason to suspect. He had heard \n it said that they had no toes: he had never had opportunity of","afraid of the goblins to let her out of the house then, even in company \n with ever so many attendants; and they had good reason, as we shall see \n by-and-by. \n \n \n \n \n CHAPTER II \n \n THE PRINCESS LOSES HERSELF \n \n \n I HAVE said the Princess Irene was about eight years old when my story \n begins. And this is how it begins. \n \n One very wet day, when the mountain was covered with mist which was","The nurse was comforted at hearing this, and said no more. They went on, \n walking pretty fast, but taking care not to run a step. \n \n \"I want to talk to you,\" said Irene to the little miner; \"but it's so \n awkward! I don't know your name.\" \n \n \"My name's Curdie, little princess.\" \n \n \"What a funny name! Curdie! What more?\" \n \n \"Curdie Peterson. What's your name, please?\" \n","all to the advantage of the goblin kingdom, will be established for a \n generation at least, rendered absolutely secure by the pledge which his \n royal Highness the prince will have and hold for the good behavior of \n his relatives. Should his Majesty fail--which who shall dare even to \n imagine in his most secret thoughts?--then will be the time for carrying \n out with rigor the design to which Glump referred, and for which our \n preparations are even now all but completed. The failure of the former \n will render the latter imperative.\" \n"," GUTENBERG EBOOK THE PRINCESS AND THE GOBLIN *** \n \n \n \n \n Produced by Suzanne Shell, Emmy and the Online Distributed \n Proofreading Team at http://www.pgdp.net (This file was \n produced from images generously made available by The \n Internet Archive/American Libraries.) \n \n \n \n \n \n \n \n \n \n \n \n \n THE PRINCESS AND THE GOBLIN \n","No sooner did they and where they were, than they scurried back again, \n like rats into their holes, and running at full speed to the goblin \n palace, announced their success to the king and queen with shouts of \n triumph. In a moment the goblin royal family and the whole goblin people \n were on their way in hot haste to the king's house, each eager to have a \n share in the glory of carrying off that same night the Princess Irene. \n"],["\"I too think you are right, Curdie,\" he said, \"and I will not ask you \n again. But I shall have a chance of doing something for you some time.\" \n \n \"Your Majesty has already allowed me to serve you,\" said Curdie. \n \n \"But, Curdie,\" said his mother, \"why shouldn't you go with the king? We \n can get on very well without you.\" \n \n \"But I can't get on very well without you,\" said Curdie. \"The king is","\"I see no good in trying to excuse him. He has no business here anyhow.\" \n \n \"Let me go away then, if you please,\" said Curdie. \n \n \"But we don't please--not except you give a good account of yourself.\" \n \n \"I don't feel quite sure whether I can trust you,\" said Curdie. \n \n \"We are the king's own men-at-arms,\" said the captain, courteously, for \n he was taken with Curdie's appearance and courage. \n","with me. He shall enter my bodyguard at once, and wait further \n promotion.\" \n \n Peter and his wife, overcome, only murmured almost inaudible thanks. But \n Curdie spoke aloud. \n \n \"Please your Majesty,\" he said, \"I cannot leave my father and mother.\" \n \n \"That's right, Curdie!\" cried the princess. \"_I_ wouldn't if I was you.\" \n \n The king looked at the princess and then at Curdie with a glow of \n satisfaction on his countenance. \n","\"With pleasure, if your majesty will give me a guide,\" said Curdie. \n \n \"I will give you a thousand,\" said the king, with a scoffing air of \n magnificent liberality. \n \n \"One will be quite sufficient,\" said Curdie. \n \n But the king uttered a strange shout, half halloo, half roar, and in \n rushed goblins till the cave was swarming. He said something to the \n first of them which Curdie could not hear, and it was passed from one to","\"So am I,\" said the king. \n \n \"Come along then,\" said the queen; \"and mind you are good, or I'll--\" \n \n \"Oh, no, no, no!\" screamed the king, in the most supplicating of tones. \n \n Curdie heard only a muttered reply in the distance; and then the cave \n was quite still. \n \n They had left the fire burning, and the light came through brighter than \n before. Curdie thought it was time to try again if anything could be","working toward the king's house; and what I want to do to-night is to \n make sure whether they are or not. I will take a light with me--\" \n \n \"Oh, Curdie,\" cried his mother, \"then they will see you.\" \n \n \"I'm no more afraid of them now than I was before,\" rejoined \n Curdie,--\"now that I've got this precious shoe. They can't make another \n such in a hurry, and one bare foot will do for my purpose. Woman as she","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","king. Whatever he did to them, they would threaten to do the same to the \n princess.\" \n \n \"And they are bad enough to torment her just for their own amusement--I \n know that,\" said his mother. \n \n \"Anyhow, I will keep a watch on them, and see what they are up to,\" said \n Curdie. \"It's too horrible to think of. I daren't let myself do it. But","\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","When the king had got out of the way of the water, a little up the \n mountain, he stood with the princess in his arms, looking back with \n amazement on the issuing torrent, which glimmered fierce and foamy \n through the night. There Curdie rejoined them. \n \n \"Now, Curdie,\" said the king, \"what does it mean! Is this what you \n expected?\" \n \n \"It is, your Majesty,\" said Curdie; and proceeded to tell him about the","the upper part of the cavern wall. Upon this sat the king and his court, \n the king on a throne hollowed out of a huge block of green copper ore, \n and his court upon lower seats around it. The king had been making them \n a speech, and the applause which followed it was what Curdie had heard. \n One of the court was now addressing the multitude. What he heard him say \n was to the following effect: \n \n \"Hence it appears that two plans have been for some time together","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","vanished in the darkness far aloft. The sides of the cave were full of \n shining minerals like those of the palace-hall; and the company was \n evidently of a superior order, for every one wore stones about head, or \n arms, or waist, shining, dull, gorgeous colors in the light of the fire. \n Nor had Curdie looked long before he recognized the king himself, and \n found that he had made his way into the inner apartment of the royal \n family. He had never had such a good chance of hearing something! He","very kind, but I could not be half the use to him that I am to you. \n Please your Majesty, if you wouldn't mind giving my mother a red \n petticoat! I should have got her one long ago, but for the goblins.\" \n \n \"As soon as we get home,\" said the king, \"Irene and I will search out \n the warmest one to be found, and send it by one of the gentlemen.\" \n \n \"Yes, that we will, Curdie!\" said the princess. \n","\"And next summer we'll come back and see you wear it, Curdie's mother,\" \n she added. \"Sha'n't we, king-papa?\" \n \n \"Yes, my love; I hope so,\" said the king. \n \n Then turning to the miners, he said---- \n \n \"Will you do the best you can for my servants to-night? I hope they will \n be able to return to the house to-morrow.\" \n \n The miners with one voice promised their hospitality. \n","there, and Curdie had no longer any doubt that she had been carried off \n at the very first of the inroad. With a pang of despair he saw how wrong \n they had been in not securing the king and queen and prince; but he \n determined to find and rescue the princess as she had found and rescued \n him, or meet the worst fate to which the goblins could doom him. \n \n \n \n \n CHAPTER XXVIII \n \n CURDIE'S GUIDE \n \n","and the news that dead goblins were tossing about in the current through \n the house. They had been caught in their own snare; instead of the mine \n they had flooded their own country, whence they were now swept up \n drowned. Irene shuddered, but the king held her close to his bosom. Then \n he turned to Sir Walter, and said-- \n \n \"Bring Curdie's father and mother here.\" \n \n \"I wish,\" said the king, when they stood before him, \"to take your son","They all parted asunder as the king made a sign to her to come forward. \n She obeyed, and he gave her his hand, but could not speak. \n \n \"And now, king-papa,\" the princess went on, \"I must tell you another \n thing. One night long ago Curdie drove the goblins away and brought \n Lootie and me safe from the mountain. And I promised him a kiss when we \n got home, but Lootie wouldn't let me give it to him. I would not have","Then the king commanded his servants to mind whatever Curdie should say \n to them, and after shaking hands with him and his father and mother, the \n king and the princess and all their company rode away down the side of \n the new stream which had already devoured half the road, into the starry \n night. \n \n \n \n \n CHAPTER XXXII \n \n THE LAST CHAPTER \n \n \n ALL the rest went up the mountain, and separated in groups to the homes","\"I'm Irene,\" answered the princess. \"I know who you are quite well. \n You're Curdie.\" \n \n \"Why, how ever did you come here, Irene?\" \n \n \"My great-great-grandmother sent me; and I think I've found out why. You \n can't get out, I suppose?\" \n \n \"No, I can't. What are you doing?\" \n \n \"Clearing away a huge heap of stones.\" \n"],["\"I'm sorry for that, father,\" said Curdie. \n \n \"Oh! it's not much. You'll be sure to take care of yourself, won't you?\" \n \n \"Yes, father; I will. I'll keep a sharp lookout, I promise you.\" \n \n Curdie was the only one who remained in the mine. About six o'clock the \n rest went away, every one bidding him good night, and telling him to \n take care of himself; for he was a great favorite with them all. \n","\"Well, I will tell you all about it--if you will promise to listen to me \n and not do anything rash.\" \n \n \"I call that cool!\" said one of the party laughing. \"He will tell us \n what mischief he was about, if we promise to do as pleases him.\" \n \n \"I was about no mischief,\" said Curdie. \n \n But ere he could say more he turned faint, and fell senseless on the \n grass. Then first they discovered that the bolt they had shot, taking","\"I too think you are right, Curdie,\" he said, \"and I will not ask you \n again. But I shall have a chance of doing something for you some time.\" \n \n \"Your Majesty has already allowed me to serve you,\" said Curdie. \n \n \"But, Curdie,\" said his mother, \"why shouldn't you go with the king? We \n can get on very well without you.\" \n \n \"But I can't get on very well without you,\" said Curdie. \"The king is","\"Oh, thank you, Curdie!\" said the princess, and stopped crying. \n \n \"Good night, Irene; good night, Lootie,\" said Curdie, and turned and was \n out of sight in a moment. \n \n \"I should like to see him!\" muttered the nurse, as she carried the \n princess to the nursery. \n \n \"You _will_ see him,\" said Irene. \"You may be sure Curdie will keep his \n word. He's _sure_ to come again.\" \n","fault, or even an error. If a true princess has done wrong, she is \n always uneasy until she has had an opportunity of throwing the wrongness \n away from her by saying, \"I did it; and I wish I had not; and I am sorry \n for having done it.\" So you see there is some ground for supposing that \n Curdie was not a miner only, but a prince as well. Many such instances \n have been known in the world's history. \n \n At length, however, he began to see signs of a change in the proceedings","\"Stand quite clear of it then,\" said Curdie, \"and let me know when you \n are ready.\" \n \n Irene got off the heap, and stood on one side of it. \n \n \"Now, Curdie!\" she cried. \n \n Curdie gave a great rush with his shoulder against it. Out tumbled the \n slab on the heap, and out crept Curdie over the top of it. \n \n \"You've saved my life, Irene!\" he whispered. \n","with me. He shall enter my bodyguard at once, and wait further \n promotion.\" \n \n Peter and his wife, overcome, only murmured almost inaudible thanks. But \n Curdie spoke aloud. \n \n \"Please your Majesty,\" he said, \"I cannot leave my father and mother.\" \n \n \"That's right, Curdie!\" cried the princess. \"_I_ wouldn't if I was you.\" \n \n The king looked at the princess and then at Curdie with a glow of \n satisfaction on his countenance. \n","think he was getting weak. But he had uttered enough to let Irene know \n who he was. \n \n \"It's Curdie!\" she cried joyfully. \n \n \"Hush, hush!\" came Curdie's voice again from somewhere. \"Speak softly.\" \n \n \"Why, you were singing loud!\" said Irene. \n \n \"Yes. But they know I am here, and they don't know you are. Who are \n you?\" \n","have passed. It was with great difficulty that he forced his way through \n one of them, and up to the door. \n \n The moment his hand fell on the latch, through all the uproar of winds \n and waters came the joyous cry of the princess:-- \n \n \"There's Curdie! Curdie! Curdie!\" \n \n She was sitting wrapped in blankets on the bed, his mother trying for \n the hundredth time to light the fire which had been drowned by the rain","\"I've brought Curdie, grandmother. He wouldn't believe what I told him, \n and so I've brought him.\" \n \n \"Yes--I see him. He is a good boy, Curdie, and a brave boy. Aren't you \n glad you have got him out?\" \n \n \"Yes, grandmother. But it wasn't very good of him not to believe me when \n I was telling him the truth.\" \n \n \"People must believe what they can, and those who believe more must not","\"I see no good in trying to excuse him. He has no business here anyhow.\" \n \n \"Let me go away then, if you please,\" said Curdie. \n \n \"But we don't please--not except you give a good account of yourself.\" \n \n \"I don't feel quite sure whether I can trust you,\" said Curdie. \n \n \"We are the king's own men-at-arms,\" said the captain, courteously, for \n he was taken with Curdie's appearance and courage. \n","Irene found that the thread, as she had half expected, went up the old \n staircase, and a new thought struck her. She turned to Curdie and \n said-- \n \n \"My grandmother wants me. Do come up with me, and see her. Then you will \n know that I have been telling you the truth. Do come--to please me, \n Curdie. I can't bear you should think I say what is not true.\" \n \n \"I never doubted you believed what you said,\" returned Curdie. \"I only","\"You can tell me all about it when we get out, then. There's no time to \n lose now,\" said Curdie. \n \n And Irene went to work, as fresh as when she began. \n \n \"There's such a lot of stones!\" she said. \"It will take me a long time \n to get them all away.\" \n \n \"How far on have you got?\" asked Curdie. \n \n \"I've got about the half way, but the other half is ever so much \n bigger.\" \n","yet able to believe some things. Seeing is not believing--it is only \n seeing. You remember I told you that if Lootie were to see me, she would \n rub her eyes, forget the half she saw, and call the other half \n nonsense.\" \n \n \"Yes; but I should have thought Curdie--\" \n \n \"You are right. Curdie is much farther on than Lootie, and you will see \n what will come of it. But in the meantime, you must be content, I say,","Then Curdie had to explain everything--how he had watched for her sake, \n how he had been wounded and shut up by the soldiers, how he heard the \n noises and could not rise, and how the beautiful old lady had come to \n him, and all that followed. \n \n \"Poor Curdie! to lie there hurt and ill, and me never to know it!\" \n exclaimed the princess, stroking his rough hand. \"I would not have \n hesitated to come and nurse you, if they had told me.\" \n","his tongue. This, of course, annoyed Curdie dreadfully, who now felt in \n his turn what it was not to be believed, and the consequence was that \n his fever returned, and by the time when, at his persistent entreaties, \n the captain was called, there could be no doubt that he was raving. They \n did for him what they could, and promised everything he wanted, but with \n no intention of fulfilment. At last he went to sleep, and when at length \n his sleep grew profound and peaceful, they left him, locked the door","\"What were they?\" asked his father. \"Your mother may be able to throw \n some light upon them.\" \n \n Then Curdie made a clean breast of it, and told them everything. \n \n They all sat silent for some time, pondering the strange tale. At last \n Curdie's mother spoke. \n \n \"You confess, my boy,\" she said, \"there is something about the whole \n affair you do not understand?\" \n \n \"Yes, of course, mother,\" he answered, \"I cannot understand how a child","When the king had got out of the way of the water, a little up the \n mountain, he stood with the princess in his arms, looking back with \n amazement on the issuing torrent, which glimmered fierce and foamy \n through the night. There Curdie rejoined them. \n \n \"Now, Curdie,\" said the king, \"what does it mean! Is this what you \n expected?\" \n \n \"It is, your Majesty,\" said Curdie; and proceeded to tell him about the","_I_ took good care of that--the wretch! And _he_ was prowling about--was \n he? Just like his impudence!\" \n \n The princess being fast asleep, and Curdie in a faint, she could \n misrepresent at her pleasure. \n \n When he heard this, the captain, although he had considerable doubt of \n its truth, resolved to keep Curdie a prisoner until they could search \n into the affair. So, after they had brought him round a little, and","her grandmother, and laid her into the blue bed, under the rosy \n counterpane. \n \n \"There is just one thing more,\" said Irene. \"I am a little anxious about \n Curdie. As I brought him into the house, I ought to have seen him safe \n on his way home.\" \n \n \"I took care of all that,\" answered the lady. \"I told you to let him go, \n and therefore I was bound to look after him. Nobody saw him, and he is"]],"string":"[\n [\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"went to his work, and Curdie and his mother set out to take the princess \\n home. They had difficulty in getting her dry across the streams, and \\n Curdie had again and again to carry her, but at last they got safe on \\n the broader part of the road, and walked gently down toward the king's \\n house. And what should they see as they turned the last corner, but the \\n last of the king's troop riding through the gate! \\n \\n \\\"Oh, Curdie!\\\" cried Irene, clapping her hands right joyfully, \\\"my\",\n \"When the king had got out of the way of the water, a little up the \\n mountain, he stood with the princess in his arms, looking back with \\n amazement on the issuing torrent, which glimmered fierce and foamy \\n through the night. There Curdie rejoined them. \\n \\n \\\"Now, Curdie,\\\" said the king, \\\"what does it mean! Is this what you \\n expected?\\\" \\n \\n \\\"It is, your Majesty,\\\" said Curdie; and proceeded to tell him about the\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"with me. He shall enter my bodyguard at once, and wait further \\n promotion.\\\" \\n \\n Peter and his wife, overcome, only murmured almost inaudible thanks. But \\n Curdie spoke aloud. \\n \\n \\\"Please your Majesty,\\\" he said, \\\"I cannot leave my father and mother.\\\" \\n \\n \\\"That's right, Curdie!\\\" cried the princess. \\\"_I_ wouldn't if I was you.\\\" \\n \\n The king looked at the princess and then at Curdie with a glow of \\n satisfaction on his countenance. \\n\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"there was no way to get them out, except by riding them through the \\n stream, which was now pouring from the lower windows as well as the \\n door. As one horse was quite enough for any man to manage through such a \\n torrent, Curdie got on the king's white charger, and leading the way, \\n brought them all in safety to the rising ground. \\n \\n \\\"Look, look, Curdie!\\\" cried Irene, the moment that, having dismounted, \\n he led the horse up to the king. \\n\",\n \"very kind, but I could not be half the use to him that I am to you. \\n Please your Majesty, if you wouldn't mind giving my mother a red \\n petticoat! I should have got her one long ago, but for the goblins.\\\" \\n \\n \\\"As soon as we get home,\\\" said the king, \\\"Irene and I will search out \\n the warmest one to be found, and send it by one of the gentlemen.\\\" \\n \\n \\\"Yes, that we will, Curdie!\\\" said the princess. \\n\",\n \"\\\"Here, Curdie, take the princess while I get on my horse,\\\" said the \\n king. \\n \\n Curdie took the princess again, and both turned their eyes to the globe \\n of light. The same moment there shot from it a white bird, which, \\n descending with outstretched wings, made one circle round the king and \\n Curdie and the princess, and then glided up again. The light and the \\n pigeon vanished together. \\n \\n \\\"Now, Curdie,\\\" said the princess, as he lifted her to her father's arms,\",\n \"They all parted asunder as the king made a sign to her to come forward. \\n She obeyed, and he gave her his hand, but could not speak. \\n \\n \\\"And now, king-papa,\\\" the princess went on, \\\"I must tell you another \\n thing. One night long ago Curdie drove the goblins away and brought \\n Lootie and me safe from the mountain. And I promised him a kiss when we \\n got home, but Lootie wouldn't let me give it to him. I would not have\",\n \"Then the king commanded his servants to mind whatever Curdie should say \\n to them, and after shaking hands with him and his father and mother, the \\n king and the princess and all their company rode away down the side of \\n the new stream which had already devoured half the road, into the starry \\n night. \\n \\n \\n \\n \\n CHAPTER XXXII \\n \\n THE LAST CHAPTER \\n \\n \\n ALL the rest went up the mountain, and separated in groups to the homes\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"Then Curdie had to explain everything--how he had watched for her sake, \\n how he had been wounded and shut up by the soldiers, how he heard the \\n noises and could not rise, and how the beautiful old lady had come to \\n him, and all that followed. \\n \\n \\\"Poor Curdie! to lie there hurt and ill, and me never to know it!\\\" \\n exclaimed the princess, stroking his rough hand. \\\"I would not have \\n hesitated to come and nurse you, if they had told me.\\\" \\n\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"\\\"I too think you are right, Curdie,\\\" he said, \\\"and I will not ask you \\n again. But I shall have a chance of doing something for you some time.\\\" \\n \\n \\\"Your Majesty has already allowed me to serve you,\\\" said Curdie. \\n \\n \\\"But, Curdie,\\\" said his mother, \\\"why shouldn't you go with the king? We \\n can get on very well without you.\\\" \\n \\n \\\"But I can't get on very well without you,\\\" said Curdie. \\\"The king is\"\n ],\n [\n \"you know, with the long hair of silver.\\\" \\n \\n The king only gazed at his little princess with a look which she could \\n not understand. \\n \\n \\\"She's got her crown in her bedroom,\\\" she went on; \\\"but I've not been in \\n there yet. You know she's here, don't you?\\\" \\n \\n \\\"No,\\\" said the king very quietly. \\n \\n \\\"Then it must be all a dream,\\\" said Irene. \\\"I half thought it was; but\",\n \"This was the question he almost always put to her first after their meal \\n together; and Irene had been waiting for it with some impatience, for \\n now, she thought, she should be able to settle a question which \\n constantly perplexed her. \\n \\n \\\"I should like you to take me to see my great old grandmother.\\\" \\n \\n The king looked grave, and said-- \\n \\n \\\"What does my little daughter mean?\\\" \\n \\n \\\"I mean the Queen Irene that lives up in the tower--the very old lady,\",\n \"and best men to put into office, and wherever he found himself mistaken, \\n and those he had appointed incapable or unjust, he removed them at once. \\n Hence you see it was his care of the people that kept him from seeing \\n his princess so often as he would have liked. You may wonder why he did \\n not take her about with him; but there were several reasons against his \\n doing so, and I suspect her great-great-grandmother had had a principal \\n hand in preventing it. Once more Irene heard the bugle-blast, and once\",\n \"\\\"Not for some time yet,\\\" answered the king, and the tears came in his \\n eyes. \\n \\n Irene did not remember her mother, and did not know why her father \\n looked so, and why the tears came in his eyes; but she put her arms \\n round his neck and kissed him, and asked no more questions. \\n \\n The king was much disturbed on hearing the report of the \\n gentlemen-at-arms concerning the creatures they had seen; and I presume \\n would have taken Irene with him that very day, but for what the presence\",\n \"questioning one, spread like moonlight over Irene's. \\n \\n \\\"It was your queen-mamma's once,\\\" he said. \\n \\n \\\"And why isn't it hers now?\\\" asked Irene. \\n \\n \\\"She does not want it now,\\\" said the king, looking grave. \\n \\n \\\"Why doesn't she want it now?\\\" \\n \\n \\\"Because she's gone where all those rings are made.\\\" \\n \\n \\\"And when shall I see her?\\\" asked the princess. \\n\",\n \"walked with her into the great hall, which was hardly ever entered \\n except when he came to see his little princess. There he sat down with \\n two of his councillors who had accompanied him, to have some \\n refreshment, and Irene bestowed herself on his right hand, and drank her \\n milk out of a wooden bowl curiously carved. \\n \\n After the king had eaten and drunk, he turned to the princess and said, \\n stroking her hair-- \\n \\n \\\"Now, my child, what shall we do next?\\\" \\n\",\n \"\\\"I've got it now, you see,\\\" she said, coming back to the princess, \\\"all \\n ready for you when you want it.\\\" \\n \\n Going to her cabinet, she laid it in the same drawer as before. \\n \\n \\\"And here is your ring,\\\" she added, taking it from the little finger of \\n her left hand, and putting it on the forefinger of Irene's right hand. \\n \\n \\\"Oh, thank you, grandmother. I feel so safe now!\\\" \\n\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"went to his work, and Curdie and his mother set out to take the princess \\n home. They had difficulty in getting her dry across the streams, and \\n Curdie had again and again to carry her, but at last they got safe on \\n the broader part of the road, and walked gently down toward the king's \\n house. And what should they see as they turned the last corner, but the \\n last of the king's troop riding through the gate! \\n \\n \\\"Oh, Curdie!\\\" cried Irene, clapping her hands right joyfully, \\\"my\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"on. When the old lady had succeeded in getting her thread fairly in \\n operation again, she said to the princess, but without looking at her: \\n \\n \\\"Do you know my name, child?\\\" \\n \\n \\\"No, I don't know it,\\\" answered the princess. \\n \\n \\\"My name is Irene.\\\" \\n \\n \\\"That's _my_ name!\\\" cried the princess. \\n \\n \\\"I know that. I let you have mine. I haven't got your name. You've got \\n mine.\\\" \\n\",\n \"nice-looking as you are, some king or other would have married you, and \\n then what would have become of me?\\\" \\n \\n \\\"You are an angel!\\\" repeated the nurse, again embracing her. \\n \\n \\\"Now,\\\" insisted Irene, \\\"you _will_ come and see my grandmother--won't \\n you?\\\" \\n \\n \\\"I will go with you anywhere you like, my cherub,\\\" she answered; and in \\n two minutes the weary little princess was fast asleep. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"CHAPTER XX \\n \\n IRENE'S CLUE \\n \\n \\n THAT same morning, early, the princess woke in a terrible fright. There \\n was a hideous noise in her room--of creatures snarling and hissing and \\n racketing about as if they were fighting. The moment she came to \\n herself, she remembered something she had never thought of again--what \\n her grandmother told her to do when she was frightened. She immediately \\n took off her ring and put it under her pillow. As she did so, she\",\n \"\\\"Irene.\\\" \\n \\n \\\"What more?\\\" \\n \\n \\\"I don't know what more.--What more is my name, Lootie?\\\" \\n \\n \\\"Princesses haven't got more than one name. They don't want it.\\\" \\n \\n \\\"Oh then, Curdie, you must call me just Irene, and no more.\\\" \\n \\n \\\"No, indeed,\\\" said the nurse indignantly. \\\"He shall do no such thing.\\\" \\n \\n \\\"What shall he call me, then, Lootie?\\\" \\n\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"\\\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \\n home. Mayn't I call this my home?\\\" \\n \\n \\\"You may, my child. And I trust you will always think it your home. Now \\n come. I must take you back without any one seeing you.\\\" \\n \\n \\\"Please, I want to ask you one question more,\\\" said Irene. \\\"Is it \\n because you have your crown on that you look so young?\\\" \\n\",\n \"\\\"I know what you mean,\\\" said Irene. \\\"That's the kind of thing my \\n grandmother says.\\\" \\n \\n By the time Peter returned, the storm was nearly over, but the streams \\n were so fierce and so swollen, that it was not only out of the question \\n for the princess to go down the mountain, but most dangerous for Peter \\n even or Curdie to make the attempt in the gathering darkness. \\n \\n \\\"They will be dreadfully frightened about you,\\\" said Peter to the\",\n \"\\\"We must not be out a moment longer.\\\" \\n \\n \\\"But we can't help being out a good many moments longer.\\\" \\n \\n It was too true. The nurse almost cried. They were much too far from \\n home. It was against express orders to be out with the princess one \\n moment after the sun was down; and they were nearly a mile up the \\n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \\n would certainly be dismissed; and to leave the princess would break her\"\n ],\n [\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"it--in order, he fully believed, to lay hands on the little princess, \\n and carry her off for a wife to their horrid Harelip. \\n \\n \\n \\n \\n CHAPTER XXIV \\n \\n IRENE BEHAVES LIKE A PRINCESS \\n \\n \\n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \\n bending above her, the housekeeper looking over the nurse's shoulder, \\n and the laundry-maid looking over the housekeeper's. The room was full\",\n \"whose tops a stream was pouring in a watery arch, now to pick a shining \\n stone from a rock by the wayside, now to watch the flight of some bird. \\n Suddenly the shadow of a great mountain peak came up from behind, and \\n shot in front of them. When the nurse saw it, she started and shook, and \\n tremulously grasping the hand of the princess turned and began to run \\n down the hill. \\n \\n \\\"What's all the haste, nursie?\\\" asked Irene, running alongside of her. \\n\",\n \"\\\"We must not be out a moment longer.\\\" \\n \\n \\\"But we can't help being out a good many moments longer.\\\" \\n \\n It was too true. The nurse almost cried. They were much too far from \\n home. It was against express orders to be out with the princess one \\n moment after the sun was down; and they were nearly a mile up the \\n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \\n would certainly be dismissed; and to leave the princess would break her\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"CHAPTER IV \\n \\n WHAT THE NURSE THOUGHT OF IT \\n \\n \\n \\\"WHY, where can you have been, princess?\\\" asked the nurse, taking her in \\n her arms. \\\"It's very unkind of you to hide away so long. I began to be \\n afraid--\\\" \\n \\n Here she checked herself. \\n \\n \\\"What were you afraid of, nursie?\\\" asked the princess. \\n \\n \\\"Never mind,\\\" she answered. \\\"Perhaps I will tell you another day. Now\",\n \"\\\"Ah! then you can't help it,\\\" said Irene, \\\"and I will not be vexed with \\n you any more. I will give you a kiss and go to sleep.\\\" \\n \\n \\\"You little angel!\\\" cried the nurse, and caught her out of bed, and \\n walked about the room with her in her arms, kissing and hugging her. \\n \\n \\\"You _will_ let me take you to see my dear old great big grandmother, \\n won't you?\\\" said the princess, as she laid her down again. \\n\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"nice-looking as you are, some king or other would have married you, and \\n then what would have become of me?\\\" \\n \\n \\\"You are an angel!\\\" repeated the nurse, again embracing her. \\n \\n \\\"Now,\\\" insisted Irene, \\\"you _will_ come and see my grandmother--won't \\n you?\\\" \\n \\n \\\"I will go with you anywhere you like, my cherub,\\\" she answered; and in \\n two minutes the weary little princess was fast asleep. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"set her down again. Then she looked wildly about her, gave a great cry, \\n and said-- \\n \\n \\\"We've taken the wrong turning somewhere, and I don't know where we are. \\n We are lost, lost!\\\" \\n \\n The terror she was in had quite bewildered her. It was true enough they \\n had lost the way. They had been running down into a little valley in \\n which there was no house to be seen. \\n \\n Now Irene did not know what good reason there was for her nurse's\",\n \"hair!--as white as my silver cup. Now, when I think of it, I think her \\n hair must be silver.\\\" \\n \\n \\\"What nonsense you are talking, princess!\\\" said the nurse. \\n \\n \\\"I'm not talking nonsense,\\\" returned Irene, rather offended. \\\"I will \\n tell you all about her. She's much taller than you, and much prettier.\\\" \\n \\n \\\"Oh, I daresay!\\\" remarked the nurse. \\n \\n \\\"And she lives upon pigeon's eggs.\\\" \\n\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"This was the question he almost always put to her first after their meal \\n together; and Irene had been waiting for it with some impatience, for \\n now, she thought, she should be able to settle a question which \\n constantly perplexed her. \\n \\n \\\"I should like you to take me to see my great old grandmother.\\\" \\n \\n The king looked grave, and said-- \\n \\n \\\"What does my little daughter mean?\\\" \\n \\n \\\"I mean the Queen Irene that lives up in the tower--the very old lady,\",\n \"\\\"Irene.\\\" \\n \\n \\\"What more?\\\" \\n \\n \\\"I don't know what more.--What more is my name, Lootie?\\\" \\n \\n \\\"Princesses haven't got more than one name. They don't want it.\\\" \\n \\n \\\"Oh then, Curdie, you must call me just Irene, and no more.\\\" \\n \\n \\\"No, indeed,\\\" said the nurse indignantly. \\\"He shall do no such thing.\\\" \\n \\n \\\"What shall he call me, then, Lootie?\\\" \\n\",\n \"and best men to put into office, and wherever he found himself mistaken, \\n and those he had appointed incapable or unjust, he removed them at once. \\n Hence you see it was his care of the people that kept him from seeing \\n his princess so often as he would have liked. You may wonder why he did \\n not take her about with him; but there were several reasons against his \\n doing so, and I suspect her great-great-grandmother had had a principal \\n hand in preventing it. Once more Irene heard the bugle-blast, and once\",\n \"The princess was a sweet little creature, and at the time my story \\n begins was about eight years old. I think, but she got older very fast. \\n Her face was fair and pretty, with eyes like two bits of night-sky, each \\n with a star dissolved in the blue. Those eyes you would have thought \\n must have known they came from there, so often were they turned up in \\n that direction. The ceiling of her nursery was blue, with stars in it, \\n as like the sky as they could make it. But I doubt if ever she saw the\",\n \"different thing down there. They won't always mind that song even, down \\n there. And if anyone sings it, they stand grinning at him awfully; and \\n if he gets frightened, and misses a word, or says a wrong one, they--oh! \\n don't they give it him!\\\" \\n \\n \\\"What do they do to him?\\\" asked Irene, with a trembling voice. \\n \\n \\\"Don't go frightening the princess,\\\" said the nurse. \\n\",\n \"\\\"Don't tell stories!\\\" cried her nurse quite rudely. \\n \\n \\\"I shall tell you nothing at all,\\\" said Irene. \\n \\n \\\"That's just as bad,\\\" said the nurse. \\n \\n \\\"Just as bad to say nothing at all as to tell stories!\\\" exclaimed the \\n princess. \\\"I will ask my papa about that. He won't say so. And I don't \\n think he will like you to say so.\\\" \\n \\n \\\"Tell me directly what you mean by it!\\\" screamed the nurse, half wild\",\n \"\\\"Your royal Highness.\\\" \\n \\n \\\"My royal Highness! What's that? No, no, Lootie, I will not be called \\n names. I don't like them. You said to me once yourself that it's only \\n rude children that call names; and I'm sure Curdie wouldn't be \\n rude.--Curdie, my name's Irene.\\\" \\n \\n \\\"Well, Irene,\\\" said Curdie, with a glance at the nurse which showed he\"\n ],\n [\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"and not wishing to kill any of them, he turned the end which was square \\n and blunt like a hammer, and with that came down a great blow on the \\n head of the goblin nearest him. Hard as the heads of all goblins are, he \\n thought he must feel that. And so he did, no doubt; but he only gave a \\n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \\n time, and just at that critical moment, remembered the vulnerable part\",\n \"\\\"You say so, dad. I think myself I'm all right. But I could carry ten \\n times as much if it wasn't for my feet.\\\" \\n \\n \\\"That is your weak point, I confess, my boy.\\\" \\n \\n \\\"Ain't it yours, too, father?\\\" \\n \\n \\\"Well, to be honest, it is a goblin-weakness. Why they come so soft, I \\n declare I haven't an idea.\\\" \\n \\n \\\"Specially when your head's so hard, you know, father.\\\" \\n\",\n \"behind the rock where the stream ran out, for he had been listening all \\n round it in the hope it might convey to his ear some indication of the \\n whereabouts of the goblin miners, when just as he came into the \\n moonlight on the lawn, a whizz in his ear and a blow upon his leg \\n startled him. He instantly squatted in the hope of eluding further \\n notice. But when he heard the sound of running feet, he jumped up to \\n take the chance of escape by flight. He fell, however, with a keen shoot\",\n \"had made an opening into the goblins' house, he put in his hand to feel. \\n It went in a good way, and then came in contact with something soft. He \\n had but a moment to feel it over, it was so quickly withdrawn: it was \\n one of the toeless goblin-feet. The owner of it gave a cry of fright. \\n \\n \\\"What's the matter, Helfer?\\\" asked his mother. \\n \\n \\\"A beast came out of the wall, and licked my foot.\\\" \\n\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"after his father, had stayed in the mine all night again and again, and \\n although they had several times encountered a few stray goblins, had \\n never yet failed in driving them away. As I have indicated already, the \\n chief defence against them was verse, for they hated verse of every \\n kind, and some kinds they could not endure at all. I suspect they could \\n not make any themselves, and that was why they disliked it so much. At \\n all events, those who were most afraid of them were those who could\",\n \"\\\"Yes, my boy. The goblin's glory is his head. To think how the fellows \\n up above there have to put on helmets and things when they go fighting. \\n Ha! ha!\\\" \\n \\n \\\"But why don't we wear shoes like them, father? I should like \\n it--specially when I've got a chest like that on my head.\\\" \\n \\n \\\"Well, you see, it's not the fashion. The king never wears shoes.\\\" \\n \\n \\\"The queen does.\\\" \\n\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"rather than hurt a woman, even if she was a goblin; but here was an \\n affair of life and death: forgetting her shoes, he made a great stamp on \\n one of her feet. But she instantly returned it with very different \\n effect, causing him frightful pain and almost disabling him. His only \\n chance with her would have been to attack the granite shoes with his \\n pickaxe, but before he could think of that, she had caught him up in her \\n arms, and was rushing with him across the cave. She dashed him into a\",\n \"eleven of the knights on their legs again. \\n \\n \\\"Stamp on their feet!\\\" he cried, as each man rose, and in a few minutes \\n the hall was nearly empty, the goblins running from it as fast as they \\n could, howling and shrieking and limping, and cowering every now and \\n then as they ran to cuddle their wounded feet in their hard hands, or to \\n protect them from the frightful stamp-stamp of the armed men. \\n\",\n \"communication. There must be one nearly completed, however; for it could \\n be but a thin partition which now separated them. If only he could get \\n through in time to follow the goblins as they retreated! A few blows \\n would doubtless be sufficient--just where his ear now lay; but if he \\n attempted to strike there with his pickaxe, he would only hasten the \\n departure of the family, put them on their guard, and perhaps lose their \\n involuntary guidance. He therefore began to feel the wall with his\",\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\",\n \"hands, and soon found that some of the stones were loose enough to be \\n drawn out with little noise. \\n \\n Laying hold of a large one with both his hands, he drew it gently out, \\n and let it down softly. \\n \\n \\\"What was that noise?\\\" said the goblin father. \\n \\n Curdie blew out his light, lest it should shine through. \\n \\n \\\"It must be that one miner that stayed behind the rest,\\\" said the \\n mother. \\n\",\n \"some of them bad, that he succeeded in killing him with his pocket \\n knife. Having dragged him out, he made haste to get in again before \\n another should stop up the way. \\n \\n I need not follow him farther in this night's adventures. He returned to \\n his breakfast, satisfied that the goblins were mining in the direction \\n of the palace--on so low a level that their intention must, he thought, \\n be to burrow under the walls of the king's house, and rise up inside\",\n \"But still he had made no discovery as to what the goblin miners were \\n about. \\n \\n \\n \\n \\n CHAPTER XIII \\n \\n THE COBS' CREATURES \\n \\n \\n ABOUT this time, the gentlemen whom the king had left behind him to \\n watch over the princess, had each occasion to doubt the testimony of his \\n own eyes, for more than strange were the objects to which they would \\n bear witness. They were of one sort--creatures--but so grotesque and\",\n \"\\\"I don't know him.\\\" \\n \\n \\\"I'm his son, though.\\\" \\n \\n \\\"And why should the goblins mind _you_, pray?\\\" \\n \\n \\\"Because I don't mind them. I'm used to them.\\\" \\n \\n \\\"What difference does that make?\\\" \\n \\n \\\"If you're not afraid of them, they're afraid of you. I'm not afraid of \\n them. That's all. But it's all that's wanted--up here, that is. It's a\",\n \"inside the rock. After a while he heard it again. It was a \\n goblin-voice--there could be no doubt about that--and this time he could \\n make out the words. \\n \\n \\\"Hadn't we better be moving?\\\" it said. \\n \\n A rougher and deeper voice replied: \\n \\n \\\"There's no hurry. That wretched little mole won't be through to-night, \\n if he work ever so hard. He's by no means at the thinnest place.\\\" \\n\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\",\n \"the hole like a tiger, and tore and pulled. The sides gave way, and it \\n was soon large enough for him to crawl through. He would not betray \\n himself by rekindling his lamp, but the torches of the retreating \\n company, departing in a straight line up a long avenue from the door of \\n their cave, threw back light enough to afford him a glance round the \\n deserted home of the goblins. To his surprise, he could discover nothing \\n to distinguish it from an ordinary cave in the rock, upon many of which\"\n ],\n [\n \"Then Curdie had to explain everything--how he had watched for her sake, \\n how he had been wounded and shut up by the soldiers, how he heard the \\n noises and could not rise, and how the beautiful old lady had come to \\n him, and all that followed. \\n \\n \\\"Poor Curdie! to lie there hurt and ill, and me never to know it!\\\" \\n exclaimed the princess, stroking his rough hand. \\\"I would not have \\n hesitated to come and nurse you, if they had told me.\\\" \\n\",\n \"The old lady left her, and going to a strange-looking cabinet, opened it \\n and took out a curious silver casket. Then she sat down on a low chair, \\n and calling Irene, made her kneel before her, while she looked at her \\n hand. Having examined it, she opened the casket, and took from it a \\n little ointment. The sweetest odor filled the room--like that of roses \\n and lilies--as she rubbed the ointment gently all over the hot swollen\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"Irene called out-- \\n \\n \\\"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \\n grandmother had been to see you.--Don't you smell the roses? It was my \\n grandmother healed your leg, and sent you to help me.\\\" \\n \\n \\\"No, Princess Irene,\\\" said Curdie; \\\"I wasn't good enough to be allowed \\n to help you: I didn't believe you. Your grandmother took care of you \\n without me.\\\" \\n\",\n \"\\\"I've got it now, you see,\\\" she said, coming back to the princess, \\\"all \\n ready for you when you want it.\\\" \\n \\n Going to her cabinet, she laid it in the same drawer as before. \\n \\n \\\"And here is your ring,\\\" she added, taking it from the little finger of \\n her left hand, and putting it on the forefinger of Irene's right hand. \\n \\n \\\"Oh, thank you, grandmother. I feel so safe now!\\\" \\n\",\n \"hand. Her touch was so pleasant and cool, that it seemed to drive away \\n the pain and heat wherever it came. \\n \\n \\\"Oh, grandmother! it is _so_ nice!\\\" said Irene. \\\"Thank you; thank you.\\\" \\n \\n Then the old lady went to a chest of drawers, and took out a large \\n handkerchief of gossamer-like cambric, which she tied around her hand. \\n \\n \\\"I don't think that I can let you go away to-night,\\\" she said. \\\"Do you\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"lady enough to understand this, and so she was in a great difficulty, \\n for, if she insisted, some one might hear the princess cry and run to \\n see, and then all would come out. But here Curdie came again to the \\n rescue. \\n \\n \\\"Never mind, Princess Irene,\\\" he said. \\\"You mustn't kiss me to-night. \\n But you sha'n't break your word. I will come another time. You may be \\n sure I will.\\\" \\n\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"\\\"Irene.\\\" \\n \\n \\\"What more?\\\" \\n \\n \\\"I don't know what more.--What more is my name, Lootie?\\\" \\n \\n \\\"Princesses haven't got more than one name. They don't want it.\\\" \\n \\n \\\"Oh then, Curdie, you must call me just Irene, and no more.\\\" \\n \\n \\\"No, indeed,\\\" said the nurse indignantly. \\\"He shall do no such thing.\\\" \\n \\n \\\"What shall he call me, then, Lootie?\\\" \\n\",\n \"walked with her into the great hall, which was hardly ever entered \\n except when he came to see his little princess. There he sat down with \\n two of his councillors who had accompanied him, to have some \\n refreshment, and Irene bestowed herself on his right hand, and drank her \\n milk out of a wooden bowl curiously carved. \\n \\n After the king had eaten and drunk, he turned to the princess and said, \\n stroking her hair-- \\n \\n \\\"Now, my child, what shall we do next?\\\" \\n\",\n \"tell him how it was that she had come to his rescue. So Irene too had to \\n tell a long story, which she did in rather a roundabout manner, \\n interrupted by many questions concerning things she had not explained. \\n But her tale, as he did not believe more than half of it, left \\n everything as unaccountable to him as before, and he was nearly as much \\n perplexed as to what he must think of the princess. He could not believe \\n that she was deliberately telling stories, and the only conclusion he\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"\\\"Your royal Highness.\\\" \\n \\n \\\"My royal Highness! What's that? No, no, Lootie, I will not be called \\n names. I don't like them. You said to me once yourself that it's only \\n rude children that call names; and I'm sure Curdie wouldn't be \\n rude.--Curdie, my name's Irene.\\\" \\n \\n \\\"Well, Irene,\\\" said Curdie, with a glance at the nurse which showed he\",\n \"\\\"Irene,\\\" he said, \\\"I am very sorry I did not believe you.\\\" \\n \\n \\\"Oh, never mind, Curdie!\\\" answered the princess. \\\"You couldn't, you \\n know. You do believe me now, don't you?\\\" \\n \\n \\\"I can't help it now. I ought to have helped it before.\\\" \\n \\n \\\"Why can't you help it now?\\\" \\n \\n \\\"Because, just as I was going into the mountain to look for you, I got \\n hold of your thread, and it brought me here.\\\"\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"CHAPTER XX \\n \\n IRENE'S CLUE \\n \\n \\n THAT same morning, early, the princess woke in a terrible fright. There \\n was a hideous noise in her room--of creatures snarling and hissing and \\n racketing about as if they were fighting. The moment she came to \\n herself, she remembered something she had never thought of again--what \\n her grandmother told her to do when she was frightened. She immediately \\n took off her ring and put it under her pillow. As she did so, she\"\n ],\n [\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\",\n \"How pleasant the night-air felt upon the outside of the mountain after \\n what he had gone through in the inside of it! He hurried up the hill, \\n without meeting a single goblin on the way, and called and tapped at the \\n window until he woke his father, who soon rose and let him in. He told \\n him the whole story, and, just as he had expected, his father thought it \\n best to work that lode no farther, but at the same time to pretend \\n occasionally to be at work there still, in order that the goblins might\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"rest of the miners, and they at once proceeded to make another outlet \\n for the waters. By setting all hands to the work, tunneling here and \\n building there, they soon succeeded; and having also made a little \\n tunnel to drain the water away from under the king's house, they were \\n soon able to get into the wine cellar, where they found a multitude of \\n dead goblins--among the rest the queen, with the skin-shoe gone, and the\",\n \"kept feeling about the walls that hemmed him in. His hand came upon a \\n place where a tiny stream of water was running down the face of the \\n rock. \\\"What a stupid I am!\\\" he said to himself. \\\"I am actually at the \\n end of my journey!--and there are the goblins coming back to fetch their \\n things!\\\" he added, as the red glimmer of their torches appeared at the \\n end of the long avenue that led up to the cave. In a moment he had\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\",\n \"eleven of the knights on their legs again. \\n \\n \\\"Stamp on their feet!\\\" he cried, as each man rose, and in a few minutes \\n the hall was nearly empty, the goblins running from it as fast as they \\n could, howling and shrieking and limping, and cowering every now and \\n then as they ran to cuddle their wounded feet in their hard hands, or to \\n protect them from the frightful stamp-stamp of the armed men. \\n\",\n \"last compelled to acknowledge himself in an evil plight. He sat down and \\n tried to think, but soon fell fast asleep. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n GOBLIN COUNSELS \\n \\n \\n HE must have slept a long time, for when he awoke, he felt wonderfully \\n restored--indeed he felt almost well, and he was also very hungry. There \\n were voices in the outer cave. \\n \\n Once more then, it was night; for the goblins slept during the day, and\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"of the miners. Curdie and his father and mother took Lootie with them. \\n And the whole way, a light, of which all but Lootie understood the \\n origin, shone upon their path. But when they looked round they could see \\n nothing of the silvery globe. \\n \\n For days and days the water continued to rush from the doors and windows \\n of the king's house, and a few goblin bodies were swept out into the \\n road. \\n \\n Curdie saw that something must be done. He spoke to his father and the\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"some of them bad, that he succeeded in killing him with his pocket \\n knife. Having dragged him out, he made haste to get in again before \\n another should stop up the way. \\n \\n I need not follow him farther in this night's adventures. He returned to \\n his breakfast, satisfied that the goblins were mining in the direction \\n of the palace--on so low a level that their intention must, he thought, \\n be to burrow under the walls of the king's house, and rise up inside\",\n \"the hole like a tiger, and tore and pulled. The sides gave way, and it \\n was soon large enough for him to crawl through. He would not betray \\n himself by rekindling his lamp, but the torches of the retreating \\n company, departing in a straight line up a long avenue from the door of \\n their cave, threw back light enough to afford him a glance round the \\n deserted home of the goblins. To his surprise, he could discover nothing \\n to distinguish it from an ordinary cave in the rock, upon many of which\",\n \"and not wishing to kill any of them, he turned the end which was square \\n and blunt like a hammer, and with that came down a great blow on the \\n head of the goblin nearest him. Hard as the heads of all goblins are, he \\n thought he must feel that. And so he did, no doubt; but he only gave a \\n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \\n time, and just at that critical moment, remembered the vulnerable part\",\n \"with another company had gone off to search the house. They captured \\n every one they met, and when they could find no more, they hurried away \\n to carry them safe to the caverns below. But when the butler, who was \\n amongst them, found that their path lay through the wine cellar, he \\n bethought himself of persuading them to taste the wine, and, as he had \\n hoped, they no sooner tasted than they wanted more. The routed goblins,\",\n \"dropped work, they were satisfied that the mine was secure. \\n \\n They had heard goblin hammers and pickaxes busy all the time, and at \\n length fancied they heard sounds of water they had never heard before. \\n But that was otherwise accounted for when they left the mine; for they \\n stepped out into a tremendous storm which was raging all over the \\n mountain. The thunder was bellowing, and the lightning lancing out of a \\n huge black cloud which lay above it, and hung down its edges of thick\",\n \"stone one fast to her ankle--for the water had swept away the barricade \\n which prevented the men-at-arms from following the goblins, and had \\n greatly widened the passage. They built it securely up, and then went \\n back to their labors in the mine. \\n \\n A good many of the goblins with their creatures escaped from the \\n inundation out upon the mountain. But most of them soon left that part \\n of the country, and most of those who remained grew milder in character,\",\n \"the goblins. It was true they had no wild animals down there--at least \\n they did not know of any; but they had a wonderful number of tame ones. \\n I must, however, reserve any contributions toward the natural history of \\n these for a later position in my story. \\n \\n At length, turning a corner too abruptly, he had almost rushed into the \\n middle of the goblin family; for there they had already set down all \\n their burdens on the floor of a cave considerably larger than that which\",\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\",\n \"and he was soon down; but the captain had got his back to the wall and \\n stood out longer. The goblins would have torn them all to pieces, but \\n the king had given orders to carry them away alive, and over each of \\n them, in twelve groups, was standing a knot of goblins, while as many as \\n could find room were sitting upon their prostrate bodies. \\n \\n Curdie burst in dancing and gyrating and stamping and singing like a \\n small incarnate whirlwind, \\n\"\n ],\n [\n \"And now Curdie approached the group which, trusting in the queen and her \\n shoe, kept their guard over the prostrate captain. The king sat on the \\n captain's head, but the queen stood in front, like an infuriated cat, \\n with her perpendicular eyes gleaming green, and her hair standing half \\n up from her horrid head. Her heart was quaking, however, and she kept \\n moving about her skin-shod foot with nervous apprehension. When Curdie\",\n \"cave would have appalled Curdie, but for the good hope it gave him. They \\n were tumbling over each other in heaps in their eagerness to rush from \\n the cave, when a new assailant suddenly faced him:--the queen, with \\n flaming eyes and expanded nostrils, her hair standing half up from her \\n head, rushed at him. She trusted in her shoes; they were of \\n granite--hollowed like French _sabots_. Curdie would have endured much\",\n \"The queen went stumping along in one shoe of stone and one of skin. This \\n could not have been pleasant, and my readers may wonder that, with such \\n skillful workmen about her, she had not yet replaced the shoe carried \\n off by Curdie. As the king however had more than one ground of objection \\n to her stone shoes, he no doubt took advantage of the discovery of her \\n toes, and threatened to expose her deformity if she had another made. I \\n presume he insisted on her being content with skin-shoes, and allowed\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"rather than hurt a woman, even if she was a goblin; but here was an \\n affair of life and death: forgetting her shoes, he made a great stamp on \\n one of her feet. But she instantly returned it with very different \\n effect, causing him frightful pain and almost disabling him. His only \\n chance with her would have been to attack the granite shoes with his \\n pickaxe, but before he could think of that, she had caught him up in her \\n arms, and was rushing with him across the cave. She dashed him into a\",\n \"\\\"Yes, my boy. The goblin's glory is his head. To think how the fellows \\n up above there have to put on helmets and things when they go fighting. \\n Ha! ha!\\\" \\n \\n \\\"But why don't we wear shoes like them, father? I should like \\n it--specially when I've got a chest like that on my head.\\\" \\n \\n \\\"Well, you see, it's not the fashion. The king never wears shoes.\\\" \\n \\n \\\"The queen does.\\\" \\n\",\n \"rest of the miners, and they at once proceeded to make another outlet \\n for the waters. By setting all hands to the work, tunneling here and \\n building there, they soon succeeded; and having also made a little \\n tunnel to drain the water away from under the king's house, they were \\n soon able to get into the wine cellar, where they found a multitude of \\n dead goblins--among the rest the queen, with the skin-shoe gone, and the\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"They could not vanish so fast, however, but that many more goblin feet \\n had to go limping back over the underground ways of the mountain that \\n morning. \\n \\n Presently however they were reinforced from above by the king and his \\n party, with the redoubtable queen at their head. Finding Curdie again \\n busy amongst her unfortunate subjects, she rushed at him once more with \\n the rage of despair, and this time gave him a bad bruise on the foot.\",\n \" \\\"Where 'tis all a hole, sir, \\n Never can be holes: \\n Why should their shoes have soles, sir, \\n When they've got no souls? \\n \\n \\\"But she upon her foot, sir, \\n Has a granite shoe: \\n The strongest leather boot, sir, \\n Six would soon be through.\\\" \\n \\n The queen gave a howl of rage and dismay; and before she recovered her \\n presence of mind, Curdie, having begun with the group nearest him, had\",\n \"back, held the torch low in front of her. Curdie drew his pickaxe \\n carefully away, and as he did so, spied one of her feet, projecting from \\n under the skins. The great clumsy granite shoe, exposed thus to his \\n hand, was a temptation not to be resisted. He laid hold of it, and with \\n cautious efforts, drew it off. The moment he succeeded, he saw to his \\n astonishment that what he had sung in ignorance, to annoy the queen, was\",\n \"actually true: she had six horrible toes. Overjoyed at his success, and \\n seeing by the huge bump in the sheep skins where the other foot was, he \\n proceeded to lift them gently, for, if he could only succeed in carrying \\n away the other shoe as well, he would be no more afraid of the goblins \\n than of so many flies. But as he pulled at the second shoe, the queen \\n gave a growl and sat up in bed. The same instant the king awoke also, \\n and sat up beside her. \\n\",\n \"\\\"Yes; but that's for distinction. The first queen, you see--I mean the \\n king's first wife--wore shoes of course, because she came from upstairs; \\n and so, when she died, the next queen would not be inferior to her as \\n she called it, and would wear shoes too. It was all pride. She is the \\n hardest in forbidding them to the rest of the women.\\\" \\n \\n \\\"I'm sure I wouldn't wear them--no, not for--that I wouldn't!\\\" said the\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"working toward the king's house; and what I want to do to-night is to \\n make sure whether they are or not. I will take a light with me--\\\" \\n \\n \\\"Oh, Curdie,\\\" cried his mother, \\\"then they will see you.\\\" \\n \\n \\\"I'm no more afraid of them now than I was before,\\\" rejoined \\n Curdie,--\\\"now that I've got this precious shoe. They can't make another \\n such in a hurry, and one bare foot will do for my purpose. Woman as she\",\n \"great roar from the king. \\n \\n \\\"Will you be quiet then?\\\" said the queen wickedly. \\n \\n \\\"Yes, yes, queen. I only meant to coax you.\\\" \\n \\n \\\"Hands off!\\\" cried the queen triumphantly. \\\"I'm going to bed. You may \\n come when you like. But as long as I am queen, I will sleep in my shoes. \\n It is my royal privilege. Harelip, go to bed.\\\" \\n \\n \\\"I'm going,\\\" said Harelip sleepily. \\n\",\n \"Then a regular stamping fight got up between them, Curdie with the point \\n of his hunting knife keeping her from clasping her mighty arms about \\n him, as he watched his opportunity of getting once more a good stamp at \\n her skin-shod foot. But the queen was more wary as well as more agile \\n than hitherto. \\n \\n The rest meantime, finding their adversary thus matched for the moment, \\n paused in their headlong hurry, and turned to the shivering group of\",\n \" \\\"Go to bed, \\n Goblin, do. \\n Help the queen \\n Take off her shoe. \\n \\n \\\"If you do, \\n It will disclose \\n A horrid set \\n Of sprouting toes.\\\" \\n \\n \\\"What a lie!\\\" roared the queen in a rage. \\n \\n \\\"By the way, that reminds me,\\\" said the king, \\\"that, for as long as we \\n have been married, I have never seen your feet, queen. I think you might\",\n \"\\\"You forget yourself, my dear!\\\" said the king. \\n \\n \\\"I don't,\\\" said the queen, \\\"nor you either. If you expect _me_ to \\n approve of such coarse tastes, you will find yourself mistaken. _I_ \\n don't wear shoes for nothing.\\\" \\n \\n \\\"You must acknowledge, however,\\\" the king said, with a little groan, \\n \\\"that this at least is no whim of Harelip's, but a matter of \\n state-policy. You are well aware that his gratification comes purely\"\n ],\n [\n \"\\\"The princess!\\\" repeated the little miner, taking off his curious cap. \\n \\\"I beg your pardon; but you oughtn't to be out so late. Everybody knows \\n that's against the law.\\\" \\n \\n \\\"Yes, indeed it is!\\\" said the nurse, beginning to cry again. \\\"And I \\n shall have to suffer for it.\\\" \\n \\n \\\"What does that matter?\\\" said the boy. \\\"It must be your fault. It is the \\n princess who will suffer for it. I hope they didn't hear you call her\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"Curdie; but the princess pulled her hand from hers, and was just \\n throwing her arms around Curdie's neck, when she caught her again and \\n dragged her away. \\n \\n \\\"Lootie, Lootie, I promised Curdie a kiss,\\\" cried Irene. \\n \\n \\\"A princess mustn't give kisses. It's not at all proper,\\\" said \\n Lootie. \\n \\n \\\"But I promised,\\\" said the princess. \\n \\n \\\"There's no occasion; he's only a miner-boy.\\\" \\n\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"princess, \\\"but we cannot help it. We must wait till the morning.\\\" \\n \\n With Curdie's help, the fire was lighted at last, and the mother set \\n about making their supper; and after supper they all told the princess \\n stories till she grew sleepy. Then Curdie's mother laid her in Curdie's \\n bed, which was in a tiny little garret-room. As soon as she was in bed, \\n through a little window low down in the roof she caught sight of her\",\n \"There were many flowers up and down, and she loved them all, but the \\n primroses were her favorites. \\n \\n \\\"They're not too shy, and they're not a bit forward,\\\" she would say to \\n Lootie. \\n \\n There were goats too about, over the mountain, and when the little kids \\n came, she was as pleased with them as with the flowers. The goats \\n belonged to the miners mostly--a few of them to Curdie's mother; but\",\n \"that he had behaved so unkindly to the princess. This perhaps made him \\n the more diligent in his endeavors to serve her. His mother and he often \\n talked on the subject, and she comforted him, and told him she was sure \\n he would some day have the opportunity he so much desired. \\n \\n Here I should like to remark, for the sake of princes and princesses in \\n general, that it is a low and contemptible thing to refuse to confess a\",\n \"\\\"Indeed I do. But my father and mother will be so anxious about me, I \\n must make haste--first up the mountain to tell my mother, and then down \\n into the mine again to acquaint my father.\\\" \\n \\n \\\"Very well, Curdie; but you can't get out without coming this way, and I \\n will take you through the house, for that is nearest.\\\" \\n \\n They met no one by the way, for indeed, as before, the people were here \\n and there and everywhere searching for the princess. When they got in,\",\n \"strangely bewildered. This she thought came of his astonishment at the \\n beauty of the lady. \\n \\n \\\"Make a bow to my grandmother, Curdie,\\\" she said. \\n \\n \\\"I don't see any grandmother,\\\" answered Curdie, rather gruffly. \\n \\n \\\"Don't see my grandmother when I'm sitting in her lap!\\\" exclaimed the \\n princess. \\n \\n \\\"No I don't,\\\" said Curdie, almost sulkily. \\n\",\n \"I was more frightened still when it brought me out on the mountain, for \\n I thought it was going to take me into it again, and I like the outside \\n of it best. I supposed you were in trouble again, and I had to get you \\n out, but it brought me here instead; and, oh, Curdie! your mother has \\n been so kind to me--just like my own grandmother!\\\" \\n \\n Here Curdie's mother gave the princess a hug, and the princess turned \\n and gave her a sweet smile, and held up her mouth to kiss her.\",\n \"With a heart full of delight, Curdie sat down at a corner of the hearth, \\n on a stool opposite his mother's chair, and gazed at the princess, who \\n slept as peacefully as if she had been in her own bed. All at once she \\n opened her eyes and fixed them on him. \\n \\n \\\"Oh, Curdie! you're come!\\\" she said quietly. \\\"I thought you would!\\\" \\n \\n Curdie rose and stood before her with downcast eyes. \\n\",\n \"\\\"I should like to see him!\\\" repeated the nurse, and said no more. She \\n did not want to open a new cause of strife with the princess by saying \\n more plainly what she meant. Glad enough that she had succeeded both in \\n getting home unseen, and in keeping the princess from kissing the \\n miner's boy, she resolved to watch her far better in future. Her \\n carelessness had already doubled the danger she was in. Formerly the \\n goblins were her only fear; now she had to protect her charge from\",\n \"\\\"Your royal Highness.\\\" \\n \\n \\\"My royal Highness! What's that? No, no, Lootie, I will not be called \\n names. I don't like them. You said to me once yourself that it's only \\n rude children that call names; and I'm sure Curdie wouldn't be \\n rude.--Curdie, my name's Irene.\\\" \\n \\n \\\"Well, Irene,\\\" said Curdie, with a glance at the nurse which showed he\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"and indeed became very much like the Scotch Brownies. Their skulls \\n became softer as well as their hearts, and their feet grew harder, and \\n by degrees they became friendly with the inhabitants of the mountain and \\n even with the miners. But the latter were merciless to any of the _cobs' \\n creatures_ that came their way, until at length they all but \\n disappeared. Still-- \\n \\n \\\"_But, Mr. Author, we would rather hear more about the Princess and\",\n \"\\\"you see my grandmother knows all about it, and isn't frightened. I \\n believe she could walk through that water and it wouldn't wet her a \\n bit.\\\" \\n \\n \\\"But, my child,\\\" said the king, \\\"you will be cold if you haven't \\n something more on. Run, Curdie, my boy, and fetch anything you can lay \\n your hands on, to keep the princess warm. We have a long ride before \\n us.\\\" \\n \\n Curdie was gone in a moment, and soon returned with a great rich fur,\",\n \"time, although she often thought of her grandmother during the day, and \\n often dreamed about her at night, she did not see her. The kids and the \\n flowers were as much her delight as ever, and she made as much \\n friendship with the miners' children she met on the mountain as Lootie \\n would permit; but Lootie had very foolish notions concerning the dignity \\n of a princess, not understanding that the truest princess is just the \\n one who loves all her brothers and sisters best, and who is most able to\",\n \"Then Curdie had to explain everything--how he had watched for her sake, \\n how he had been wounded and shut up by the soldiers, how he heard the \\n noises and could not rise, and how the beautiful old lady had come to \\n him, and all that followed. \\n \\n \\\"Poor Curdie! to lie there hurt and ill, and me never to know it!\\\" \\n exclaimed the princess, stroking his rough hand. \\\"I would not have \\n hesitated to come and nurse you, if they had told me.\\\" \\n\"\n ],\n [\n \"\\\"I see no good in trying to excuse him. He has no business here anyhow.\\\" \\n \\n \\\"Let me go away then, if you please,\\\" said Curdie. \\n \\n \\\"But we don't please--not except you give a good account of yourself.\\\" \\n \\n \\\"I don't feel quite sure whether I can trust you,\\\" said Curdie. \\n \\n \\\"We are the king's own men-at-arms,\\\" said the captain, courteously, for \\n he was taken with Curdie's appearance and courage. \\n\",\n \"\\\"I too think you are right, Curdie,\\\" he said, \\\"and I will not ask you \\n again. But I shall have a chance of doing something for you some time.\\\" \\n \\n \\\"Your Majesty has already allowed me to serve you,\\\" said Curdie. \\n \\n \\\"But, Curdie,\\\" said his mother, \\\"why shouldn't you go with the king? We \\n can get on very well without you.\\\" \\n \\n \\\"But I can't get on very well without you,\\\" said Curdie. \\\"The king is\",\n \"with me. He shall enter my bodyguard at once, and wait further \\n promotion.\\\" \\n \\n Peter and his wife, overcome, only murmured almost inaudible thanks. But \\n Curdie spoke aloud. \\n \\n \\\"Please your Majesty,\\\" he said, \\\"I cannot leave my father and mother.\\\" \\n \\n \\\"That's right, Curdie!\\\" cried the princess. \\\"_I_ wouldn't if I was you.\\\" \\n \\n The king looked at the princess and then at Curdie with a glow of \\n satisfaction on his countenance. \\n\",\n \"\\\"With pleasure, if your majesty will give me a guide,\\\" said Curdie. \\n \\n \\\"I will give you a thousand,\\\" said the king, with a scoffing air of \\n magnificent liberality. \\n \\n \\\"One will be quite sufficient,\\\" said Curdie. \\n \\n But the king uttered a strange shout, half halloo, half roar, and in \\n rushed goblins till the cave was swarming. He said something to the \\n first of them which Curdie could not hear, and it was passed from one to\",\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"\\\"So am I,\\\" said the king. \\n \\n \\\"Come along then,\\\" said the queen; \\\"and mind you are good, or I'll--\\\" \\n \\n \\\"Oh, no, no, no!\\\" screamed the king, in the most supplicating of tones. \\n \\n Curdie heard only a muttered reply in the distance; and then the cave \\n was quite still. \\n \\n They had left the fire burning, and the light came through brighter than \\n before. Curdie thought it was time to try again if anything could be\",\n \"When the king had got out of the way of the water, a little up the \\n mountain, he stood with the princess in his arms, looking back with \\n amazement on the issuing torrent, which glimmered fierce and foamy \\n through the night. There Curdie rejoined them. \\n \\n \\\"Now, Curdie,\\\" said the king, \\\"what does it mean! Is this what you \\n expected?\\\" \\n \\n \\\"It is, your Majesty,\\\" said Curdie; and proceeded to tell him about the\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"working toward the king's house; and what I want to do to-night is to \\n make sure whether they are or not. I will take a light with me--\\\" \\n \\n \\\"Oh, Curdie,\\\" cried his mother, \\\"then they will see you.\\\" \\n \\n \\\"I'm no more afraid of them now than I was before,\\\" rejoined \\n Curdie,--\\\"now that I've got this precious shoe. They can't make another \\n such in a hurry, and one bare foot will do for my purpose. Woman as she\",\n \"king. Whatever he did to them, they would threaten to do the same to the \\n princess.\\\" \\n \\n \\\"And they are bad enough to torment her just for their own amusement--I \\n know that,\\\" said his mother. \\n \\n \\\"Anyhow, I will keep a watch on them, and see what they are up to,\\\" said \\n Curdie. \\\"It's too horrible to think of. I daren't let myself do it. But\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"vanished in the darkness far aloft. The sides of the cave were full of \\n shining minerals like those of the palace-hall; and the company was \\n evidently of a superior order, for every one wore stones about head, or \\n arms, or waist, shining, dull, gorgeous colors in the light of the fire. \\n Nor had Curdie looked long before he recognized the king himself, and \\n found that he had made his way into the inner apartment of the royal \\n family. He had never had such a good chance of hearing something! He\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"very kind, but I could not be half the use to him that I am to you. \\n Please your Majesty, if you wouldn't mind giving my mother a red \\n petticoat! I should have got her one long ago, but for the goblins.\\\" \\n \\n \\\"As soon as we get home,\\\" said the king, \\\"Irene and I will search out \\n the warmest one to be found, and send it by one of the gentlemen.\\\" \\n \\n \\\"Yes, that we will, Curdie!\\\" said the princess. \\n\",\n \"\\\"And next summer we'll come back and see you wear it, Curdie's mother,\\\" \\n she added. \\\"Sha'n't we, king-papa?\\\" \\n \\n \\\"Yes, my love; I hope so,\\\" said the king. \\n \\n Then turning to the miners, he said---- \\n \\n \\\"Will you do the best you can for my servants to-night? I hope they will \\n be able to return to the house to-morrow.\\\" \\n \\n The miners with one voice promised their hospitality. \\n\",\n \"the upper part of the cavern wall. Upon this sat the king and his court, \\n the king on a throne hollowed out of a huge block of green copper ore, \\n and his court upon lower seats around it. The king had been making them \\n a speech, and the applause which followed it was what Curdie had heard. \\n One of the court was now addressing the multitude. What he heard him say \\n was to the following effect: \\n \\n \\\"Hence it appears that two plans have been for some time together\",\n \"Then the king commanded his servants to mind whatever Curdie should say \\n to them, and after shaking hands with him and his father and mother, the \\n king and the princess and all their company rode away down the side of \\n the new stream which had already devoured half the road, into the starry \\n night. \\n \\n \\n \\n \\n CHAPTER XXXII \\n \\n THE LAST CHAPTER \\n \\n \\n ALL the rest went up the mountain, and separated in groups to the homes\",\n \"went to his work, and Curdie and his mother set out to take the princess \\n home. They had difficulty in getting her dry across the streams, and \\n Curdie had again and again to carry her, but at last they got safe on \\n the broader part of the road, and walked gently down toward the king's \\n house. And what should they see as they turned the last corner, but the \\n last of the king's troop riding through the gate! \\n \\n \\\"Oh, Curdie!\\\" cried Irene, clapping her hands right joyfully, \\\"my\",\n \"and the news that dead goblins were tossing about in the current through \\n the house. They had been caught in their own snare; instead of the mine \\n they had flooded their own country, whence they were now swept up \\n drowned. Irene shuddered, but the king held her close to his bosom. Then \\n he turned to Sir Walter, and said-- \\n \\n \\\"Bring Curdie's father and mother here.\\\" \\n \\n \\\"I wish,\\\" said the king, when they stood before him, \\\"to take your son\",\n \"projection gave way, down he came with a rush on the floor of the \\n cavern, bringing with him a great rumbling shower of stones. \\n \\n The goblins jumped from their seats in more anger than consternation, \\n for they had never yet seen anything to be afraid of in the palace. But \\n when they saw Curdie with his pick in his hand, their rage was mingled \\n with fear, for they took him for the first of an invasion of miners. The \\n king notwithstanding drew himself up to his full height of four feet,\"\n ],\n [\n \"you know, with the long hair of silver.\\\" \\n \\n The king only gazed at his little princess with a look which she could \\n not understand. \\n \\n \\\"She's got her crown in her bedroom,\\\" she went on; \\\"but I've not been in \\n there yet. You know she's here, don't you?\\\" \\n \\n \\\"No,\\\" said the king very quietly. \\n \\n \\\"Then it must be all a dream,\\\" said Irene. \\\"I half thought it was; but\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"on. When the old lady had succeeded in getting her thread fairly in \\n operation again, she said to the princess, but without looking at her: \\n \\n \\\"Do you know my name, child?\\\" \\n \\n \\\"No, I don't know it,\\\" answered the princess. \\n \\n \\\"My name is Irene.\\\" \\n \\n \\\"That's _my_ name!\\\" cried the princess. \\n \\n \\\"I know that. I let you have mine. I haven't got your name. You've got \\n mine.\\\" \\n\",\n \"This was the question he almost always put to her first after their meal \\n together; and Irene had been waiting for it with some impatience, for \\n now, she thought, she should be able to settle a question which \\n constantly perplexed her. \\n \\n \\\"I should like you to take me to see my great old grandmother.\\\" \\n \\n The king looked grave, and said-- \\n \\n \\\"What does my little daughter mean?\\\" \\n \\n \\\"I mean the Queen Irene that lives up in the tower--the very old lady,\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Not for some time yet,\\\" answered the king, and the tears came in his \\n eyes. \\n \\n Irene did not remember her mother, and did not know why her father \\n looked so, and why the tears came in his eyes; but she put her arms \\n round his neck and kissed him, and asked no more questions. \\n \\n The king was much disturbed on hearing the report of the \\n gentlemen-at-arms concerning the creatures they had seen; and I presume \\n would have taken Irene with him that very day, but for what the presence\",\n \"\\\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \\n home. Mayn't I call this my home?\\\" \\n \\n \\\"You may, my child. And I trust you will always think it your home. Now \\n come. I must take you back without any one seeing you.\\\" \\n \\n \\\"Please, I want to ask you one question more,\\\" said Irene. \\\"Is it \\n because you have your crown on that you look so young?\\\" \\n\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"\\\"I've got it now, you see,\\\" she said, coming back to the princess, \\\"all \\n ready for you when you want it.\\\" \\n \\n Going to her cabinet, she laid it in the same drawer as before. \\n \\n \\\"And here is your ring,\\\" she added, taking it from the little finger of \\n her left hand, and putting it on the forefinger of Irene's right hand. \\n \\n \\\"Oh, thank you, grandmother. I feel so safe now!\\\" \\n\",\n \"and best men to put into office, and wherever he found himself mistaken, \\n and those he had appointed incapable or unjust, he removed them at once. \\n Hence you see it was his care of the people that kept him from seeing \\n his princess so often as he would have liked. You may wonder why he did \\n not take her about with him; but there were several reasons against his \\n doing so, and I suspect her great-great-grandmother had had a principal \\n hand in preventing it. Once more Irene heard the bugle-blast, and once\",\n \"tell him how it was that she had come to his rescue. So Irene too had to \\n tell a long story, which she did in rather a roundabout manner, \\n interrupted by many questions concerning things she had not explained. \\n But her tale, as he did not believe more than half of it, left \\n everything as unaccountable to him as before, and he was nearly as much \\n perplexed as to what he must think of the princess. He could not believe \\n that she was deliberately telling stories, and the only conclusion he\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"The princess was a sweet little creature, and at the time my story \\n begins was about eight years old. I think, but she got older very fast. \\n Her face was fair and pretty, with eyes like two bits of night-sky, each \\n with a star dissolved in the blue. Those eyes you would have thought \\n must have known they came from there, so often were they turned up in \\n that direction. The ceiling of her nursery was blue, with stars in it, \\n as like the sky as they could make it. But I doubt if ever she saw the\",\n \"it--in order, he fully believed, to lay hands on the little princess, \\n and carry her off for a wife to their horrid Harelip. \\n \\n \\n \\n \\n CHAPTER XXIV \\n \\n IRENE BEHAVES LIKE A PRINCESS \\n \\n \\n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \\n bending above her, the housekeeper looking over the nurse's shoulder, \\n and the laundry-maid looking over the housekeeper's. The room was full\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"walked with her into the great hall, which was hardly ever entered \\n except when he came to see his little princess. There he sat down with \\n two of his councillors who had accompanied him, to have some \\n refreshment, and Irene bestowed herself on his right hand, and drank her \\n milk out of a wooden bowl curiously carved. \\n \\n After the king had eaten and drunk, he turned to the princess and said, \\n stroking her hair-- \\n \\n \\\"Now, my child, what shall we do next?\\\" \\n\",\n \"after the other in the silvery path up the stair, looking behind as she \\n went, to see the shadow they made in the middle of the silver. Some \\n little girls would have been afraid to find themselves thus alone in the \\n middle of the night, but Irene was a princess. \\n \\n As she went slowly up the stairs, not quite sure that she was not \\n dreaming, suddenly a great longing woke up in her heart to try once more \\n whether she could not find the old, old lady with the silvery hair. \\n\",\n \"lady enough to understand this, and so she was in a great difficulty, \\n for, if she insisted, some one might hear the princess cry and run to \\n see, and then all would come out. But here Curdie came again to the \\n rescue. \\n \\n \\\"Never mind, Princess Irene,\\\" he said. \\\"You mustn't kiss me to-night. \\n But you sha'n't break your word. I will come another time. You may be \\n sure I will.\\\" \\n\",\n \"That the princess was a real princess, you might see now quite plainly; \\n for she didn't hang on to the handle of the door, and stare without \\n moving, as I have known some do who ought to have been princesses, but \\n were only rather vulgar little girls. She did as she was told, stepped \\n inside the door at once, and shut it gently behind her. \\n \\n \\\"Come to me, my dear,\\\" said the old lady. \\n \\n And again the princess did as she was told. She approached the old\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\"\n ],\n [\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"\\\"Irene.\\\" \\n \\n \\\"What more?\\\" \\n \\n \\\"I don't know what more.--What more is my name, Lootie?\\\" \\n \\n \\\"Princesses haven't got more than one name. They don't want it.\\\" \\n \\n \\\"Oh then, Curdie, you must call me just Irene, and no more.\\\" \\n \\n \\\"No, indeed,\\\" said the nurse indignantly. \\\"He shall do no such thing.\\\" \\n \\n \\\"What shall he call me, then, Lootie?\\\" \\n\",\n \"\\\"Your royal Highness.\\\" \\n \\n \\\"My royal Highness! What's that? No, no, Lootie, I will not be called \\n names. I don't like them. You said to me once yourself that it's only \\n rude children that call names; and I'm sure Curdie wouldn't be \\n rude.--Curdie, my name's Irene.\\\" \\n \\n \\\"Well, Irene,\\\" said Curdie, with a glance at the nurse which showed he\",\n \"whose tops a stream was pouring in a watery arch, now to pick a shining \\n stone from a rock by the wayside, now to watch the flight of some bird. \\n Suddenly the shadow of a great mountain peak came up from behind, and \\n shot in front of them. When the nurse saw it, she started and shook, and \\n tremulously grasping the hand of the princess turned and began to run \\n down the hill. \\n \\n \\\"What's all the haste, nursie?\\\" asked Irene, running alongside of her. \\n\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"nice-looking as you are, some king or other would have married you, and \\n then what would have become of me?\\\" \\n \\n \\\"You are an angel!\\\" repeated the nurse, again embracing her. \\n \\n \\\"Now,\\\" insisted Irene, \\\"you _will_ come and see my grandmother--won't \\n you?\\\" \\n \\n \\\"I will go with you anywhere you like, my cherub,\\\" she answered; and in \\n two minutes the weary little princess was fast asleep. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"it--in order, he fully believed, to lay hands on the little princess, \\n and carry her off for a wife to their horrid Harelip. \\n \\n \\n \\n \\n CHAPTER XXIV \\n \\n IRENE BEHAVES LIKE A PRINCESS \\n \\n \\n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \\n bending above her, the housekeeper looking over the nurse's shoulder, \\n and the laundry-maid looking over the housekeeper's. The room was full\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"\\\"Ah! then you can't help it,\\\" said Irene, \\\"and I will not be vexed with \\n you any more. I will give you a kiss and go to sleep.\\\" \\n \\n \\\"You little angel!\\\" cried the nurse, and caught her out of bed, and \\n walked about the room with her in her arms, kissing and hugging her. \\n \\n \\\"You _will_ let me take you to see my dear old great big grandmother, \\n won't you?\\\" said the princess, as she laid her down again. \\n\",\n \"\\\"We must not be out a moment longer.\\\" \\n \\n \\\"But we can't help being out a good many moments longer.\\\" \\n \\n It was too true. The nurse almost cried. They were much too far from \\n home. It was against express orders to be out with the princess one \\n moment after the sun was down; and they were nearly a mile up the \\n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \\n would certainly be dismissed; and to leave the princess would break her\",\n \"CHAPTER IV \\n \\n WHAT THE NURSE THOUGHT OF IT \\n \\n \\n \\\"WHY, where can you have been, princess?\\\" asked the nurse, taking her in \\n her arms. \\\"It's very unkind of you to hide away so long. I began to be \\n afraid--\\\" \\n \\n Here she checked herself. \\n \\n \\\"What were you afraid of, nursie?\\\" asked the princess. \\n \\n \\\"Never mind,\\\" she answered. \\\"Perhaps I will tell you another day. Now\",\n \"\\\"There was no necessity. You could make it all up for yourself.\\\" \\n \\n \\\"You don't believe me then!\\\" exclaimed the princess, astonished and \\n angry, as well she might be. \\n \\n \\\"Did you expect me to believe you, princess?\\\" asked the nurse coldly. \\\"I \\n know princesses are in the habit of telling make-believes, but you are \\n the first I ever heard of who expected to have them believed,\\\" she \\n added, seeing that the child was strangely in earnest. \\n\",\n \"different thing down there. They won't always mind that song even, down \\n there. And if anyone sings it, they stand grinning at him awfully; and \\n if he gets frightened, and misses a word, or says a wrong one, they--oh! \\n don't they give it him!\\\" \\n \\n \\\"What do they do to him?\\\" asked Irene, with a trembling voice. \\n \\n \\\"Don't go frightening the princess,\\\" said the nurse. \\n\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"\\\"I should like to see him!\\\" repeated the nurse, and said no more. She \\n did not want to open a new cause of strife with the princess by saying \\n more plainly what she meant. Glad enough that she had succeeded both in \\n getting home unseen, and in keeping the princess from kissing the \\n miner's boy, she resolved to watch her far better in future. Her \\n carelessness had already doubled the danger she was in. Formerly the \\n goblins were her only fear; now she had to protect her charge from\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"on. When the old lady had succeeded in getting her thread fairly in \\n operation again, she said to the princess, but without looking at her: \\n \\n \\\"Do you know my name, child?\\\" \\n \\n \\\"No, I don't know it,\\\" answered the princess. \\n \\n \\\"My name is Irene.\\\" \\n \\n \\\"That's _my_ name!\\\" cried the princess. \\n \\n \\\"I know that. I let you have mine. I haven't got your name. You've got \\n mine.\\\" \\n\"\n ],\n [\n \"which had been dug to get at the ore of which the mountains were full. \\n In the course of digging, the miners came upon many of these natural \\n caverns. A few of them had far-off openings out on the side of a \\n mountain, or into a ravine. \\n \\n Now in these subterranean caverns lived a strange race of beings, called \\n by some gnomes, by some kobolds, by some goblins. There was a legend \\n current in the country that at one time they lived above ground, and\",\n \"after his father, had stayed in the mine all night again and again, and \\n although they had several times encountered a few stray goblins, had \\n never yet failed in driving them away. As I have indicated already, the \\n chief defence against them was verse, for they hated verse of every \\n kind, and some kinds they could not endure at all. I suspect they could \\n not make any themselves, and that was why they disliked it so much. At \\n all events, those who were most afraid of them were those who could\",\n \"real sky with the stars in it, for a reason which I had better mention \\n at once. \\n \\n These mountains were full of hollow places underneath; huge caverns, and \\n winding ways, some with water running through them, and some shining \\n with all colors of the rainbow when a light was taken in. There would \\n not have been much known about them, had there not been mines there, \\n great deep pits, with long galleries and passages running off from them,\",\n \"he had come with the rest of the miners in the progress of their \\n excavations. The goblins had talked of coming back for the rest of their \\n household gear: he saw nothing that would have made him suspect a family \\n had taken shelter there for a single night. The floor was rough and \\n stony; the walls full of projecting corners; the roof in one place \\n twenty feet high, in another endangering his forehead; while on one side \\n a stream, no thicker than a needle, it is true, but still sufficient to\",\n \"They entered the hill by a natural opening under a huge rock, where a \\n little stream rushed out. They followed its course for a few yards, \\n when the passage took a turn, and sloped steeply into the heart of the \\n hill. With many angles and windings and branchings off, and sometimes \\n with steps where it came upon a natural gulf, it led them deep into the \\n hill before they arrived at the place where they were at present digging \\n out the precious ore. This was of various kinds, for the mountain was\",\n \"Keeping in the shade, the watchers had a few moments to recover \\n themselves before the hideous assembly suspected their presence; but all \\n at once, as if by common consent, they scampered off in the direction \\n of a great rock, and vanished before the men had come to sufficiently to \\n think of following them. \\n \\n My readers will suspect what these were; but I will now give them full \\n information concerning them. They were of course household animals \\n belonging to the goblins, whose ancestors had taken their ancestors many\",\n \"have to dig away alone in a passage no bigger than gave him just room to \\n work--sometimes in uncomfortable cramped positions. If they stopped for \\n a moment they could hear everywhere around them, some nearer, some \\n farther off, the sounds of their companions burrowing away in all \\n directions in the inside of the great mountain--some boring holes in the \\n rock in order to blow it up with gunpowder, others shoveling the broken \\n ore into baskets to be carried to the mouth of the mine, others hitting\",\n \"their roofs; and their floors were rough with boulders and large round \\n stones, showing that there water must have once run. He waited again at \\n this corner till they had disappeared round the next, and so followed \\n them a long way through one passage after another. The passages grew \\n more and more lofty, and were more and more covered in the roof with \\n shining stalactites. \\n \\n It was a strange enough procession which he followed. But the strangest \\n part of it was the household animals which crowded amongst the feet of\",\n \"the goblins. It was true they had no wild animals down there--at least \\n they did not know of any; but they had a wonderful number of tame ones. \\n I must, however, reserve any contributions toward the natural history of \\n these for a later position in my story. \\n \\n At length, turning a corner too abruptly, he had almost rushed into the \\n middle of the goblin family; for there they had already set down all \\n their burdens on the floor of a cave considerably larger than that which\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"inspecting them closely enough in the dusk in which they always \\n appeared, to satisfy himself whether it was a correct report. Indeed, he \\n had not been able even to satisfy himself as to whether they had no \\n fingers, although that also was commonly said to be the fact. One of the \\n miners, indeed, who had had more schooling than the rest, was wont to \\n argue that such must have been the primordial condition of humanity, and \\n that education and handicraft had developed both toes and fingers--with\",\n \"But still he had made no discovery as to what the goblin miners were \\n about. \\n \\n \\n \\n \\n CHAPTER XIII \\n \\n THE COBS' CREATURES \\n \\n \\n ABOUT this time, the gentlemen whom the king had left behind him to \\n watch over the princess, had each occasion to doubt the testimony of his \\n own eyes, for more than strange were the objects to which they would \\n bear witness. They were of one sort--creatures--but so grotesque and\",\n \"dropped work, they were satisfied that the mine was secure. \\n \\n They had heard goblin hammers and pickaxes busy all the time, and at \\n length fancied they heard sounds of water they had never heard before. \\n But that was otherwise accounted for when they left the mine; for they \\n stepped out into a tremendous storm which was raging all over the \\n mountain. The thunder was bellowing, and the lightning lancing out of a \\n huge black cloud which lay above it, and hung down its edges of thick\",\n \"\\\"There!\\\" said the boy, as he stood still opposite them. \\\"There! that'll \\n do for them. They can't bear singing, and they can't stand that song. \\n They can't sing themselves, for they have no more voice than a crow; and \\n they don't like other people to sing.\\\" \\n \\n The boy was dressed in a miner's dress, with a curious cap on his head. \\n He was a very nice-looking boy, with eyes as dark as the mines in which\",\n \"reservoirs of the mountain, as well as running through portions of it. \\n While the part hollowed by the miners remained shut off from that \\n inhabited by the goblins, they had had no opportunity of injuring them \\n thus; but now that a passage was broken through, and the goblins' part \\n proved the higher in the mountain, it was clear to Curdie that the mine \\n could be destroyed in an hour. Water was always the chief danger to \\n which the miners were exposed. They met with a little choke-damp\",\n \"The goblins, as Curdie had discovered, were mining on--at work both day \\n and night, in divisions, urging the scheme after which he lay in wait. \\n In the course of their tunneling, they had broken into the channel of a \\n small stream, but the break being in the top of it, no water had escaped \\n to interfere with their work. Some of the creatures, hovering as they \\n often did about their masters, had found the hole, and had, with the \\n curiosity which had grown to a passion from the restraints of their\",\n \"all taken refuge in the subterranean caverns, whence they never came out \\n but at night, and then seldom showed themselves in any numbers, and \\n never to many people at once. It was only in the least frequented and \\n most difficult parts of the mountains that they were said to gather even \\n at night in the open air. Those who had caught sight of any of them said \\n that they had greatly altered in the course of generations; and no \\n wonder, seeing they lived away from the sun, in cold and wet and dark\",\n \"the rest, and work all night. But you could not tell night from day down \\n there, except from feeling tired and sleepy; for no light of the sun \\n ever came into those gloomy regions. Some who had thus remained behind \\n during the night, although certain there were none of their companions \\n at work, would declare the next morning that they heard, every time they \\n halted for a moment to take breath, a tap-tapping all about them, as if \\n the mountain were then more full of miners than ever it was during the\",\n \"determined than ever to go on with my observations. Just as we came to \\n the channel by which we got out, I heard the miners at work somewhere \\n near--I think down below us. Now since I began to watch them, they have \\n mined a good half mile, in a straight line; and so far as I am aware, \\n they are working in no other part of the mountain. But I never could \\n tell in what direction they were going. When we came out in the king's \\n garden, however, I thought at once whether it was possible they were\",\n \"\\\"But you still think the lode does come through into our house?\\\" said \\n the first voice. \\n \\n \\\"Yes, but a good bit farther on than he has got to yet. If he had struck \\n a stroke more to the side just here,\\\" said the goblin, tapping the very \\n stone, as it seemed to Curdie, against which his head lay, \\\"he would \\n have been through; but he's a couple of yards past it now, and if he \\n follow the lode it will be a week before it leads him in. You see it\"\n ],\n [\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\",\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\",\n \"princess, but they were so anxious to find her that no one thought of \\n detaining them until it was too late. \\n \\n Having thus rescued the servants, they set about searching the house \\n once more. None of them could give the least information concerning the \\n princess. Lootie was almost silly with terror, and although scarcely \\n able to walk, would not leave Curdie's side for a single moment. Again \\n he allowed the others to search the rest of the house--where, except a\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"They all parted asunder as the king made a sign to her to come forward. \\n She obeyed, and he gave her his hand, but could not speak. \\n \\n \\\"And now, king-papa,\\\" the princess went on, \\\"I must tell you another \\n thing. One night long ago Curdie drove the goblins away and brought \\n Lootie and me safe from the mountain. And I promised him a kiss when we \\n got home, but Lootie wouldn't let me give it to him. I would not have\",\n \"THE king's harper, who always formed a part of his escort, was chanting \\n a ballad which he made as he went on playing on his instrument--about \\n the princess and the goblins, and the prowess of Curdie, when all at \\n once he ceased, with his eyes on one of the doors of the hall. Thereupon \\n the eyes of the king and his guests turned thitherward also. The next \\n moment, through the open doorway came the princess Irene. She went\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"proper foot, and sprang to Lootie's rescue. The prince had two \\n defenceless feet, and on both of them Curdie stamped just as he reached \\n the hole. He dropped his burden and rolled shrieking into the earth. \\n Curdie made one stab at him as he disappeared, caught hold of the \\n senseless Lootie, and having dragged her back to the corner, there \\n mounted guard over her, preparing once more to encounter the queen. Her \\n face streaming with blood, and her eyes flashing green lightning through\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"of the miners. Curdie and his father and mother took Lootie with them. \\n And the whole way, a light, of which all but Lootie understood the \\n origin, shone upon their path. But when they looked round they could see \\n nothing of the silvery globe. \\n \\n For days and days the water continued to rush from the doors and windows \\n of the king's house, and a few goblin bodies were swept out into the \\n road. \\n \\n Curdie saw that something must be done. He spoke to his father and the\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"for the very thought of that sweet little face down amongst the goblins \\n was unendurable. \\n \\n When Curdie ran in at the gate with the princess in his arms, they were \\n all so absorbed in their own misery and awed by the king's presence and \\n grief, that no one observed his arrival. He went straight up to the \\n king, where he sat on his horse. \\n \\n \\\"Papa! papa!\\\" the princess cried, stretching out her arms to him; \\\"here \\n I am!\\\" \\n\",\n \"went to his work, and Curdie and his mother set out to take the princess \\n home. They had difficulty in getting her dry across the streams, and \\n Curdie had again and again to carry her, but at last they got safe on \\n the broader part of the road, and walked gently down toward the king's \\n house. And what should they see as they turned the last corner, but the \\n last of the king's troop riding through the gate! \\n \\n \\\"Oh, Curdie!\\\" cried Irene, clapping her hands right joyfully, \\\"my\",\n \"\\\"My precious darling princess! where have you been? What has happened to \\n you? We've all been crying our eyes out, and searching the house from \\n top to bottom for you.\\\" \\n \\n \\\"Not quite from the top,\\\" thought Irene to herself; and she might have \\n added--\\\"not quite to the bottom,\\\" perhaps, if she had known all. But the \\n one she would not, and the other she could not say. \\n \\n \\\"Oh, Lootie! I've had such a dreadful adventure!\\\" she replied, and told\",\n \"Curdie; but the princess pulled her hand from hers, and was just \\n throwing her arms around Curdie's neck, when she caught her again and \\n dragged her away. \\n \\n \\\"Lootie, Lootie, I promised Curdie a kiss,\\\" cried Irene. \\n \\n \\\"A princess mustn't give kisses. It's not at all proper,\\\" said \\n Lootie. \\n \\n \\\"But I promised,\\\" said the princess. \\n \\n \\\"There's no occasion; he's only a miner-boy.\\\" \\n\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"Curdie. We don't care about the goblins and their nasty creatures. They \\n frighten us--rather._\\\" \\n \\n \\\"_But you know if you once get rid of the goblins there is no fear of \\n the princess or of Curdie._\\\" \\n \\n \\\"_But we want to know more about them._\\\" \\n \\n \\\"_Some day, perhaps, I may tell you the further history of both of them; \\n how Curdie came to visit Irene's grandmother, and what she did for him;\"\n ],\n [\n \"\\\"I've got it now, you see,\\\" she said, coming back to the princess, \\\"all \\n ready for you when you want it.\\\" \\n \\n Going to her cabinet, she laid it in the same drawer as before. \\n \\n \\\"And here is your ring,\\\" she added, taking it from the little finger of \\n her left hand, and putting it on the forefinger of Irene's right hand. \\n \\n \\\"Oh, thank you, grandmother. I feel so safe now!\\\" \\n\",\n \"you know, with the long hair of silver.\\\" \\n \\n The king only gazed at his little princess with a look which she could \\n not understand. \\n \\n \\\"She's got her crown in her bedroom,\\\" she went on; \\\"but I've not been in \\n there yet. You know she's here, don't you?\\\" \\n \\n \\\"No,\\\" said the king very quietly. \\n \\n \\\"Then it must be all a dream,\\\" said Irene. \\\"I half thought it was; but\",\n \"CHAPTER XX \\n \\n IRENE'S CLUE \\n \\n \\n THAT same morning, early, the princess woke in a terrible fright. There \\n was a hideous noise in her room--of creatures snarling and hissing and \\n racketing about as if they were fighting. The moment she came to \\n herself, she remembered something she had never thought of again--what \\n her grandmother told her to do when she was frightened. She immediately \\n took off her ring and put it under her pillow. As she did so, she\",\n \"The old lady left her, and going to a strange-looking cabinet, opened it \\n and took out a curious silver casket. Then she sat down on a low chair, \\n and calling Irene, made her kneel before her, while she looked at her \\n hand. Having examined it, she opened the casket, and took from it a \\n little ointment. The sweetest odor filled the room--like that of roses \\n and lilies--as she rubbed the ointment gently all over the hot swollen\",\n \"heart. It was no wonder she ran. But Irene was not in the least \\n frightened, not knowing anything to be frightened at. She kept on \\n chattering as well as she could, but it was not easy. \\n \\n \\\"Lootie! Lootie! why do you run so fast? It shakes my teeth when I \\n talk.\\\" \\n \\n \\\"Then don't talk,\\\" said Lootie. \\n \\n But the princess went on talking. She was always saying, \\\"Look, look,\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"tell him how it was that she had come to his rescue. So Irene too had to \\n tell a long story, which she did in rather a roundabout manner, \\n interrupted by many questions concerning things she had not explained. \\n But her tale, as he did not believe more than half of it, left \\n everything as unaccountable to him as before, and he was nearly as much \\n perplexed as to what he must think of the princess. He could not believe \\n that she was deliberately telling stories, and the only conclusion he\",\n \"whose tops a stream was pouring in a watery arch, now to pick a shining \\n stone from a rock by the wayside, now to watch the flight of some bird. \\n Suddenly the shadow of a great mountain peak came up from behind, and \\n shot in front of them. When the nurse saw it, she started and shook, and \\n tremulously grasping the hand of the princess turned and began to run \\n down the hill. \\n \\n \\\"What's all the haste, nursie?\\\" asked Irene, running alongside of her. \\n\",\n \"she would have taken herself for some gypsy-child whose face was washed \\n and hair combed about once in a month. The lady laughed too, and lifting \\n her again upon her knee, took off her cloak and night-gown. Then she \\n carried her to the side of the room. Irene wondered what she was going \\n to do with her, but asked no questions--only starting a little when she \\n found that she was going to lay her in the large silver bath; for as she \\n looked into it, again she saw no bottom, but the stars shining miles\",\n \"\\\"You are very tired, my child,\\\" the lady went on. \\\"Your hands are hurt \\n with the stones, and I have counted nine bruises on you. Just look what \\n you are like.\\\" \\n \\n And she held up to her a little mirror which she had brought from the \\n cabinet. The princess burst into a merry laugh at the sight. She was so \\n draggled with the stream, and dirty with creeping through narrow places, \\n that if she had seen the reflection without knowing it was a reflection,\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"was within a few paces, she rushed at him, made one tremendous stamp at \\n his opposing foot, which happily he withdrew in time, and caught him \\n round the waist, to dash him on the marble floor. But just as she caught \\n him, he came down with all the weight of his iron-shod shoe upon her \\n skin-shod foot, and with a hideous howl she dropped him, squatted on the \\n floor and took her foot in both her hands. Meanwhile the rest rushed on\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"\\\"My precious darling princess! where have you been? What has happened to \\n you? We've all been crying our eyes out, and searching the house from \\n top to bottom for you.\\\" \\n \\n \\\"Not quite from the top,\\\" thought Irene to herself; and she might have \\n added--\\\"not quite to the bottom,\\\" perhaps, if she had known all. But the \\n one she would not, and the other she could not say. \\n \\n \\\"Oh, Lootie! I've had such a dreadful adventure!\\\" she replied, and told\",\n \"be composed. \\n \\n \\\"I see you want your tea, princess,\\\" said the nurse: \\\"I will go and get \\n it. The room feels close: I will open the window a little. The evening \\n is mild: it won't hurt you.\\\" \\n \\n \\\"There's no fear of that, Lootie,\\\" said Irene, wishing she had put off \\n going for the tea till it was darker, when she might have made her \\n attempt with every advantage. \\n\",\n \"\\\"Sit down again, Irene. Nothing pleases me better than to see any one \\n sit in my chair. I am only too glad to stand so long as any one will sit \\n in it.\\\" \\n \\n \\\"How kind of you!\\\" said the princess, and sat down again. \\n \\n \\\"It makes me happy,\\\" said the lady. \\n \\n \\\"But,\\\" said Irene, still puzzled, \\\"won't the thread get in somebody's \\n way and be broken, if the one end is fast to my ring and the other laid\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"different thing down there. They won't always mind that song even, down \\n there. And if anyone sings it, they stand grinning at him awfully; and \\n if he gets frightened, and misses a word, or says a wrong one, they--oh! \\n don't they give it him!\\\" \\n \\n \\\"What do they do to him?\\\" asked Irene, with a trembling voice. \\n \\n \\\"Don't go frightening the princess,\\\" said the nurse. \\n\",\n \"and took her hands. In an instant she was on the saddle, and clasped in \\n his great strong arms. I wish I could describe the king, so that you \\n could see him in your mind. He had gentle blue eyes, but a nose that \\n made him look like an eagle. A long dark beard, streaked with silvery \\n lines, flowed from his mouth almost to his waist, and as Irene sat on \\n the saddle and hid her glad face upon his bosom, it mingled with the\",\n \"be locked immediately the sun set, and opened after upon no pretence \\n whatever. The men-at-arms redoubled their vigilance, and for some time \\n there was no further cause of alarm. \\n \\n When the princess woke the next morning, her nurse was bending over her. \\n \\n \\\"How your ring does glow this morning, princess!--just like a fiery \\n rose!\\\" she said. \\n \\n \\\"Does it, Lootie?\\\" returned Irene. \\\"Who gave me the ring, Lootie? I know\"\n ],\n [\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"with another company had gone off to search the house. They captured \\n every one they met, and when they could find no more, they hurried away \\n to carry them safe to the caverns below. But when the butler, who was \\n amongst them, found that their path lay through the wine cellar, he \\n bethought himself of persuading them to taste the wine, and, as he had \\n hoped, they no sooner tasted than they wanted more. The routed goblins,\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\",\n \"and he was soon down; but the captain had got his back to the wall and \\n stood out longer. The goblins would have torn them all to pieces, but \\n the king had given orders to carry them away alive, and over each of \\n them, in twelve groups, was standing a knot of goblins, while as many as \\n could find room were sitting upon their prostrate bodies. \\n \\n Curdie burst in dancing and gyrating and stamping and singing like a \\n small incarnate whirlwind, \\n\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"the goblins. It was true they had no wild animals down there--at least \\n they did not know of any; but they had a wonderful number of tame ones. \\n I must, however, reserve any contributions toward the natural history of \\n these for a later position in my story. \\n \\n At length, turning a corner too abruptly, he had almost rushed into the \\n middle of the goblin family; for there they had already set down all \\n their burdens on the floor of a cave considerably larger than that which\",\n \"it, she came on with her mouth open and her teeth grinning like a \\n tiger's, followed by the king and her bodyguard of the thickest goblins. \\n But the same moment in rushed the captain and his men, and ran at them \\n stamping furiously. They dared not encounter such an onset. Away they \\n scurried, the queen foremost. Of course the right thing would have been \\n to take the king and queen prisoners, and hold them hostages for the\",\n \"kept to the lower part of the house, which was now quiet enough, began \\n to hear a confused sound as of a distant hubbub, and set out to find \\n where it came from. The noise grew as his sharp ears guided him to a \\n stair and so to the wine cellar. It was full of goblins, whom the butler \\n was supplying with wine as fast as he could draw it. \\n \\n While the queen and her party had encountered the men-at-arms, Harelip\",\n \"dismayed goblin lurking here and there, they found no one--while he \\n requested Lootie to take him to the princess's room. She was as \\n submissive and obedient as if he had been the king. He found the \\n bed-clothes tossed about, and most of them on the floor, while the \\n princess's garments were scattered all over the room, which was in the \\n greatest confusion. It was only too evident that the goblins had been\",\n \"last compelled to acknowledge himself in an evil plight. He sat down and \\n tried to think, but soon fell fast asleep. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n GOBLIN COUNSELS \\n \\n \\n HE must have slept a long time, for when he awoke, he felt wonderfully \\n restored--indeed he felt almost well, and he was also very hungry. There \\n were voices in the outer cave. \\n \\n Once more then, it was night; for the goblins slept during the day, and\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"rather than hurt a woman, even if she was a goblin; but here was an \\n affair of life and death: forgetting her shoes, he made a great stamp on \\n one of her feet. But she instantly returned it with very different \\n effect, causing him frightful pain and almost disabling him. His only \\n chance with her would have been to attack the granite shoes with his \\n pickaxe, but before he could think of that, she had caught him up in her \\n arms, and was rushing with him across the cave. She dashed him into a\",\n \"some of them bad, that he succeeded in killing him with his pocket \\n knife. Having dragged him out, he made haste to get in again before \\n another should stop up the way. \\n \\n I need not follow him farther in this night's adventures. He returned to \\n his breakfast, satisfied that the goblins were mining in the direction \\n of the palace--on so low a level that their intention must, he thought, \\n be to burrow under the walls of the king's house, and rise up inside\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"and then, with the ball in his hand, unrolling as he went, set out in \\n the dark through the natural gangs of the goblins' territory. The first \\n night or two he came upon nothing worth remembering; saw only a little \\n of the home-life of the _cobs_ in the various caves they called houses; \\n failed in coming upon anything to cast light upon the foregoing design \\n which kept the inundation for the present in the background. But at \\n length, I think on the third or fourth night, he found, partly guided by\",\n \"But still he had made no discovery as to what the goblin miners were \\n about. \\n \\n \\n \\n \\n CHAPTER XIII \\n \\n THE COBS' CREATURES \\n \\n \\n ABOUT this time, the gentlemen whom the king had left behind him to \\n watch over the princess, had each occasion to doubt the testimony of his \\n own eyes, for more than strange were the objects to which they would \\n bear witness. They were of one sort--creatures--but so grotesque and\",\n \"after his father, had stayed in the mine all night again and again, and \\n although they had several times encountered a few stray goblins, had \\n never yet failed in driving them away. As I have indicated already, the \\n chief defence against them was verse, for they hated verse of every \\n kind, and some kinds they could not endure at all. I suspect they could \\n not make any themselves, and that was why they disliked it so much. At \\n all events, those who were most afraid of them were those who could\",\n \"him for one of the goblin creatures, had wounded him. \\n \\n They carried him into the house, and laid him down in the hall. The \\n report spread that they had caught a robber, and the servants crowded in \\n to see the villain. Amongst the rest came the nurse. The moment she saw \\n him she exclaimed with indignation: \\n \\n \\\"I declare it's the same young rascal of a miner that was rude to me and \\n the princess on the mountain. He actually wanted to kiss the princess.\"\n ],\n [\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"Curdie as well. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n THE MINES \\n \\n \\n CURDIE went home whistling. He resolved to say nothing about the \\n princess for fear of getting the nurse into trouble, for while he \\n enjoyed teasing her because of her absurdity, he was careful not to do \\n her any harm. He saw no more of the goblins, and was soon fast asleep in \\n his bed. \\n \\n He woke in the middle of the night, and thought he heard curious noises\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"of the miners. Curdie and his father and mother took Lootie with them. \\n And the whole way, a light, of which all but Lootie understood the \\n origin, shone upon their path. But when they looked round they could see \\n nothing of the silvery globe. \\n \\n For days and days the water continued to rush from the doors and windows \\n of the king's house, and a few goblin bodies were swept out into the \\n road. \\n \\n Curdie saw that something must be done. He spoke to his father and the\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"Curdie. We don't care about the goblins and their nasty creatures. They \\n frighten us--rather._\\\" \\n \\n \\\"_But you know if you once get rid of the goblins there is no fear of \\n the princess or of Curdie._\\\" \\n \\n \\\"_But we want to know more about them._\\\" \\n \\n \\\"_Some day, perhaps, I may tell you the further history of both of them; \\n how Curdie came to visit Irene's grandmother, and what she did for him;\",\n \"\\\"By a hole in the mountain.\\\" \\n \\n \\\"But you are a miner! Look at your pickaxe!\\\" \\n \\n Curdie did look at it, answering, \\n \\n \\\"I came upon it, lying on the ground, a little way from here. I tumbled \\n over some wild beasts who were playing with it. Look, your majesty.\\\" And \\n Curdie showed him how he was scratched and bitten. \\n \\n [Illustration: The goblins fell back a little when he began, and made\",\n \"have passed. It was with great difficulty that he forced his way through \\n one of them, and up to the door. \\n \\n The moment his hand fell on the latch, through all the uproar of winds \\n and waters came the joyous cry of the princess:-- \\n \\n \\\"There's Curdie! Curdie! Curdie!\\\" \\n \\n She was sitting wrapped in blankets on the bed, his mother trying for \\n the hundredth time to light the fire which had been drowned by the rain\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"for the very thought of that sweet little face down amongst the goblins \\n was unendurable. \\n \\n When Curdie ran in at the gate with the princess in his arms, they were \\n all so absorbed in their own misery and awed by the king's presence and \\n grief, that no one observed his arrival. He went straight up to the \\n king, where he sat on his horse. \\n \\n \\\"Papa! papa!\\\" the princess cried, stretching out her arms to him; \\\"here \\n I am!\\\" \\n\",\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"\\\"I'll do my best,\\\" said Curdie. \\\"I'm not afraid.\\\" \\n \\n \\\"We all know that,\\\" they returned, and left him. \\n \\n \\n \\n \\n CHAPTER VIII \\n \\n THE GOBLINS \\n \\n \\n FOR some time Curdie worked away briskly, throwing all the ore he had \\n disengaged on one side behind him, to be ready for carrying out in the \\n morning. He heard a good deal of goblin-tapping, but it all sounded far\",\n \"narrow--far too narrow for a goblin to get through, and so I presume \\n they never thought that Curdie might. He was beginning to feel very \\n uncomfortable lest he could not see the end. The princess when he heard \\n her voice almost close to his ear, whispering-- \\n \\n \\\"Aren't you coming, Curdie?\\\" \\n \\n And when he turned the next corner, there she stood waiting for him. \\n \\n \\\"I knew you couldn't go wrong in that narrow hole, but now you must keep\",\n \"projection gave way, down he came with a rush on the floor of the \\n cavern, bringing with him a great rumbling shower of stones. \\n \\n The goblins jumped from their seats in more anger than consternation, \\n for they had never yet seen anything to be afraid of in the palace. But \\n when they saw Curdie with his pick in his hand, their rage was mingled \\n with fear, for they took him for the first of an invasion of miners. The \\n king notwithstanding drew himself up to his full height of four feet,\",\n \"\\\"With pleasure, if your majesty will give me a guide,\\\" said Curdie. \\n \\n \\\"I will give you a thousand,\\\" said the king, with a scoffing air of \\n magnificent liberality. \\n \\n \\\"One will be quite sufficient,\\\" said Curdie. \\n \\n But the king uttered a strange shout, half halloo, half roar, and in \\n rushed goblins till the cave was swarming. He said something to the \\n first of them which Curdie could not hear, and it was passed from one to\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"just room to walk. Make haste, Curdie.\\\" \\n \\n He tried, but the hole was too small for him to get in. \\n \\n \\\"Go on a little bit,\\\" he said, shouldering his pickaxe. \\n \\n In a few moments he had cleared a large opening and followed her. They \\n went on, down and down with the running water, Curdie getting more and \\n more afraid it was leading them to some terrible gulf in the heart of \\n the mountain. In one or two places he had to break away the rock to make\",\n \"They all parted asunder as the king made a sign to her to come forward. \\n She obeyed, and he gave her his hand, but could not speak. \\n \\n \\\"And now, king-papa,\\\" the princess went on, \\\"I must tell you another \\n thing. One night long ago Curdie drove the goblins away and brought \\n Lootie and me safe from the mountain. And I promised him a kiss when we \\n got home, but Lootie wouldn't let me give it to him. I would not have\",\n \"\\\"What is that noise?\\\" she asked. \\\"Do you know, Curdie?\\\" \\n \\n \\\"Yes. It is the goblins digging and burrowing,\\\" he answered. \\n \\n \\\"And don't you know for what purpose they do it?\\\" \\n \\n \\\"No; I haven't the least idea. Would you like to see them?\\\" he asked, \\n wishing to have another try after their secret. \\n \\n \\\"If my thread took me there, I shouldn't much mind; but I don't want to\"\n ],\n [\n \"\\\"What is that noise?\\\" she asked. \\\"Do you know, Curdie?\\\" \\n \\n \\\"Yes. It is the goblins digging and burrowing,\\\" he answered. \\n \\n \\\"And don't you know for what purpose they do it?\\\" \\n \\n \\\"No; I haven't the least idea. Would you like to see them?\\\" he asked, \\n wishing to have another try after their secret. \\n \\n \\\"If my thread took me there, I shouldn't much mind; but I don't want to\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"some of them bad, that he succeeded in killing him with his pocket \\n knife. Having dragged him out, he made haste to get in again before \\n another should stop up the way. \\n \\n I need not follow him farther in this night's adventures. He returned to \\n his breakfast, satisfied that the goblins were mining in the direction \\n of the palace--on so low a level that their intention must, he thought, \\n be to burrow under the walls of the king's house, and rise up inside\",\n \"The goblins, as Curdie had discovered, were mining on--at work both day \\n and night, in divisions, urging the scheme after which he lay in wait. \\n In the course of their tunneling, they had broken into the channel of a \\n small stream, but the break being in the top of it, no water had escaped \\n to interfere with their work. Some of the creatures, hovering as they \\n often did about their masters, had found the hole, and had, with the \\n curiosity which had grown to a passion from the restraints of their\",\n \"inside the rock. After a while he heard it again. It was a \\n goblin-voice--there could be no doubt about that--and this time he could \\n make out the words. \\n \\n \\\"Hadn't we better be moving?\\\" it said. \\n \\n A rougher and deeper voice replied: \\n \\n \\\"There's no hurry. That wretched little mole won't be through to-night, \\n if he work ever so hard. He's by no means at the thinnest place.\\\" \\n\",\n \"ill-success. Every other night or so he followed the goblins about, as \\n they went on digging and boring, and getting as near them as he could, \\n watched them from behind stones and rocks; but as yet he seemed no \\n nearer finding out what they had in view. As at first, he always kept \\n hold of the end of his string, while his pickaxe left just outside the \\n hole by which he entered the goblins' country from the mine, continued \\n to serve as an anchor and hold fast the other end. The goblins hearing\",\n \"possible, the special evil design the goblins had now in their heads. \\n \\n Although he knew all the gangs and all the natural galleries with which \\n they communicated in the mined part of the mountain, he had not the \\n least idea where the palace of the king of the gnomes was; otherwise he \\n would have set out at once on the enterprise of discovering what the \\n said design was. He judged, and rightly, that it must lie in a farther \\n part of the mountain, between which and the mine there was as yet no\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\",\n \"communication. There must be one nearly completed, however; for it could \\n be but a thin partition which now separated them. If only he could get \\n through in time to follow the goblins as they retreated! A few blows \\n would doubtless be sufficient--just where his ear now lay; but if he \\n attempted to strike there with his pickaxe, he would only hasten the \\n departure of the family, put them on their guard, and perhaps lose their \\n involuntary guidance. He therefore began to feel the wall with his\",\n \"and then, with the ball in his hand, unrolling as he went, set out in \\n the dark through the natural gangs of the goblins' territory. The first \\n night or two he came upon nothing worth remembering; saw only a little \\n of the home-life of the _cobs_ in the various caves they called houses; \\n failed in coming upon anything to cast light upon the foregoing design \\n which kept the inundation for the present in the background. But at \\n length, I think on the third or fourth night, he found, partly guided by\",\n \"rock; but at length what seemed the far-off noise of a great shouting \\n reached his ears, which however presently ceased. After advancing a good \\n way farther, he thought he heard a single voice. It sounded clearer and \\n clearer as he went on, until at last he could almost distinguish the \\n words. In a moment or two, keeping after the goblins round another \\n corner, he once more started back--this time in amazement. \\n \\n He was at the entrance of a magnificent cavern, of an oval shape, once\",\n \"rest of the miners, and they at once proceeded to make another outlet \\n for the waters. By setting all hands to the work, tunneling here and \\n building there, they soon succeeded; and having also made a little \\n tunnel to drain the water away from under the king's house, they were \\n soon able to get into the wine cellar, where they found a multitude of \\n dead goblins--among the rest the queen, with the skin-shoe gone, and the\",\n \"of the goblin excavators: they were going no deeper, but had commenced \\n running on a level; and he watched them, therefore, more closely than \\n ever. All at once, one night, coming to a slope of very hard rock, they \\n began to ascend along the inclined plane of its surface. Having reached \\n its top, they went again on a level for a night or two, after which they \\n began to ascend once more, and kept on at a pretty steep angle. At \\n length Curdie judged it time to transfer his observation to another\",\n \"behind the rock where the stream ran out, for he had been listening all \\n round it in the hope it might convey to his ear some indication of the \\n whereabouts of the goblin miners, when just as he came into the \\n moonlight on the lawn, a whizz in his ear and a blow upon his leg \\n startled him. He instantly squatted in the hope of eluding further \\n notice. But when he heard the sound of running feet, he jumped up to \\n take the chance of escape by flight. He fell, however, with a keen shoot\",\n \"he had come with the rest of the miners in the progress of their \\n excavations. The goblins had talked of coming back for the rest of their \\n household gear: he saw nothing that would have made him suspect a family \\n had taken shelter there for a single night. The floor was rough and \\n stony; the walls full of projecting corners; the roof in one place \\n twenty feet high, in another endangering his forehead; while on one side \\n a stream, no thicker than a needle, it is true, but still sufficient to\",\n \"floor of the cavern, whence came a sound of running water which they had \\n been hearing for some time. \\n \\n \\\"It goes into the ground now, Curdie,\\\" she said, stopping. \\n \\n He had been listening to another sound, which his practised ear had \\n caught long ago, and which also had been growing louder. It was the \\n noise the goblin miners made at their work, and they seemed to be at no \\n great distance now. Irene heard it the moment she stopped. \\n\",\n \"the hole like a tiger, and tore and pulled. The sides gave way, and it \\n was soon large enough for him to crawl through. He would not betray \\n himself by rekindling his lamp, but the torches of the retreating \\n company, departing in a straight line up a long avenue from the door of \\n their cave, threw back light enough to afford him a glance round the \\n deserted home of the goblins. To his surprise, he could discover nothing \\n to distinguish it from an ordinary cave in the rock, upon many of which\",\n \"\\\"But you still think the lode does come through into our house?\\\" said \\n the first voice. \\n \\n \\\"Yes, but a good bit farther on than he has got to yet. If he had struck \\n a stroke more to the side just here,\\\" said the goblin, tapping the very \\n stone, as it seemed to Curdie, against which his head lay, \\\"he would \\n have been through; but he's a couple of yards past it now, and if he \\n follow the lode it will be a week before it leads him in. You see it\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"He dropped his voice so low that Curdie could hear only a growl. The \\n growl went on in a low bass for a good while, as inarticulate as if the \\n goblin's tongue had been a sausage; and it was not until his wife spoke \\n again that it rose to its former pitch. \\n \\n \\\"But what shall we do when you are at the palace?\\\" she asked. \\n \\n \\\"I will see you safe in the new house I've been digging for you for the\"\n ],\n [\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"Curdie. We don't care about the goblins and their nasty creatures. They \\n frighten us--rather._\\\" \\n \\n \\\"_But you know if you once get rid of the goblins there is no fear of \\n the princess or of Curdie._\\\" \\n \\n \\\"_But we want to know more about them._\\\" \\n \\n \\\"_Some day, perhaps, I may tell you the further history of both of them; \\n how Curdie came to visit Irene's grandmother, and what she did for him;\",\n \"THE king's harper, who always formed a part of his escort, was chanting \\n a ballad which he made as he went on playing on his instrument--about \\n the princess and the goblins, and the prowess of Curdie, when all at \\n once he ceased, with his eyes on one of the doors of the hall. Thereupon \\n the eyes of the king and his guests turned thitherward also. The next \\n moment, through the open doorway came the princess Irene. She went\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Then you didn't see the cobs?\\\" asked Curdie. \\n \\n \\\"No; I haven't been into the mountain, I told you, Curdie.\\\" \\n \\n \\\"But the cobs have been into your house--all over it--and into your \\n bedroom making such a row!\\\" \\n \\n \\\"What did they want there? It was very rude of them.\\\" \\n \\n \\\"They wanted you--to carry you off into the mountain with them, for a \\n wife to their Prince Harelip.\\\" \\n\",\n \"\\\"Yes; but they think so much of themselves!\\\" said his mother. \\\"Small \\n creatures always do. The bantam is the proudest cock in my little yard.\\\" \\n \\n \\\"And I fancy,\\\" said Curdie, \\\"if they once get her, they would tell the \\n king they would kill her except, he consented to the marriage.\\\" \\n \\n \\\"They might say so,\\\" said his father, \\\"but they wouldn't kill her; they \\n would keep her alive for the sake of the hold it gave them over our\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"\\\"I should like to see him!\\\" repeated the nurse, and said no more. She \\n did not want to open a new cause of strife with the princess by saying \\n more plainly what she meant. Glad enough that she had succeeded both in \\n getting home unseen, and in keeping the princess from kissing the \\n miner's boy, she resolved to watch her far better in future. Her \\n carelessness had already doubled the danger she was in. Formerly the \\n goblins were her only fear; now she had to protect her charge from\",\n \"him for one of the goblin creatures, had wounded him. \\n \\n They carried him into the house, and laid him down in the hall. The \\n report spread that they had caught a robber, and the servants crowded in \\n to see the villain. Amongst the rest came the nurse. The moment she saw \\n him she exclaimed with indignation: \\n \\n \\\"I declare it's the same young rascal of a miner that was rude to me and \\n the princess on the mountain. He actually wanted to kiss the princess.\",\n \"dismayed goblin lurking here and there, they found no one--while he \\n requested Lootie to take him to the princess's room. She was as \\n submissive and obedient as if he had been the king. He found the \\n bed-clothes tossed about, and most of them on the floor, while the \\n princess's garments were scattered all over the room, which was in the \\n greatest confusion. It was only too evident that the goblins had been\",\n \"They all parted asunder as the king made a sign to her to come forward. \\n She obeyed, and he gave her his hand, but could not speak. \\n \\n \\\"And now, king-papa,\\\" the princess went on, \\\"I must tell you another \\n thing. One night long ago Curdie drove the goblins away and brought \\n Lootie and me safe from the mountain. And I promised him a kiss when we \\n got home, but Lootie wouldn't let me give it to him. I would not have\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"very kind, but I could not be half the use to him that I am to you. \\n Please your Majesty, if you wouldn't mind giving my mother a red \\n petticoat! I should have got her one long ago, but for the goblins.\\\" \\n \\n \\\"As soon as we get home,\\\" said the king, \\\"Irene and I will search out \\n the warmest one to be found, and send it by one of the gentlemen.\\\" \\n \\n \\\"Yes, that we will, Curdie!\\\" said the princess. \\n\",\n \"often she would take to her heels when nothing worse than a fleecy cloud \\n crossing the sun threw a shadow on the hillside; and many an evening \\n they were home a full hour before the sunlight had left the weathercock \\n on the stables. If it had not been for such behavior, Irene would by \\n this time have almost forgotten the goblins. She never forgot Curdie, \\n but him she remembered for his own sake, and indeed would have \\n remembered him if only because a princess never forgets her debts until \\n they are paid. \\n\",\n \"for the very thought of that sweet little face down amongst the goblins \\n was unendurable. \\n \\n When Curdie ran in at the gate with the princess in his arms, they were \\n all so absorbed in their own misery and awed by the king's presence and \\n grief, that no one observed his arrival. He went straight up to the \\n king, where he sat on his horse. \\n \\n \\\"Papa! papa!\\\" the princess cried, stretching out her arms to him; \\\"here \\n I am!\\\" \\n\",\n \"and the news that dead goblins were tossing about in the current through \\n the house. They had been caught in their own snare; instead of the mine \\n they had flooded their own country, whence they were now swept up \\n drowned. Irene shuddered, but the king held her close to his bosom. Then \\n he turned to Sir Walter, and said-- \\n \\n \\\"Bring Curdie's father and mother here.\\\" \\n \\n \\\"I wish,\\\" said the king, when they stood before him, \\\"to take your son\",\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\"\n ],\n [\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"went to his work, and Curdie and his mother set out to take the princess \\n home. They had difficulty in getting her dry across the streams, and \\n Curdie had again and again to carry her, but at last they got safe on \\n the broader part of the road, and walked gently down toward the king's \\n house. And what should they see as they turned the last corner, but the \\n last of the king's troop riding through the gate! \\n \\n \\\"Oh, Curdie!\\\" cried Irene, clapping her hands right joyfully, \\\"my\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"Then Curdie had to explain everything--how he had watched for her sake, \\n how he had been wounded and shut up by the soldiers, how he heard the \\n noises and could not rise, and how the beautiful old lady had come to \\n him, and all that followed. \\n \\n \\\"Poor Curdie! to lie there hurt and ill, and me never to know it!\\\" \\n exclaimed the princess, stroking his rough hand. \\\"I would not have \\n hesitated to come and nurse you, if they had told me.\\\" \\n\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"Curdie. We don't care about the goblins and their nasty creatures. They \\n frighten us--rather._\\\" \\n \\n \\\"_But you know if you once get rid of the goblins there is no fear of \\n the princess or of Curdie._\\\" \\n \\n \\\"_But we want to know more about them._\\\" \\n \\n \\\"_Some day, perhaps, I may tell you the further history of both of them; \\n how Curdie came to visit Irene's grandmother, and what she did for him;\",\n \"Curdie; but the princess pulled her hand from hers, and was just \\n throwing her arms around Curdie's neck, when she caught her again and \\n dragged her away. \\n \\n \\\"Lootie, Lootie, I promised Curdie a kiss,\\\" cried Irene. \\n \\n \\\"A princess mustn't give kisses. It's not at all proper,\\\" said \\n Lootie. \\n \\n \\\"But I promised,\\\" said the princess. \\n \\n \\\"There's no occasion; he's only a miner-boy.\\\" \\n\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"lady enough to understand this, and so she was in a great difficulty, \\n for, if she insisted, some one might hear the princess cry and run to \\n see, and then all would come out. But here Curdie came again to the \\n rescue. \\n \\n \\\"Never mind, Princess Irene,\\\" he said. \\\"You mustn't kiss me to-night. \\n But you sha'n't break your word. I will come another time. You may be \\n sure I will.\\\" \\n\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"have passed. It was with great difficulty that he forced his way through \\n one of them, and up to the door. \\n \\n The moment his hand fell on the latch, through all the uproar of winds \\n and waters came the joyous cry of the princess:-- \\n \\n \\\"There's Curdie! Curdie! Curdie!\\\" \\n \\n She was sitting wrapped in blankets on the bed, his mother trying for \\n the hundredth time to light the fire which had been drowned by the rain\",\n \"Irene called out-- \\n \\n \\\"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \\n grandmother had been to see you.--Don't you smell the roses? It was my \\n grandmother healed your leg, and sent you to help me.\\\" \\n \\n \\\"No, Princess Irene,\\\" said Curdie; \\\"I wasn't good enough to be allowed \\n to help you: I didn't believe you. Your grandmother took care of you \\n without me.\\\" \\n\",\n \"\\\"You can tell me all about it when we get out, then. There's no time to \\n lose now,\\\" said Curdie. \\n \\n And Irene went to work, as fresh as when she began. \\n \\n \\\"There's such a lot of stones!\\\" she said. \\\"It will take me a long time \\n to get them all away.\\\" \\n \\n \\\"How far on have you got?\\\" asked Curdie. \\n \\n \\\"I've got about the half way, but the other half is ever so much \\n bigger.\\\" \\n\",\n \"\\\"Irene,\\\" he said, \\\"I am very sorry I did not believe you.\\\" \\n \\n \\\"Oh, never mind, Curdie!\\\" answered the princess. \\\"You couldn't, you \\n know. You do believe me now, don't you?\\\" \\n \\n \\\"I can't help it now. I ought to have helped it before.\\\" \\n \\n \\\"Why can't you help it now?\\\" \\n \\n \\\"Because, just as I was going into the mountain to look for you, I got \\n hold of your thread, and it brought me here.\\\"\",\n \"with me. He shall enter my bodyguard at once, and wait further \\n promotion.\\\" \\n \\n Peter and his wife, overcome, only murmured almost inaudible thanks. But \\n Curdie spoke aloud. \\n \\n \\\"Please your Majesty,\\\" he said, \\\"I cannot leave my father and mother.\\\" \\n \\n \\\"That's right, Curdie!\\\" cried the princess. \\\"_I_ wouldn't if I was you.\\\" \\n \\n The king looked at the princess and then at Curdie with a glow of \\n satisfaction on his countenance. \\n\"\n ],\n [\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"\\\"He is a good boy, and a brave boy, and he has been very kind to us. \\n Lootie! Lootie! I promised.\\\" \\n \\n \\\"Then you shouldn't have promised.\\\" \\n \\n \\\"Lootie, I promised him a kiss.\\\" \\n \\n \\\"Your royal Highness,\\\" said Lootie, suddenly growing very respectful, \\n \\\"must come in directly.\\\" \\n \\n \\\"Nurse, a princess must _not_ break her word,\\\" said Irene, drawing \\n herself up and standing stockstill. \\n\",\n \"\\\"Irene.\\\" \\n \\n \\\"What more?\\\" \\n \\n \\\"I don't know what more.--What more is my name, Lootie?\\\" \\n \\n \\\"Princesses haven't got more than one name. They don't want it.\\\" \\n \\n \\\"Oh then, Curdie, you must call me just Irene, and no more.\\\" \\n \\n \\\"No, indeed,\\\" said the nurse indignantly. \\\"He shall do no such thing.\\\" \\n \\n \\\"What shall he call me, then, Lootie?\\\" \\n\",\n \"\\\"Your royal Highness.\\\" \\n \\n \\\"My royal Highness! What's that? No, no, Lootie, I will not be called \\n names. I don't like them. You said to me once yourself that it's only \\n rude children that call names; and I'm sure Curdie wouldn't be \\n rude.--Curdie, my name's Irene.\\\" \\n \\n \\\"Well, Irene,\\\" said Curdie, with a glance at the nurse which showed he\",\n \"whose tops a stream was pouring in a watery arch, now to pick a shining \\n stone from a rock by the wayside, now to watch the flight of some bird. \\n Suddenly the shadow of a great mountain peak came up from behind, and \\n shot in front of them. When the nurse saw it, she started and shook, and \\n tremulously grasping the hand of the princess turned and began to run \\n down the hill. \\n \\n \\\"What's all the haste, nursie?\\\" asked Irene, running alongside of her. \\n\",\n \"\\\"Of course we shall,\\\" returned Irene. \\n \\n \\\"Why do you think so?\\\" asked Curdie. \\n \\n \\\"Because my grandmother is taking care of us.\\\" \\n \\n \\\"That's all nonsense,\\\" said Curdie. \\\"I don't know what you mean.\\\" \\n \\n \\\"Then if you don't know what I mean, what right have you to call it \\n nonsense?\\\" asked the princess, a little offended. \\n \\n \\\"I beg your pardon, Irene,\\\" said Curdie; \\\"I did not mean to vex you.\\\"\",\n \"nice-looking as you are, some king or other would have married you, and \\n then what would have become of me?\\\" \\n \\n \\\"You are an angel!\\\" repeated the nurse, again embracing her. \\n \\n \\\"Now,\\\" insisted Irene, \\\"you _will_ come and see my grandmother--won't \\n you?\\\" \\n \\n \\\"I will go with you anywhere you like, my cherub,\\\" she answered; and in \\n two minutes the weary little princess was fast asleep. \\n \\n \\n \\n \\n CHAPTER V \\n\",\n \"to be believed does not at all agree with princesses; for a real \\n princess cannot tell a lie. So all the afternoon she did not speak a \\n word. Only when the nurse spoke to her, she answered her, for a real \\n princess is never rude--even when she does well to be offended. \\n \\n Of course the nurse was not comfortable in her mind--not that she \\n suspected the least truth in Irene's story, but that she loved her \\n dearly, and was vexed with herself for having been cross to her. She\",\n \"it--in order, he fully believed, to lay hands on the little princess, \\n and carry her off for a wife to their horrid Harelip. \\n \\n \\n \\n \\n CHAPTER XXIV \\n \\n IRENE BEHAVES LIKE A PRINCESS \\n \\n \\n WHEN the princess awoke from the sweetest of sleeps, she found her nurse \\n bending above her, the housekeeper looking over the nurse's shoulder, \\n and the laundry-maid looking over the housekeeper's. The room was full\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"\\\"Ah! then you can't help it,\\\" said Irene, \\\"and I will not be vexed with \\n you any more. I will give you a kiss and go to sleep.\\\" \\n \\n \\\"You little angel!\\\" cried the nurse, and caught her out of bed, and \\n walked about the room with her in her arms, kissing and hugging her. \\n \\n \\\"You _will_ let me take you to see my dear old great big grandmother, \\n won't you?\\\" said the princess, as she laid her down again. \\n\",\n \"\\\"We must not be out a moment longer.\\\" \\n \\n \\\"But we can't help being out a good many moments longer.\\\" \\n \\n It was too true. The nurse almost cried. They were much too far from \\n home. It was against express orders to be out with the princess one \\n moment after the sun was down; and they were nearly a mile up the \\n mountain! If his Majesty, Irene's papa, were to hear of it, Lootie \\n would certainly be dismissed; and to leave the princess would break her\",\n \"CHAPTER IV \\n \\n WHAT THE NURSE THOUGHT OF IT \\n \\n \\n \\\"WHY, where can you have been, princess?\\\" asked the nurse, taking her in \\n her arms. \\\"It's very unkind of you to hide away so long. I began to be \\n afraid--\\\" \\n \\n Here she checked herself. \\n \\n \\\"What were you afraid of, nursie?\\\" asked the princess. \\n \\n \\\"Never mind,\\\" she answered. \\\"Perhaps I will tell you another day. Now\",\n \"\\\"There was no necessity. You could make it all up for yourself.\\\" \\n \\n \\\"You don't believe me then!\\\" exclaimed the princess, astonished and \\n angry, as well she might be. \\n \\n \\\"Did you expect me to believe you, princess?\\\" asked the nurse coldly. \\\"I \\n know princesses are in the habit of telling make-believes, but you are \\n the first I ever heard of who expected to have them believed,\\\" she \\n added, seeing that the child was strangely in earnest. \\n\",\n \"different thing down there. They won't always mind that song even, down \\n there. And if anyone sings it, they stand grinning at him awfully; and \\n if he gets frightened, and misses a word, or says a wrong one, they--oh! \\n don't they give it him!\\\" \\n \\n \\\"What do they do to him?\\\" asked Irene, with a trembling voice. \\n \\n \\\"Don't go frightening the princess,\\\" said the nurse. \\n\",\n \"\\\"There's a princess!\\\" exclaimed Curdie, in a tone of delight, but still \\n speaking in little more than a whisper. \\\"I can't think how you got here, \\n though.\\\" \\n \\n \\\"My grandmother sent me after her thread.\\\" \\n \\n \\\"I don't know what you mean,\\\" said Curdie; \\\"but so you're there, it \\n doesn't much matter.\\\" \\n \\n \\\"Oh, yes it does!\\\" returned Irene. \\\"I should never have been here but \\n for her.\\\" \\n\",\n \"\\\"I should like to see him!\\\" repeated the nurse, and said no more. She \\n did not want to open a new cause of strife with the princess by saying \\n more plainly what she meant. Glad enough that she had succeeded both in \\n getting home unseen, and in keeping the princess from kissing the \\n miner's boy, she resolved to watch her far better in future. Her \\n carelessness had already doubled the danger she was in. Formerly the \\n goblins were her only fear; now she had to protect her charge from\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"on. When the old lady had succeeded in getting her thread fairly in \\n operation again, she said to the princess, but without looking at her: \\n \\n \\\"Do you know my name, child?\\\" \\n \\n \\\"No, I don't know it,\\\" answered the princess. \\n \\n \\\"My name is Irene.\\\" \\n \\n \\\"That's _my_ name!\\\" cried the princess. \\n \\n \\\"I know that. I let you have mine. I haven't got your name. You've got \\n mine.\\\" \\n\"\n ],\n [\n \"which had been dug to get at the ore of which the mountains were full. \\n In the course of digging, the miners came upon many of these natural \\n caverns. A few of them had far-off openings out on the side of a \\n mountain, or into a ravine. \\n \\n Now in these subterranean caverns lived a strange race of beings, called \\n by some gnomes, by some kobolds, by some goblins. There was a legend \\n current in the country that at one time they lived above ground, and\",\n \"real sky with the stars in it, for a reason which I had better mention \\n at once. \\n \\n These mountains were full of hollow places underneath; huge caverns, and \\n winding ways, some with water running through them, and some shining \\n with all colors of the rainbow when a light was taken in. There would \\n not have been much known about them, had there not been mines there, \\n great deep pits, with long galleries and passages running off from them,\",\n \"he had come with the rest of the miners in the progress of their \\n excavations. The goblins had talked of coming back for the rest of their \\n household gear: he saw nothing that would have made him suspect a family \\n had taken shelter there for a single night. The floor was rough and \\n stony; the walls full of projecting corners; the roof in one place \\n twenty feet high, in another endangering his forehead; while on one side \\n a stream, no thicker than a needle, it is true, but still sufficient to\",\n \"They entered the hill by a natural opening under a huge rock, where a \\n little stream rushed out. They followed its course for a few yards, \\n when the passage took a turn, and sloped steeply into the heart of the \\n hill. With many angles and windings and branchings off, and sometimes \\n with steps where it came upon a natural gulf, it led them deep into the \\n hill before they arrived at the place where they were at present digging \\n out the precious ore. This was of various kinds, for the mountain was\",\n \"after his father, had stayed in the mine all night again and again, and \\n although they had several times encountered a few stray goblins, had \\n never yet failed in driving them away. As I have indicated already, the \\n chief defence against them was verse, for they hated verse of every \\n kind, and some kinds they could not endure at all. I suspect they could \\n not make any themselves, and that was why they disliked it so much. At \\n all events, those who were most afraid of them were those who could\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"determined than ever to go on with my observations. Just as we came to \\n the channel by which we got out, I heard the miners at work somewhere \\n near--I think down below us. Now since I began to watch them, they have \\n mined a good half mile, in a straight line; and so far as I am aware, \\n they are working in no other part of the mountain. But I never could \\n tell in what direction they were going. When we came out in the king's \\n garden, however, I thought at once whether it was possible they were\",\n \"Curdie as well. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n THE MINES \\n \\n \\n CURDIE went home whistling. He resolved to say nothing about the \\n princess for fear of getting the nurse into trouble, for while he \\n enjoyed teasing her because of her absurdity, he was careful not to do \\n her any harm. He saw no more of the goblins, and was soon fast asleep in \\n his bed. \\n \\n He woke in the middle of the night, and thought he heard curious noises\",\n \"have to dig away alone in a passage no bigger than gave him just room to \\n work--sometimes in uncomfortable cramped positions. If they stopped for \\n a moment they could hear everywhere around them, some nearer, some \\n farther off, the sounds of their companions burrowing away in all \\n directions in the inside of the great mountain--some boring holes in the \\n rock in order to blow it up with gunpowder, others shoveling the broken \\n ore into baskets to be carried to the mouth of the mine, others hitting\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\",\n \"dropped work, they were satisfied that the mine was secure. \\n \\n They had heard goblin hammers and pickaxes busy all the time, and at \\n length fancied they heard sounds of water they had never heard before. \\n But that was otherwise accounted for when they left the mine; for they \\n stepped out into a tremendous storm which was raging all over the \\n mountain. The thunder was bellowing, and the lightning lancing out of a \\n huge black cloud which lay above it, and hung down its edges of thick\",\n \"second scheme of the goblins, who, fancying the miners of more \\n importance to the upper world than they were, had resolved, if they \\n should fail in carrying off the king's daughter, to flood the mine and \\n drown the miners. Then he explained what the miners had done to prevent \\n it. The goblins had, in pursuance of their design, let loose all the \\n underground reservoirs and streams, expecting the water to run down into \\n the mine, which was lower than their part of the mountain, for they had,\",\n \"reservoirs of the mountain, as well as running through portions of it. \\n While the part hollowed by the miners remained shut off from that \\n inhabited by the goblins, they had had no opportunity of injuring them \\n thus; but now that a passage was broken through, and the goblins' part \\n proved the higher in the mountain, it was clear to Curdie that the mine \\n could be destroyed in an hour. Water was always the chief danger to \\n which the miners were exposed. They met with a little choke-damp\",\n \"the rest, and work all night. But you could not tell night from day down \\n there, except from feeling tired and sleepy; for no light of the sun \\n ever came into those gloomy regions. Some who had thus remained behind \\n during the night, although certain there were none of their companions \\n at work, would declare the next morning that they heard, every time they \\n halted for a moment to take breath, a tap-tapping all about them, as if \\n the mountain were then more full of miners than ever it was during the\",\n \"\\\"There!\\\" said the boy, as he stood still opposite them. \\\"There! that'll \\n do for them. They can't bear singing, and they can't stand that song. \\n They can't sing themselves, for they have no more voice than a crow; and \\n they don't like other people to sing.\\\" \\n \\n The boy was dressed in a miner's dress, with a curious cap on his head. \\n He was a very nice-looking boy, with eyes as dark as the mines in which\",\n \"\\\"But you still think the lode does come through into our house?\\\" said \\n the first voice. \\n \\n \\\"Yes, but a good bit farther on than he has got to yet. If he had struck \\n a stroke more to the side just here,\\\" said the goblin, tapping the very \\n stone, as it seemed to Curdie, against which his head lay, \\\"he would \\n have been through; but he's a couple of yards past it now, and if he \\n follow the lode it will be a week before it leads him in. You see it\",\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"rest of the miners, and they at once proceeded to make another outlet \\n for the waters. By setting all hands to the work, tunneling here and \\n building there, they soon succeeded; and having also made a little \\n tunnel to drain the water away from under the king's house, they were \\n soon able to get into the wine cellar, where they found a multitude of \\n dead goblins--among the rest the queen, with the skin-shoe gone, and the\",\n \"all taken refuge in the subterranean caverns, whence they never came out \\n but at night, and then seldom showed themselves in any numbers, and \\n never to many people at once. It was only in the least frequented and \\n most difficult parts of the mountains that they were said to gather even \\n at night in the open air. Those who had caught sight of any of them said \\n that they had greatly altered in the course of generations; and no \\n wonder, seeing they lived away from the sun, in cold and wet and dark\",\n \"that the outside of the mountain was sufficiently like their own dismal \\n regions to be endurable to their mole-eyes, so thoroughly had they \\n become disused to any light beyond that of their own fires and torches. \\n \\n Curdie listened, and soon found that they were talking of himself. \\n \\n \\\"How long will it take?\\\" asked Harelip. \\n \\n \\\"Not many days, I should think,\\\" answered the king. \\\"They are poor \\n feeble creatures, those sun-people, and want to be always eating. _We_\"\n ],\n [\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"THE king's harper, who always formed a part of his escort, was chanting \\n a ballad which he made as he went on playing on his instrument--about \\n the princess and the goblins, and the prowess of Curdie, when all at \\n once he ceased, with his eyes on one of the doors of the hall. Thereupon \\n the eyes of the king and his guests turned thitherward also. The next \\n moment, through the open doorway came the princess Irene. She went\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"\\\"Run, Irene!\\\" cried Curdie, for though he was not now in the least \\n afraid for himself, he was for the princess. \\n \\n Irene looked once round, saw the fearful creatures awake, and like the \\n wise princess she was, dashed the torch on the ground and extinguished \\n it, crying out-- \\n \\n \\\"Here, Curdie, take my hand.\\\" \\n \\n He darted to her side, forgetting neither the queen's shoe nor his\",\n \"killed by Curdie; but they came to the conclusion that it had been slain \\n in the mines, and had crept out there to die; and except an occasional \\n glimpse of a live one they saw nothing to cause alarm. Curdie kept \\n watching in the mountain, and the goblins kept burrowing deeper into the \\n earth. As long as they went deeper, there was, Curdie judged, no \\n immediate danger. \\n \\n To Irene, the summer was as full of pleasure as ever, and for a long\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"Curdie. We don't care about the goblins and their nasty creatures. They \\n frighten us--rather._\\\" \\n \\n \\\"_But you know if you once get rid of the goblins there is no fear of \\n the princess or of Curdie._\\\" \\n \\n \\\"_But we want to know more about them._\\\" \\n \\n \\\"_Some day, perhaps, I may tell you the further history of both of them; \\n how Curdie came to visit Irene's grandmother, and what she did for him;\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"there was no way to get them out, except by riding them through the \\n stream, which was now pouring from the lower windows as well as the \\n door. As one horse was quite enough for any man to manage through such a \\n torrent, Curdie got on the king's white charger, and leading the way, \\n brought them all in safety to the rising ground. \\n \\n \\\"Look, look, Curdie!\\\" cried Irene, the moment that, having dismounted, \\n he led the horse up to the king. \\n\",\n \"often she would take to her heels when nothing worse than a fleecy cloud \\n crossing the sun threw a shadow on the hillside; and many an evening \\n they were home a full hour before the sunlight had left the weathercock \\n on the stables. If it had not been for such behavior, Irene would by \\n this time have almost forgotten the goblins. She never forgot Curdie, \\n but him she remembered for his own sake, and indeed would have \\n remembered him if only because a princess never forgets her debts until \\n they are paid. \\n\",\n \"and the news that dead goblins were tossing about in the current through \\n the house. They had been caught in their own snare; instead of the mine \\n they had flooded their own country, whence they were now swept up \\n drowned. Irene shuddered, but the king held her close to his bosom. Then \\n he turned to Sir Walter, and said-- \\n \\n \\\"Bring Curdie's father and mother here.\\\" \\n \\n \\\"I wish,\\\" said the king, when they stood before him, \\\"to take your son\",\n \"get up the mountain?\\\" \\n \\n The king, who was the wisest man in the kingdom, knew well there was a \\n time when things must be done, and questions left till afterward. He had \\n faith in Curdie, and rose instantly, with Irene in his arms. \\n \\n \\\"Every man and woman follow me,\\\" he said, and strode out into the \\n darkness. \\n \\n Before he had reached the gate, the noise had grown to a great \\n thundering roar, and the ground trembled beneath their feet, and before\",\n \"\\\"Oh, Curdie! I'm so glad! Let's get out of this horrid place as fast as \\n we can.\\\" \\n \\n \\\"That's easier said than done,\\\" returned he. \\n \\n \\\"Oh, no! it's quite easy,\\\" said Irene. \\\"We have only to follow my \\n thread. I am sure that it's going to take us out now.\\\" \\n \\n She had already begun to follow it over the fallen slab into the hole,\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"very kind, but I could not be half the use to him that I am to you. \\n Please your Majesty, if you wouldn't mind giving my mother a red \\n petticoat! I should have got her one long ago, but for the goblins.\\\" \\n \\n \\\"As soon as we get home,\\\" said the king, \\\"Irene and I will search out \\n the warmest one to be found, and send it by one of the gentlemen.\\\" \\n \\n \\\"Yes, that we will, Curdie!\\\" said the princess. \\n\",\n \"last compelled to acknowledge himself in an evil plight. He sat down and \\n tried to think, but soon fell fast asleep. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n GOBLIN COUNSELS \\n \\n \\n HE must have slept a long time, for when he awoke, he felt wonderfully \\n restored--indeed he felt almost well, and he was also very hungry. There \\n were voices in the outer cave. \\n \\n Once more then, it was night; for the goblins slept during the day, and\",\n \"How pleasant the night-air felt upon the outside of the mountain after \\n what he had gone through in the inside of it! He hurried up the hill, \\n without meeting a single goblin on the way, and called and tapped at the \\n window until he woke his father, who soon rose and let him in. He told \\n him the whole story, and, just as he had expected, his father thought it \\n best to work that lode no farther, but at the same time to pretend \\n occasionally to be at work there still, in order that the goblins might\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\"\n ],\n [\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"\\\"You say so, dad. I think myself I'm all right. But I could carry ten \\n times as much if it wasn't for my feet.\\\" \\n \\n \\\"That is your weak point, I confess, my boy.\\\" \\n \\n \\\"Ain't it yours, too, father?\\\" \\n \\n \\\"Well, to be honest, it is a goblin-weakness. Why they come so soft, I \\n declare I haven't an idea.\\\" \\n \\n \\\"Specially when your head's so hard, you know, father.\\\" \\n\",\n \"after his father, had stayed in the mine all night again and again, and \\n although they had several times encountered a few stray goblins, had \\n never yet failed in driving them away. As I have indicated already, the \\n chief defence against them was verse, for they hated verse of every \\n kind, and some kinds they could not endure at all. I suspect they could \\n not make any themselves, and that was why they disliked it so much. At \\n all events, those who were most afraid of them were those who could\",\n \"and not wishing to kill any of them, he turned the end which was square \\n and blunt like a hammer, and with that came down a great blow on the \\n head of the goblin nearest him. Hard as the heads of all goblins are, he \\n thought he must feel that. And so he did, no doubt; but he only gave a \\n horrible cry, and sprung at Curdie's throat. Curdie however drew back in \\n time, and just at that critical moment, remembered the vulnerable part\",\n \"\\\"I don't know him.\\\" \\n \\n \\\"I'm his son, though.\\\" \\n \\n \\\"And why should the goblins mind _you_, pray?\\\" \\n \\n \\\"Because I don't mind them. I'm used to them.\\\" \\n \\n \\\"What difference does that make?\\\" \\n \\n \\\"If you're not afraid of them, they're afraid of you. I'm not afraid of \\n them. That's all. But it's all that's wanted--up here, that is. It's a\",\n \"behind the rock where the stream ran out, for he had been listening all \\n round it in the hope it might convey to his ear some indication of the \\n whereabouts of the goblin miners, when just as he came into the \\n moonlight on the lawn, a whizz in his ear and a blow upon his leg \\n startled him. He instantly squatted in the hope of eluding further \\n notice. But when he heard the sound of running feet, he jumped up to \\n take the chance of escape by flight. He fell, however, with a keen shoot\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"neither make verses themselves, nor remember the verses that other \\n people made for them; while those who were never afraid were those who \\n could make verses for themselves; for although there were certain old \\n rhymes which were very effectual, yet it was well known that a new \\n rhyme, if of the right sort, was even more distasteful to them, and \\n therefore more effectual in putting them to flight. \\n \\n Perhaps my readers may be wondering what the goblins could be about,\",\n \"eleven of the knights on their legs again. \\n \\n \\\"Stamp on their feet!\\\" he cried, as each man rose, and in a few minutes \\n the hall was nearly empty, the goblins running from it as fast as they \\n could, howling and shrieking and limping, and cowering every now and \\n then as they ran to cuddle their wounded feet in their hard hands, or to \\n protect them from the frightful stamp-stamp of the armed men. \\n\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"some of them bad, that he succeeded in killing him with his pocket \\n knife. Having dragged him out, he made haste to get in again before \\n another should stop up the way. \\n \\n I need not follow him farther in this night's adventures. He returned to \\n his breakfast, satisfied that the goblins were mining in the direction \\n of the palace--on so low a level that their intention must, he thought, \\n be to burrow under the walls of the king's house, and rise up inside\",\n \"But still he had made no discovery as to what the goblin miners were \\n about. \\n \\n \\n \\n \\n CHAPTER XIII \\n \\n THE COBS' CREATURES \\n \\n \\n ABOUT this time, the gentlemen whom the king had left behind him to \\n watch over the princess, had each occasion to doubt the testimony of his \\n own eyes, for more than strange were the objects to which they would \\n bear witness. They were of one sort--creatures--but so grotesque and\",\n \"the goblins. It was true they had no wild animals down there--at least \\n they did not know of any; but they had a wonderful number of tame ones. \\n I must, however, reserve any contributions toward the natural history of \\n these for a later position in my story. \\n \\n At length, turning a corner too abruptly, he had almost rushed into the \\n middle of the goblin family; for there they had already set down all \\n their burdens on the floor of a cave considerably larger than that which\",\n \"last compelled to acknowledge himself in an evil plight. He sat down and \\n tried to think, but soon fell fast asleep. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n GOBLIN COUNSELS \\n \\n \\n HE must have slept a long time, for when he awoke, he felt wonderfully \\n restored--indeed he felt almost well, and he was also very hungry. There \\n were voices in the outer cave. \\n \\n Once more then, it was night; for the goblins slept during the day, and\",\n \"HE had all at once remembered the resolution of the goblins to carry out \\n their second plan upon the failure of the first. No doubt they were \\n already busy, and the mine was therefore in the greatest danger of being \\n flooded and rendered useless--not to speak of the lives of the miners. \\n \\n When he reached the mouth of the mine, after rousing all the miners \\n within reach, he found his father and a good many more just entering. \\n They all hurried to the gang by which he had found a way into the goblin\",\n \"rather than hurt a woman, even if she was a goblin; but here was an \\n affair of life and death: forgetting her shoes, he made a great stamp on \\n one of her feet. But she instantly returned it with very different \\n effect, causing him frightful pain and almost disabling him. His only \\n chance with her would have been to attack the granite shoes with his \\n pickaxe, but before he could think of that, she had caught him up in her \\n arms, and was rushing with him across the cave. She dashed him into a\",\n \"Keeping in the shade, the watchers had a few moments to recover \\n themselves before the hideous assembly suspected their presence; but all \\n at once, as if by common consent, they scampered off in the direction \\n of a great rock, and vanished before the men had come to sufficiently to \\n think of following them. \\n \\n My readers will suspect what these were; but I will now give them full \\n information concerning them. They were of course household animals \\n belonging to the goblins, whose ancestors had taken their ancestors many\",\n \"\\\"Yes, my boy. The goblin's glory is his head. To think how the fellows \\n up above there have to put on helmets and things when they go fighting. \\n Ha! ha!\\\" \\n \\n \\\"But why don't we wear shoes like them, father? I should like \\n it--specially when I've got a chest like that on my head.\\\" \\n \\n \\\"Well, you see, it's not the fashion. The king never wears shoes.\\\" \\n \\n \\\"The queen does.\\\" \\n\",\n \"ill-success. Every other night or so he followed the goblins about, as \\n they went on digging and boring, and getting as near them as he could, \\n watched them from behind stones and rocks; but as yet he seemed no \\n nearer finding out what they had in view. As at first, he always kept \\n hold of the end of his string, while his pickaxe left just outside the \\n hole by which he entered the goblins' country from the mine, continued \\n to serve as an anchor and hold fast the other end. The goblins hearing\",\n \"\\\"What is that noise?\\\" she asked. \\\"Do you know, Curdie?\\\" \\n \\n \\\"Yes. It is the goblins digging and burrowing,\\\" he answered. \\n \\n \\\"And don't you know for what purpose they do it?\\\" \\n \\n \\\"No; I haven't the least idea. Would you like to see them?\\\" he asked, \\n wishing to have another try after their secret. \\n \\n \\\"If my thread took me there, I shouldn't much mind; but I don't want to\"\n ],\n [\n \"hand. Her touch was so pleasant and cool, that it seemed to drive away \\n the pain and heat wherever it came. \\n \\n \\\"Oh, grandmother! it is _so_ nice!\\\" said Irene. \\\"Thank you; thank you.\\\" \\n \\n Then the old lady went to a chest of drawers, and took out a large \\n handkerchief of gossamer-like cambric, which she tied around her hand. \\n \\n \\\"I don't think that I can let you go away to-night,\\\" she said. \\\"Do you\",\n \"The old lady left her, and going to a strange-looking cabinet, opened it \\n and took out a curious silver casket. Then she sat down on a low chair, \\n and calling Irene, made her kneel before her, while she looked at her \\n hand. Having examined it, she opened the casket, and took from it a \\n little ointment. The sweetest odor filled the room--like that of roses \\n and lilies--as she rubbed the ointment gently all over the hot swollen\",\n \"\\\"She speaks,\\\" thought Irene, \\\"just as if she had seen me five minutes \\n ago, or yesterday at the farthest.--No,\\\" she answered; \\\"I don't know \\n what you are spinning. Please, I thought you were a dream. Why couldn't \\n I find you before, great-great-grandmother?\\\" \\n \\n \\\"That you are hardly old enough to understand. But you would have found \\n me sooner if you hadn't come to think I was a dream. I will give you one\",\n \"\\\"Yes. But, remember, it may seem to you a very roundabout way indeed, \\n and you must not double the thread. Of one thing you may be sure, that \\n while you hold it, I hold it too.\\\" \\n \\n \\\"It is very wonderful!\\\" said Irene thoughtfully. Then suddenly becoming \\n aware, she jumped up, crying--\\\"Oh, grandmother! here I have been sitting \\n all this time in your chair, and you standing! I _beg_ your pardon.\\\" \\n \\n The lady laid her hand on her shoulder and said: \\n\",\n \"\\\"Oh, grandmother! you'll make yourself such a mess!\\\" cried Irene, \\n clinging to her. \\n \\n \\\"You darling! do you think I care more for my dress than for my little \\n girl? Beside--look here!\\\" \\n \\n As she spoke she set her down, and Irene saw to her dismay that the \\n lovely dress was covered with the mud of her fall on the mountain road. \\n But the lady stooped to the fire, and taking from it, by the stalk in\",\n \"This was the question he almost always put to her first after their meal \\n together; and Irene had been waiting for it with some impatience, for \\n now, she thought, she should be able to settle a question which \\n constantly perplexed her. \\n \\n \\\"I should like you to take me to see my great old grandmother.\\\" \\n \\n The king looked grave, and said-- \\n \\n \\\"What does my little daughter mean?\\\" \\n \\n \\\"I mean the Queen Irene that lives up in the tower--the very old lady,\",\n \"\\\"Ah! then you can't help it,\\\" said Irene, \\\"and I will not be vexed with \\n you any more. I will give you a kiss and go to sleep.\\\" \\n \\n \\\"You little angel!\\\" cried the nurse, and caught her out of bed, and \\n walked about the room with her in her arms, kissing and hugging her. \\n \\n \\\"You _will_ let me take you to see my dear old great big grandmother, \\n won't you?\\\" said the princess, as she laid her down again. \\n\",\n \"Irene called out-- \\n \\n \\\"I thought so, Curdie! I was sure it wasn't a dream. I was sure my \\n grandmother had been to see you.--Don't you smell the roses? It was my \\n grandmother healed your leg, and sent you to help me.\\\" \\n \\n \\\"No, Princess Irene,\\\" said Curdie; \\\"I wasn't good enough to be allowed \\n to help you: I didn't believe you. Your grandmother took care of you \\n without me.\\\" \\n\",\n \"confess that I have sometimes been afraid about my children--sometimes \\n about you, Irene.\\\" \\n \\n \\\"Oh, I'm so sorry, grandmother!--To-night, I suppose, you mean.\\\" \\n \\n \\\"Yes--a little to-night; but a good deal when you had all but made up \\n your mind that I was a dream, and no real great-great-grandmother. You \\n must not suppose that I am blaming you for that, I daresay it was out of \\n your power to help it.\\\" \\n\",\n \"\\\"I've got it now, you see,\\\" she said, coming back to the princess, \\\"all \\n ready for you when you want it.\\\" \\n \\n Going to her cabinet, she laid it in the same drawer as before. \\n \\n \\\"And here is your ring,\\\" she added, taking it from the little finger of \\n her left hand, and putting it on the forefinger of Irene's right hand. \\n \\n \\\"Oh, thank you, grandmother. I feel so safe now!\\\" \\n\",\n \"her fingers, one of the burning roses, passed it once and again and a \\n third time over the front of her dress; and when Irene looked, not a \\n single stain was to be discovered. \\n \\n \\\"There!\\\" said her grandmother, \\\"you won't mind coming to me now?\\\" \\n \\n But Irene again hung back, eyeing the flaming rose which the lady held \\n in her hand. \\n \\n \\\"You're not afraid of the rose--are you?\\\" she said, and she was about to\",\n \"\\\"Thank you, grandmother; I will--I will indeed,\\\" answered Irene, and was \\n again silent for some moments thinking. Then she said, \\\"How was it, \\n grandmother, that I saw your beautiful lamp--not the light of it \\n only--but the great round silver lamp itself, hanging alone in the great \\n open air high up? It was your lamp I saw--wasn't it?\\\" \\n \\n \\\"Yes, my child; it was my lamp.\\\" \\n \\n \\\"Then how was it? I don't see a window all round.\\\" \\n\",\n \"\\\"I'm so glad, grandmother, you didn't say--_go home_--for this is my \\n home. Mayn't I call this my home?\\\" \\n \\n \\\"You may, my child. And I trust you will always think it your home. Now \\n come. I must take you back without any one seeing you.\\\" \\n \\n \\\"Please, I want to ask you one question more,\\\" said Irene. \\\"Is it \\n because you have your crown on that you look so young?\\\" \\n\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\",\n \"a little cry of pain. \\n \\n \\\"My child!\\\" said, her grandmother, \\\"what is the matter?\\\" \\n \\n Irene held her hand into the moonlight, that the old lady might see it, \\n and told her all about it, at which she looked grave. But she only \\n said--\\\"Give me your other hand\\\"; and, having led her out upon the little \\n dark landing, opened the door on the opposite side of it. What was \\n Irene's surprise to see the loveliest room she had ever seen in her\",\n \"Irene's, and did something with the two--Irene could not tell what. \\n \\n \\\"Give me your hand,\\\" she said. \\n \\n Irene held up her right hand. \\n \\n \\\"Yes, that is the hand I want,\\\" said the lady, and put the ring on the \\n forefinger of it. \\n \\n \\\"What a beautiful ring!\\\" said Irene. \\\"What is the stone called?\\\" \\n \\n \\\"It is a fire-opal.\\\" \\n \\n \\\"Please, am I to keep it?\\\" \\n\",\n \"\\\"Oh! I'm not to take it with me! You are going to keep it for me!\\\" \\n \\n \\\"You are to take it with you. I've fastened the end of it to the ring on \\n your finger.\\\" \\n \\n Irene looked at the ring. \\n \\n \\\"I can't see it there, grandmother,\\\" she said. \\n \\n \\\"Feel--a little way from the ring--toward the cabinet,\\\" said the lady. \\n\",\n \"And still she held out her arms. \\n \\n \\\"But, grandmother, you're so beautiful and grand with your crown on! and \\n I am so dirty with mud and rain!--I should quite spoil your beautiful \\n blue dress.\\\" \\n \\n With a merry little laugh, the lady sprang from her chair, more lightly \\n far than Irene herself could, caught the child to her bosom, and kissing \\n the tear-stained face over and over, sat down with her in her lap. \\n\",\n \"\\\"Dear grandmother,\\\" said Irene, \\\"I'm not so sure that I haven't done \\n something wrong. I ought to have run up to you at once when the \\n long-legged cat came in at the window, instead of running out on the \\n mountain, and making myself such a fright.\\\" \\n \\n \\\"You were taken by surprise, my child, and are not so likely to do it \\n again. It is when people do wrong things willfully that they are the \\n more likely to do them again. Come.\\\" \\n\",\n \"\\\"No, thank you,\\\" said Irene. \\\"I can walk very well, though I can't run \\n so fast as nursie. If you will give me one hand, Lootie will give me \\n another, and then I shall get on famously.\\\" \\n \\n They soon had her between them, holding a hand of each. \\n \\n \\\"Now let's run,\\\" said the nurse. \\n \\n \\\"No, no,\\\" said the little miner. \\\"That's the worst thing you can do. If\"\n ],\n [\n \"cave would have appalled Curdie, but for the good hope it gave him. They \\n were tumbling over each other in heaps in their eagerness to rush from \\n the cave, when a new assailant suddenly faced him:--the queen, with \\n flaming eyes and expanded nostrils, her hair standing half up from her \\n head, rushed at him. She trusted in her shoes; they were of \\n granite--hollowed like French _sabots_. Curdie would have endured much\",\n \"And now Curdie approached the group which, trusting in the queen and her \\n shoe, kept their guard over the prostrate captain. The king sat on the \\n captain's head, but the queen stood in front, like an infuriated cat, \\n with her perpendicular eyes gleaming green, and her hair standing half \\n up from her horrid head. Her heart was quaking, however, and she kept \\n moving about her skin-shod foot with nervous apprehension. When Curdie\",\n \"The queen went stumping along in one shoe of stone and one of skin. This \\n could not have been pleasant, and my readers may wonder that, with such \\n skillful workmen about her, she had not yet replaced the shoe carried \\n off by Curdie. As the king however had more than one ground of objection \\n to her stone shoes, he no doubt took advantage of the discovery of her \\n toes, and threatened to expose her deformity if she had another made. I \\n presume he insisted on her being content with skin-shoes, and allowed\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"rather than hurt a woman, even if she was a goblin; but here was an \\n affair of life and death: forgetting her shoes, he made a great stamp on \\n one of her feet. But she instantly returned it with very different \\n effect, causing him frightful pain and almost disabling him. His only \\n chance with her would have been to attack the granite shoes with his \\n pickaxe, but before he could think of that, she had caught him up in her \\n arms, and was rushing with him across the cave. She dashed him into a\",\n \"\\\"Yes, my boy. The goblin's glory is his head. To think how the fellows \\n up above there have to put on helmets and things when they go fighting. \\n Ha! ha!\\\" \\n \\n \\\"But why don't we wear shoes like them, father? I should like \\n it--specially when I've got a chest like that on my head.\\\" \\n \\n \\\"Well, you see, it's not the fashion. The king never wears shoes.\\\" \\n \\n \\\"The queen does.\\\" \\n\",\n \"rest of the miners, and they at once proceeded to make another outlet \\n for the waters. By setting all hands to the work, tunneling here and \\n building there, they soon succeeded; and having also made a little \\n tunnel to drain the water away from under the king's house, they were \\n soon able to get into the wine cellar, where they found a multitude of \\n dead goblins--among the rest the queen, with the skin-shoe gone, and the\",\n \"actually true: she had six horrible toes. Overjoyed at his success, and \\n seeing by the huge bump in the sheep skins where the other foot was, he \\n proceeded to lift them gently, for, if he could only succeed in carrying \\n away the other shoe as well, he would be no more afraid of the goblins \\n than of so many flies. But as he pulled at the second shoe, the queen \\n gave a growl and sat up in bed. The same instant the king awoke also, \\n and sat up beside her. \\n\",\n \" \\\"Where 'tis all a hole, sir, \\n Never can be holes: \\n Why should their shoes have soles, sir, \\n When they've got no souls? \\n \\n \\\"But she upon her foot, sir, \\n Has a granite shoe: \\n The strongest leather boot, sir, \\n Six would soon be through.\\\" \\n \\n The queen gave a howl of rage and dismay; and before she recovered her \\n presence of mind, Curdie, having begun with the group nearest him, had\",\n \"back, held the torch low in front of her. Curdie drew his pickaxe \\n carefully away, and as he did so, spied one of her feet, projecting from \\n under the skins. The great clumsy granite shoe, exposed thus to his \\n hand, was a temptation not to be resisted. He laid hold of it, and with \\n cautious efforts, drew it off. The moment he succeeded, he saw to his \\n astonishment that what he had sung in ignorance, to annoy the queen, was\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"They could not vanish so fast, however, but that many more goblin feet \\n had to go limping back over the underground ways of the mountain that \\n morning. \\n \\n Presently however they were reinforced from above by the king and his \\n party, with the redoubtable queen at their head. Finding Curdie again \\n busy amongst her unfortunate subjects, she rushed at him once more with \\n the rage of despair, and this time gave him a bad bruise on the foot.\",\n \" \\\"Go to bed, \\n Goblin, do. \\n Help the queen \\n Take off her shoe. \\n \\n \\\"If you do, \\n It will disclose \\n A horrid set \\n Of sprouting toes.\\\" \\n \\n \\\"What a lie!\\\" roared the queen in a rage. \\n \\n \\\"By the way, that reminds me,\\\" said the king, \\\"that, for as long as we \\n have been married, I have never seen your feet, queen. I think you might\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"working toward the king's house; and what I want to do to-night is to \\n make sure whether they are or not. I will take a light with me--\\\" \\n \\n \\\"Oh, Curdie,\\\" cried his mother, \\\"then they will see you.\\\" \\n \\n \\\"I'm no more afraid of them now than I was before,\\\" rejoined \\n Curdie,--\\\"now that I've got this precious shoe. They can't make another \\n such in a hurry, and one bare foot will do for my purpose. Woman as she\",\n \"\\\"Yes; but that's for distinction. The first queen, you see--I mean the \\n king's first wife--wore shoes of course, because she came from upstairs; \\n and so, when she died, the next queen would not be inferior to her as \\n she called it, and would wear shoes too. It was all pride. She is the \\n hardest in forbidding them to the rest of the women.\\\" \\n \\n \\\"I'm sure I wouldn't wear them--no, not for--that I wouldn't!\\\" said the\",\n \"great roar from the king. \\n \\n \\\"Will you be quiet then?\\\" said the queen wickedly. \\n \\n \\\"Yes, yes, queen. I only meant to coax you.\\\" \\n \\n \\\"Hands off!\\\" cried the queen triumphantly. \\\"I'm going to bed. You may \\n come when you like. But as long as I am queen, I will sleep in my shoes. \\n It is my royal privilege. Harelip, go to bed.\\\" \\n \\n \\\"I'm going,\\\" said Harelip sleepily. \\n\",\n \"take off your shoes when you go to bed! They positively hurt me \\n sometimes.\\\" \\n \\n \\\"I will do just as I like,\\\" retorted the queen sulkily. \\n \\n \\\"You ought to do as your hubby wishes you,\\\" said the king. \\n \\n \\\"I will not,\\\" said the queen. \\n \\n \\\"Then I insist upon it,\\\" said the king. \\n \\n Apparently his Majesty approached the queen for the purpose of following \\n the advice given by Curdie, for the latter heard a scuffle, and then a\",\n \"\\\"You forget yourself, my dear!\\\" said the king. \\n \\n \\\"I don't,\\\" said the queen, \\\"nor you either. If you expect _me_ to \\n approve of such coarse tastes, you will find yourself mistaken. _I_ \\n don't wear shoes for nothing.\\\" \\n \\n \\\"You must acknowledge, however,\\\" the king said, with a little groan, \\n \\\"that this at least is no whim of Harelip's, but a matter of \\n state-policy. You are well aware that his gratification comes purely\"\n ],\n [\n \"_I_ took good care of that--the wretch! And _he_ was prowling about--was \\n he? Just like his impudence!\\\" \\n \\n The princess being fast asleep, and Curdie in a faint, she could \\n misrepresent at her pleasure. \\n \\n When he heard this, the captain, although he had considerable doubt of \\n its truth, resolved to keep Curdie a prisoner until they could search \\n into the affair. So, after they had brought him round a little, and\",\n \"Curdie as well. \\n \\n \\n \\n \\n CHAPTER VII \\n \\n THE MINES \\n \\n \\n CURDIE went home whistling. He resolved to say nothing about the \\n princess for fear of getting the nurse into trouble, for while he \\n enjoyed teasing her because of her absurdity, he was careful not to do \\n her any harm. He saw no more of the goblins, and was soon fast asleep in \\n his bed. \\n \\n He woke in the middle of the night, and thought he heard curious noises\",\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"\\\"That I will. I don't want them to know anything about it. They would \\n spoil it all. The cobs would only try some other plan--they are such \\n obstinate creatures! I shall take good care, mother. They won't kill and \\n eat me either, if they should come upon me. So you needn't mind them.\\\" \\n \\n His mother got him what he asked for, and Curdie set out. Close beside \\n the door by which the princess left the garden for the mountain, stood a\",\n \"working all night long, seeing they never carried up the ore and sold \\n it; but when I have informed them concerning what Curdie learned the \\n very next night, they will be able to understand. \\n \\n For Curdie had determined, if his father would permit him, to remain \\n there alone this night--and that for two reasons: first, he wanted to \\n get extra wages in order that he might buy a very warm red petticoat for \\n his mother, who had begun to complain of the cold of the mountain air\",\n \"\\\"What were they?\\\" asked his father. \\\"Your mother may be able to throw \\n some light upon them.\\\" \\n \\n Then Curdie made a clean breast of it, and told them everything. \\n \\n They all sat silent for some time, pondering the strange tale. At last \\n Curdie's mother spoke. \\n \\n \\\"You confess, my boy,\\\" she said, \\\"there is something about the whole \\n affair you do not understand?\\\" \\n \\n \\\"Yes, of course, mother,\\\" he answered, \\\"I cannot understand how a child\",\n \"working toward the king's house; and what I want to do to-night is to \\n make sure whether they are or not. I will take a light with me--\\\" \\n \\n \\\"Oh, Curdie,\\\" cried his mother, \\\"then they will see you.\\\" \\n \\n \\\"I'm no more afraid of them now than I was before,\\\" rejoined \\n Curdie,--\\\"now that I've got this precious shoe. They can't make another \\n such in a hurry, and one bare foot will do for my purpose. Woman as she\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"\\\"What is that noise?\\\" she asked. \\\"Do you know, Curdie?\\\" \\n \\n \\\"Yes. It is the goblins digging and burrowing,\\\" he answered. \\n \\n \\\"And don't you know for what purpose they do it?\\\" \\n \\n \\\"No; I haven't the least idea. Would you like to see them?\\\" he asked, \\n wishing to have another try after their secret. \\n \\n \\\"If my thread took me there, I shouldn't much mind; but I don't want to\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"just room to walk. Make haste, Curdie.\\\" \\n \\n He tried, but the hole was too small for him to get in. \\n \\n \\\"Go on a little bit,\\\" he said, shouldering his pickaxe. \\n \\n In a few moments he had cleared a large opening and followed her. They \\n went on, down and down with the running water, Curdie getting more and \\n more afraid it was leading them to some terrible gulf in the heart of \\n the mountain. In one or two places he had to break away the rock to make\",\n \"\\\"Well, I will tell you all about it--if you will promise to listen to me \\n and not do anything rash.\\\" \\n \\n \\\"I call that cool!\\\" said one of the party laughing. \\\"He will tell us \\n what mischief he was about, if we promise to do as pleases him.\\\" \\n \\n \\\"I was about no mischief,\\\" said Curdie. \\n \\n But ere he could say more he turned faint, and fell senseless on the \\n grass. Then first they discovered that the bolt they had shot, taking\",\n \"\\\"You can tell me all about it when we get out, then. There's no time to \\n lose now,\\\" said Curdie. \\n \\n And Irene went to work, as fresh as when she began. \\n \\n \\\"There's such a lot of stones!\\\" she said. \\\"It will take me a long time \\n to get them all away.\\\" \\n \\n \\\"How far on have you got?\\\" asked Curdie. \\n \\n \\\"I've got about the half way, but the other half is ever so much \\n bigger.\\\" \\n\",\n \"hands, and soon found that some of the stones were loose enough to be \\n drawn out with little noise. \\n \\n Laying hold of a large one with both his hands, he drew it gently out, \\n and let it down softly. \\n \\n \\\"What was that noise?\\\" said the goblin father. \\n \\n Curdie blew out his light, lest it should shine through. \\n \\n \\\"It must be that one miner that stayed behind the rest,\\\" said the \\n mother. \\n\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"while Curdie was searching the floor of the cavern for his pickaxe. \\n \\n [Illustration: Curdie went on after her, flashing his torch about.] \\n \\n \\\"Here it is!\\\" he cried. \\\"No, it is not!\\\" he added, in a disappointed \\n tone. \\\"What can it be then?--I declare it's a torch. That _is_ jolly! \\n It's better almost than my pickaxe. Much better if it weren't for those\",\n \"have missed much more than she would a new petticoat even in winter. Not \\n that she and Curdie ever thought of how much they worked for each other: \\n that would have spoiled everything. \\n \\n When left alone in the mine, Curdie always worked on for an hour or two \\n first, following the lode which, according to Glump, would lead at last \\n into the deserted habitation. After that, he would set out on a \\n reconnoitering expedition. In order to manage this, or rather the return\",\n \"pickaxe, and caught hold of her hand, as she sped fearlessly where her \\n thread guided her. They heard the queen give a great bellow; but they \\n had a good start, for it would be some time before they could get \\n torches lighted to pursue them. Just as they thought they saw a gleam \\n behind them, the thread brought them to a very narrow opening, through \\n which Irene crept easily, and Curdie with difficulty. \\n \\n \\\"Now,\\\" said Curdie; \\\"I think we shall be safe.\\\" \\n\",\n \"\\\"I see no good in trying to excuse him. He has no business here anyhow.\\\" \\n \\n \\\"Let me go away then, if you please,\\\" said Curdie. \\n \\n \\\"But we don't please--not except you give a good account of yourself.\\\" \\n \\n \\\"I don't feel quite sure whether I can trust you,\\\" said Curdie. \\n \\n \\\"We are the king's own men-at-arms,\\\" said the captain, courteously, for \\n he was taken with Curdie's appearance and courage. \\n\"\n ],\n [\n \"when--thanks to his Majesty's inventive genius--it will be in our power \\n to take a thorough revenge upon them once for all, in respect of their \\n unfriendly behavior.\\\" \\n \\n \\\"May it please your Majesty--\\\" cried a voice close by the door, which \\n Curdie recognized as that of the goblin he had followed. \\n \\n \\\"Who is he that interrupts the Chancellor?\\\" cried another from near the \\n throne. \\n \\n \\\"Glump,\\\" answered several voices. \\n\",\n \"Lootie; but nowhere could he see the princess. Seized with the horrible \\n conviction that Harelip had already carried her off, he rushed amongst \\n them, unable for wrath to sing any more, but stamping and cutting with \\n greater fury than ever. \\n \\n \\\"Stamp on their feet; stamp on their feet!\\\" he shouted, and in a moment \\n the goblins were disappearing through the hole in the floor like rats \\n and mice. \\n\",\n \"dismayed goblin lurking here and there, they found no one--while he \\n requested Lootie to take him to the princess's room. She was as \\n submissive and obedient as if he had been the king. He found the \\n bed-clothes tossed about, and most of them on the floor, while the \\n princess's garments were scattered all over the room, which was in the \\n greatest confusion. It was only too evident that the goblins had been\",\n \"\\\"Their own people do, though,\\\" answered Curdie. \\n \\n The princess asked more questions, and Curdie, as they walked leisurely \\n along, gave her a full account, not only of the character and habits of \\n the goblins, so far as he knew them, but of his own adventures with \\n them, beginning from the very night after that in which he had met her \\n and Lootie upon the mountain. When he had finished, he begged Irene to\",\n \"him for one of the goblin creatures, had wounded him. \\n \\n They carried him into the house, and laid him down in the hall. The \\n report spread that they had caught a robber, and the servants crowded in \\n to see the villain. Amongst the rest came the nurse. The moment she saw \\n him she exclaimed with indignation: \\n \\n \\\"I declare it's the same young rascal of a miner that was rude to me and \\n the princess on the mountain. He actually wanted to kiss the princess.\",\n \"\\\"Stop that disgusting noise!\\\" cried the crown-prince valiantly, getting \\n up and standing in front of the heap of stones, with his face toward \\n Curdie's prison.--\\\"Do now, or I'll break your head.\\\" \\n \\n \\\"Break away,\\\" shouted Curdie, and began singing again-- \\n \\n \\\"Once there was a goblin \\n Living in a hole,--\\\" \\n \\n \\\"I really cannot bear it,\\\" said the queen. \\\"If I could only get at his\",\n \"\\\"I don't know him.\\\" \\n \\n \\\"I'm his son, though.\\\" \\n \\n \\\"And why should the goblins mind _you_, pray?\\\" \\n \\n \\\"Because I don't mind them. I'm used to them.\\\" \\n \\n \\\"What difference does that make?\\\" \\n \\n \\\"If you're not afraid of them, they're afraid of you. I'm not afraid of \\n them. That's all. But it's all that's wanted--up here, that is. It's a\",\n \"of the goblin-body. He made a sudden rush at the king, and stamped with \\n all his might on his Majesty's feet. The king gave a most unkingly howl, \\n and almost fell into the fire. Curdie then rushed into the crowd, \\n stamping right and left. The goblins drew back howling on every side as \\n he approached, but they were so crowded that few of those he attacked \\n could escape his tread; and the shrieking and roaring that filled the\",\n \"THE king's harper, who always formed a part of his escort, was chanting \\n a ballad which he made as he went on playing on his instrument--about \\n the princess and the goblins, and the prowess of Curdie, when all at \\n once he ceased, with his eyes on one of the doors of the hall. Thereupon \\n the eyes of the king and his guests turned thitherward also. The next \\n moment, through the open doorway came the princess Irene. She went\",\n \"hall, in which, the moment he entered it, arose a great goblin shout. \\n The last of the men-at-arms, the captain himself, was on the floor, \\n buried beneath a wallowing crowd of goblins. For, while each knight was \\n busy defending himself as well as he could, by stabs in the thick bodies \\n of the goblins, for he had soon found their heads all but invulnerable, \\n the queen had attacked his legs and feet with her horrible granite shoe,\",\n \"for the very thought of that sweet little face down amongst the goblins \\n was unendurable. \\n \\n When Curdie ran in at the gate with the princess in his arms, they were \\n all so absorbed in their own misery and awed by the king's presence and \\n grief, that no one observed his arrival. He went straight up to the \\n king, where he sat on his horse. \\n \\n \\\"Papa! papa!\\\" the princess cried, stretching out her arms to him; \\\"here \\n I am!\\\" \\n\",\n \"confidently as if she knew every step of the way. Curdie went on after \\n her, flashing his torch about, and trying to see something of what lay \\n around them. Suddenly he started back a pace as the light fell upon \\n something close by which Irene was passing. It was a platform of rock \\n raised a few feet from the floor and covered with sheep skins, upon \\n which lay two horrible figures asleep, at once recognized by Curdie as \\n the king and queen of the goblins. He lowered his torch instantly lest\",\n \"last compelled to acknowledge himself in an evil plight. He sat down and \\n tried to think, but soon fell fast asleep. \\n \\n \\n \\n \\n CHAPTER XIX \\n \\n GOBLIN COUNSELS \\n \\n \\n HE must have slept a long time, for when he awoke, he felt wonderfully \\n restored--indeed he felt almost well, and he was also very hungry. There \\n were voices in the outer cave. \\n \\n Once more then, it was night; for the goblins slept during the day, and\",\n \"and he was soon down; but the captain had got his back to the wall and \\n stood out longer. The goblins would have torn them all to pieces, but \\n the king had given orders to carry them away alive, and over each of \\n them, in twelve groups, was standing a knot of goblins, while as many as \\n could find room were sitting upon their prostrate bodies. \\n \\n Curdie burst in dancing and gyrating and stamping and singing like a \\n small incarnate whirlwind, \\n\",\n \"themselves, to which they might retreat when the miners should threaten \\n to break into their dwellings. But he had learned two things of far \\n greater importance. The first was, that some grievous calamity was \\n preparing, and almost ready to fall upon the heads of the miners; the \\n second was--the one weak point of a goblin's body: he had not known that \\n their feet were so tender as he had now reason to suspect. He had heard \\n it said that they had no toes: he had never had opportunity of\",\n \"afraid of the goblins to let her out of the house then, even in company \\n with ever so many attendants; and they had good reason, as we shall see \\n by-and-by. \\n \\n \\n \\n \\n CHAPTER II \\n \\n THE PRINCESS LOSES HERSELF \\n \\n \\n I HAVE said the Princess Irene was about eight years old when my story \\n begins. And this is how it begins. \\n \\n One very wet day, when the mountain was covered with mist which was\",\n \"The nurse was comforted at hearing this, and said no more. They went on, \\n walking pretty fast, but taking care not to run a step. \\n \\n \\\"I want to talk to you,\\\" said Irene to the little miner; \\\"but it's so \\n awkward! I don't know your name.\\\" \\n \\n \\\"My name's Curdie, little princess.\\\" \\n \\n \\\"What a funny name! Curdie! What more?\\\" \\n \\n \\\"Curdie Peterson. What's your name, please?\\\" \\n\",\n \"all to the advantage of the goblin kingdom, will be established for a \\n generation at least, rendered absolutely secure by the pledge which his \\n royal Highness the prince will have and hold for the good behavior of \\n his relatives. Should his Majesty fail--which who shall dare even to \\n imagine in his most secret thoughts?--then will be the time for carrying \\n out with rigor the design to which Glump referred, and for which our \\n preparations are even now all but completed. The failure of the former \\n will render the latter imperative.\\\" \\n\",\n \" GUTENBERG EBOOK THE PRINCESS AND THE GOBLIN *** \\n \\n \\n \\n \\n Produced by Suzanne Shell, Emmy and the Online Distributed \\n Proofreading Team at http://www.pgdp.net (This file was \\n produced from images generously made available by The \\n Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE PRINCESS AND THE GOBLIN \\n\",\n \"No sooner did they and where they were, than they scurried back again, \\n like rats into their holes, and running at full speed to the goblin \\n palace, announced their success to the king and queen with shouts of \\n triumph. In a moment the goblin royal family and the whole goblin people \\n were on their way in hot haste to the king's house, each eager to have a \\n share in the glory of carrying off that same night the Princess Irene. \\n\"\n ],\n [\n \"\\\"I too think you are right, Curdie,\\\" he said, \\\"and I will not ask you \\n again. But I shall have a chance of doing something for you some time.\\\" \\n \\n \\\"Your Majesty has already allowed me to serve you,\\\" said Curdie. \\n \\n \\\"But, Curdie,\\\" said his mother, \\\"why shouldn't you go with the king? We \\n can get on very well without you.\\\" \\n \\n \\\"But I can't get on very well without you,\\\" said Curdie. \\\"The king is\",\n \"\\\"I see no good in trying to excuse him. He has no business here anyhow.\\\" \\n \\n \\\"Let me go away then, if you please,\\\" said Curdie. \\n \\n \\\"But we don't please--not except you give a good account of yourself.\\\" \\n \\n \\\"I don't feel quite sure whether I can trust you,\\\" said Curdie. \\n \\n \\\"We are the king's own men-at-arms,\\\" said the captain, courteously, for \\n he was taken with Curdie's appearance and courage. \\n\",\n \"with me. He shall enter my bodyguard at once, and wait further \\n promotion.\\\" \\n \\n Peter and his wife, overcome, only murmured almost inaudible thanks. But \\n Curdie spoke aloud. \\n \\n \\\"Please your Majesty,\\\" he said, \\\"I cannot leave my father and mother.\\\" \\n \\n \\\"That's right, Curdie!\\\" cried the princess. \\\"_I_ wouldn't if I was you.\\\" \\n \\n The king looked at the princess and then at Curdie with a glow of \\n satisfaction on his countenance. \\n\",\n \"\\\"With pleasure, if your majesty will give me a guide,\\\" said Curdie. \\n \\n \\\"I will give you a thousand,\\\" said the king, with a scoffing air of \\n magnificent liberality. \\n \\n \\\"One will be quite sufficient,\\\" said Curdie. \\n \\n But the king uttered a strange shout, half halloo, half roar, and in \\n rushed goblins till the cave was swarming. He said something to the \\n first of them which Curdie could not hear, and it was passed from one to\",\n \"\\\"So am I,\\\" said the king. \\n \\n \\\"Come along then,\\\" said the queen; \\\"and mind you are good, or I'll--\\\" \\n \\n \\\"Oh, no, no, no!\\\" screamed the king, in the most supplicating of tones. \\n \\n Curdie heard only a muttered reply in the distance; and then the cave \\n was quite still. \\n \\n They had left the fire burning, and the light came through brighter than \\n before. Curdie thought it was time to try again if anything could be\",\n \"working toward the king's house; and what I want to do to-night is to \\n make sure whether they are or not. I will take a light with me--\\\" \\n \\n \\\"Oh, Curdie,\\\" cried his mother, \\\"then they will see you.\\\" \\n \\n \\\"I'm no more afraid of them now than I was before,\\\" rejoined \\n Curdie,--\\\"now that I've got this precious shoe. They can't make another \\n such in a hurry, and one bare foot will do for my purpose. Woman as she\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"king. Whatever he did to them, they would threaten to do the same to the \\n princess.\\\" \\n \\n \\\"And they are bad enough to torment her just for their own amusement--I \\n know that,\\\" said his mother. \\n \\n \\\"Anyhow, I will keep a watch on them, and see what they are up to,\\\" said \\n Curdie. \\\"It's too horrible to think of. I daren't let myself do it. But\",\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"When the king had got out of the way of the water, a little up the \\n mountain, he stood with the princess in his arms, looking back with \\n amazement on the issuing torrent, which glimmered fierce and foamy \\n through the night. There Curdie rejoined them. \\n \\n \\\"Now, Curdie,\\\" said the king, \\\"what does it mean! Is this what you \\n expected?\\\" \\n \\n \\\"It is, your Majesty,\\\" said Curdie; and proceeded to tell him about the\",\n \"the upper part of the cavern wall. Upon this sat the king and his court, \\n the king on a throne hollowed out of a huge block of green copper ore, \\n and his court upon lower seats around it. The king had been making them \\n a speech, and the applause which followed it was what Curdie had heard. \\n One of the court was now addressing the multitude. What he heard him say \\n was to the following effect: \\n \\n \\\"Hence it appears that two plans have been for some time together\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"vanished in the darkness far aloft. The sides of the cave were full of \\n shining minerals like those of the palace-hall; and the company was \\n evidently of a superior order, for every one wore stones about head, or \\n arms, or waist, shining, dull, gorgeous colors in the light of the fire. \\n Nor had Curdie looked long before he recognized the king himself, and \\n found that he had made his way into the inner apartment of the royal \\n family. He had never had such a good chance of hearing something! He\",\n \"very kind, but I could not be half the use to him that I am to you. \\n Please your Majesty, if you wouldn't mind giving my mother a red \\n petticoat! I should have got her one long ago, but for the goblins.\\\" \\n \\n \\\"As soon as we get home,\\\" said the king, \\\"Irene and I will search out \\n the warmest one to be found, and send it by one of the gentlemen.\\\" \\n \\n \\\"Yes, that we will, Curdie!\\\" said the princess. \\n\",\n \"\\\"And next summer we'll come back and see you wear it, Curdie's mother,\\\" \\n she added. \\\"Sha'n't we, king-papa?\\\" \\n \\n \\\"Yes, my love; I hope so,\\\" said the king. \\n \\n Then turning to the miners, he said---- \\n \\n \\\"Will you do the best you can for my servants to-night? I hope they will \\n be able to return to the house to-morrow.\\\" \\n \\n The miners with one voice promised their hospitality. \\n\",\n \"there, and Curdie had no longer any doubt that she had been carried off \\n at the very first of the inroad. With a pang of despair he saw how wrong \\n they had been in not securing the king and queen and prince; but he \\n determined to find and rescue the princess as she had found and rescued \\n him, or meet the worst fate to which the goblins could doom him. \\n \\n \\n \\n \\n CHAPTER XXVIII \\n \\n CURDIE'S GUIDE \\n \\n\",\n \"and the news that dead goblins were tossing about in the current through \\n the house. They had been caught in their own snare; instead of the mine \\n they had flooded their own country, whence they were now swept up \\n drowned. Irene shuddered, but the king held her close to his bosom. Then \\n he turned to Sir Walter, and said-- \\n \\n \\\"Bring Curdie's father and mother here.\\\" \\n \\n \\\"I wish,\\\" said the king, when they stood before him, \\\"to take your son\",\n \"They all parted asunder as the king made a sign to her to come forward. \\n She obeyed, and he gave her his hand, but could not speak. \\n \\n \\\"And now, king-papa,\\\" the princess went on, \\\"I must tell you another \\n thing. One night long ago Curdie drove the goblins away and brought \\n Lootie and me safe from the mountain. And I promised him a kiss when we \\n got home, but Lootie wouldn't let me give it to him. I would not have\",\n \"Then the king commanded his servants to mind whatever Curdie should say \\n to them, and after shaking hands with him and his father and mother, the \\n king and the princess and all their company rode away down the side of \\n the new stream which had already devoured half the road, into the starry \\n night. \\n \\n \\n \\n \\n CHAPTER XXXII \\n \\n THE LAST CHAPTER \\n \\n \\n ALL the rest went up the mountain, and separated in groups to the homes\",\n \"\\\"I'm Irene,\\\" answered the princess. \\\"I know who you are quite well. \\n You're Curdie.\\\" \\n \\n \\\"Why, how ever did you come here, Irene?\\\" \\n \\n \\\"My great-great-grandmother sent me; and I think I've found out why. You \\n can't get out, I suppose?\\\" \\n \\n \\\"No, I can't. What are you doing?\\\" \\n \\n \\\"Clearing away a huge heap of stones.\\\" \\n\"\n ],\n [\n \"\\\"I'm sorry for that, father,\\\" said Curdie. \\n \\n \\\"Oh! it's not much. You'll be sure to take care of yourself, won't you?\\\" \\n \\n \\\"Yes, father; I will. I'll keep a sharp lookout, I promise you.\\\" \\n \\n Curdie was the only one who remained in the mine. About six o'clock the \\n rest went away, every one bidding him good night, and telling him to \\n take care of himself; for he was a great favorite with them all. \\n\",\n \"\\\"Well, I will tell you all about it--if you will promise to listen to me \\n and not do anything rash.\\\" \\n \\n \\\"I call that cool!\\\" said one of the party laughing. \\\"He will tell us \\n what mischief he was about, if we promise to do as pleases him.\\\" \\n \\n \\\"I was about no mischief,\\\" said Curdie. \\n \\n But ere he could say more he turned faint, and fell senseless on the \\n grass. Then first they discovered that the bolt they had shot, taking\",\n \"\\\"I too think you are right, Curdie,\\\" he said, \\\"and I will not ask you \\n again. But I shall have a chance of doing something for you some time.\\\" \\n \\n \\\"Your Majesty has already allowed me to serve you,\\\" said Curdie. \\n \\n \\\"But, Curdie,\\\" said his mother, \\\"why shouldn't you go with the king? We \\n can get on very well without you.\\\" \\n \\n \\\"But I can't get on very well without you,\\\" said Curdie. \\\"The king is\",\n \"\\\"Oh, thank you, Curdie!\\\" said the princess, and stopped crying. \\n \\n \\\"Good night, Irene; good night, Lootie,\\\" said Curdie, and turned and was \\n out of sight in a moment. \\n \\n \\\"I should like to see him!\\\" muttered the nurse, as she carried the \\n princess to the nursery. \\n \\n \\\"You _will_ see him,\\\" said Irene. \\\"You may be sure Curdie will keep his \\n word. He's _sure_ to come again.\\\" \\n\",\n \"fault, or even an error. If a true princess has done wrong, she is \\n always uneasy until she has had an opportunity of throwing the wrongness \\n away from her by saying, \\\"I did it; and I wish I had not; and I am sorry \\n for having done it.\\\" So you see there is some ground for supposing that \\n Curdie was not a miner only, but a prince as well. Many such instances \\n have been known in the world's history. \\n \\n At length, however, he began to see signs of a change in the proceedings\",\n \"\\\"Stand quite clear of it then,\\\" said Curdie, \\\"and let me know when you \\n are ready.\\\" \\n \\n Irene got off the heap, and stood on one side of it. \\n \\n \\\"Now, Curdie!\\\" she cried. \\n \\n Curdie gave a great rush with his shoulder against it. Out tumbled the \\n slab on the heap, and out crept Curdie over the top of it. \\n \\n \\\"You've saved my life, Irene!\\\" he whispered. \\n\",\n \"with me. He shall enter my bodyguard at once, and wait further \\n promotion.\\\" \\n \\n Peter and his wife, overcome, only murmured almost inaudible thanks. But \\n Curdie spoke aloud. \\n \\n \\\"Please your Majesty,\\\" he said, \\\"I cannot leave my father and mother.\\\" \\n \\n \\\"That's right, Curdie!\\\" cried the princess. \\\"_I_ wouldn't if I was you.\\\" \\n \\n The king looked at the princess and then at Curdie with a glow of \\n satisfaction on his countenance. \\n\",\n \"think he was getting weak. But he had uttered enough to let Irene know \\n who he was. \\n \\n \\\"It's Curdie!\\\" she cried joyfully. \\n \\n \\\"Hush, hush!\\\" came Curdie's voice again from somewhere. \\\"Speak softly.\\\" \\n \\n \\\"Why, you were singing loud!\\\" said Irene. \\n \\n \\\"Yes. But they know I am here, and they don't know you are. Who are \\n you?\\\" \\n\",\n \"have passed. It was with great difficulty that he forced his way through \\n one of them, and up to the door. \\n \\n The moment his hand fell on the latch, through all the uproar of winds \\n and waters came the joyous cry of the princess:-- \\n \\n \\\"There's Curdie! Curdie! Curdie!\\\" \\n \\n She was sitting wrapped in blankets on the bed, his mother trying for \\n the hundredth time to light the fire which had been drowned by the rain\",\n \"\\\"I've brought Curdie, grandmother. He wouldn't believe what I told him, \\n and so I've brought him.\\\" \\n \\n \\\"Yes--I see him. He is a good boy, Curdie, and a brave boy. Aren't you \\n glad you have got him out?\\\" \\n \\n \\\"Yes, grandmother. But it wasn't very good of him not to believe me when \\n I was telling him the truth.\\\" \\n \\n \\\"People must believe what they can, and those who believe more must not\",\n \"\\\"I see no good in trying to excuse him. He has no business here anyhow.\\\" \\n \\n \\\"Let me go away then, if you please,\\\" said Curdie. \\n \\n \\\"But we don't please--not except you give a good account of yourself.\\\" \\n \\n \\\"I don't feel quite sure whether I can trust you,\\\" said Curdie. \\n \\n \\\"We are the king's own men-at-arms,\\\" said the captain, courteously, for \\n he was taken with Curdie's appearance and courage. \\n\",\n \"Irene found that the thread, as she had half expected, went up the old \\n staircase, and a new thought struck her. She turned to Curdie and \\n said-- \\n \\n \\\"My grandmother wants me. Do come up with me, and see her. Then you will \\n know that I have been telling you the truth. Do come--to please me, \\n Curdie. I can't bear you should think I say what is not true.\\\" \\n \\n \\\"I never doubted you believed what you said,\\\" returned Curdie. \\\"I only\",\n \"\\\"You can tell me all about it when we get out, then. There's no time to \\n lose now,\\\" said Curdie. \\n \\n And Irene went to work, as fresh as when she began. \\n \\n \\\"There's such a lot of stones!\\\" she said. \\\"It will take me a long time \\n to get them all away.\\\" \\n \\n \\\"How far on have you got?\\\" asked Curdie. \\n \\n \\\"I've got about the half way, but the other half is ever so much \\n bigger.\\\" \\n\",\n \"yet able to believe some things. Seeing is not believing--it is only \\n seeing. You remember I told you that if Lootie were to see me, she would \\n rub her eyes, forget the half she saw, and call the other half \\n nonsense.\\\" \\n \\n \\\"Yes; but I should have thought Curdie--\\\" \\n \\n \\\"You are right. Curdie is much farther on than Lootie, and you will see \\n what will come of it. But in the meantime, you must be content, I say,\",\n \"Then Curdie had to explain everything--how he had watched for her sake, \\n how he had been wounded and shut up by the soldiers, how he heard the \\n noises and could not rise, and how the beautiful old lady had come to \\n him, and all that followed. \\n \\n \\\"Poor Curdie! to lie there hurt and ill, and me never to know it!\\\" \\n exclaimed the princess, stroking his rough hand. \\\"I would not have \\n hesitated to come and nurse you, if they had told me.\\\" \\n\",\n \"his tongue. This, of course, annoyed Curdie dreadfully, who now felt in \\n his turn what it was not to be believed, and the consequence was that \\n his fever returned, and by the time when, at his persistent entreaties, \\n the captain was called, there could be no doubt that he was raving. They \\n did for him what they could, and promised everything he wanted, but with \\n no intention of fulfilment. At last he went to sleep, and when at length \\n his sleep grew profound and peaceful, they left him, locked the door\",\n \"\\\"What were they?\\\" asked his father. \\\"Your mother may be able to throw \\n some light upon them.\\\" \\n \\n Then Curdie made a clean breast of it, and told them everything. \\n \\n They all sat silent for some time, pondering the strange tale. At last \\n Curdie's mother spoke. \\n \\n \\\"You confess, my boy,\\\" she said, \\\"there is something about the whole \\n affair you do not understand?\\\" \\n \\n \\\"Yes, of course, mother,\\\" he answered, \\\"I cannot understand how a child\",\n \"When the king had got out of the way of the water, a little up the \\n mountain, he stood with the princess in his arms, looking back with \\n amazement on the issuing torrent, which glimmered fierce and foamy \\n through the night. There Curdie rejoined them. \\n \\n \\\"Now, Curdie,\\\" said the king, \\\"what does it mean! Is this what you \\n expected?\\\" \\n \\n \\\"It is, your Majesty,\\\" said Curdie; and proceeded to tell him about the\",\n \"_I_ took good care of that--the wretch! And _he_ was prowling about--was \\n he? Just like his impudence!\\\" \\n \\n The princess being fast asleep, and Curdie in a faint, she could \\n misrepresent at her pleasure. \\n \\n When he heard this, the captain, although he had considerable doubt of \\n its truth, resolved to keep Curdie a prisoner until they could search \\n into the affair. So, after they had brought him round a little, and\",\n \"her grandmother, and laid her into the blue bed, under the rosy \\n counterpane. \\n \\n \\\"There is just one thing more,\\\" said Irene. \\\"I am a little anxious about \\n Curdie. As I brought him into the house, I ought to have seen him safe \\n on his way home.\\\" \\n \\n \\\"I took care of all that,\\\" answered the lady. \\\"I told you to let him go, \\n and therefore I was bound to look after him. Nobody saw him, and he is\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What did Curdie accept from the king as his reward for saving Princess Irene?","Where is Princess Irene's mother? ","Who is Princess Irene's nursemaid that she lives with in the country when she is eight years old?","What part of the goblin's anatomy is their secret weakness?","When Princess Irene hurts her hand who heals it for her?","In the end what happens to the goblins?","The queen of the goblins wear what type of shoes?","Who does Princess befriend who works as a coal miner?","What job did the king offer Curdie?","How old is Princess Irene?","Who is Princess Irene's nursemaid?","What species lives in the nearby mines?","Who rescues Princess Irene and Lootie from the Goblins?","Which part of her body does Princess Irene injur?","Who do the Goblins imprision?","Who rescues Curdie from the Goblins?","Where are the Goblins digging a tunnel towards?","Who do the Goblins want Princess Irene to marry?","What is Curdie's reward for saving Princess Irene?","Who is Princess Irene's nursemaid?","Who lives in the mines?","Who rescues Irene from the Goblins?","What is the secret weakness of Goblins?","Whose hand does Irene's great-great-grandmother heal?","What are the Queen Goblin's shoes made of?","What does Curdie steal?","What is the Goblin Prince's name?","What job does the King offer Curdie?","What reward does Curdie accept?"],"string":"[\n \"What did Curdie accept from the king as his reward for saving Princess Irene?\",\n \"Where is Princess Irene's mother? \",\n \"Who is Princess Irene's nursemaid that she lives with in the country when she is eight years old?\",\n \"What part of the goblin's anatomy is their secret weakness?\",\n \"When Princess Irene hurts her hand who heals it for her?\",\n \"In the end what happens to the goblins?\",\n \"The queen of the goblins wear what type of shoes?\",\n \"Who does Princess befriend who works as a coal miner?\",\n \"What job did the king offer Curdie?\",\n \"How old is Princess Irene?\",\n \"Who is Princess Irene's nursemaid?\",\n \"What species lives in the nearby mines?\",\n \"Who rescues Princess Irene and Lootie from the Goblins?\",\n \"Which part of her body does Princess Irene injur?\",\n \"Who do the Goblins imprision?\",\n \"Who rescues Curdie from the Goblins?\",\n \"Where are the Goblins digging a tunnel towards?\",\n \"Who do the Goblins want Princess Irene to marry?\",\n \"What is Curdie's reward for saving Princess Irene?\",\n \"Who is Princess Irene's nursemaid?\",\n \"Who lives in the mines?\",\n \"Who rescues Irene from the Goblins?\",\n \"What is the secret weakness of Goblins?\",\n \"Whose hand does Irene's great-great-grandmother heal?\",\n \"What are the Queen Goblin's shoes made of?\",\n \"What does Curdie steal?\",\n \"What is the Goblin Prince's name?\",\n \"What job does the King offer Curdie?\",\n \"What reward does Curdie accept?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["New red petticoat ","red petticoat"],["She is dead.","dead"],["Lootie","Lootie"],["Their soft, vulnerable feet.","Their feet"],["her great-great grandmotherwho is her namesake","Her great great grandmother"],["They drown ","The goblins drowned"],["Stone Shoes","Stone shoes."],["Curdie","Curdie"],["Bodyguard","Bodyguard."],["Eight years old","Eight years old."],["Lootie","Lootie."],["The Goblins","Goblins."],["Curdie","Curdie"],["Her hand","hand"],["Curdie","curdie"],["Princess Irene","Irene."],["The King's palace","The king's palace."],["Goblin Prince Harelip","goblin prince harelip"],["A new red petticoat","a red petticoat for his mother."],["Lootie.","Lootie"],["The Goblins.","goblins"],["Curdie.","Curdie."],["Their soft feet.","They have soft, vulnerable feet."],["Irene's.","Princess Irene"],["Stone.","Stone."],["One of the Queen's shoes.","one of the shoes of the queen goblin"],["Harelip.","Harelip."],["Bodyguard.","Bodyguard."],["A red petticoat for his mother.","A new red petticoat for his mother."]],"string":"[\n [\n \"New red petticoat \",\n \"red petticoat\"\n ],\n [\n \"She is dead.\",\n \"dead\"\n ],\n [\n \"Lootie\",\n \"Lootie\"\n ],\n [\n \"Their soft, vulnerable feet.\",\n \"Their feet\"\n ],\n [\n \"her great-great grandmotherwho is her namesake\",\n \"Her great great grandmother\"\n ],\n [\n \"They drown \",\n \"The goblins drowned\"\n ],\n [\n \"Stone Shoes\",\n \"Stone shoes.\"\n ],\n [\n \"Curdie\",\n \"Curdie\"\n ],\n [\n \"Bodyguard\",\n \"Bodyguard.\"\n ],\n [\n \"Eight years old\",\n \"Eight years old.\"\n ],\n [\n \"Lootie\",\n \"Lootie.\"\n ],\n [\n \"The Goblins\",\n \"Goblins.\"\n ],\n [\n \"Curdie\",\n \"Curdie\"\n ],\n [\n \"Her hand\",\n \"hand\"\n ],\n [\n \"Curdie\",\n \"curdie\"\n ],\n [\n \"Princess Irene\",\n \"Irene.\"\n ],\n [\n \"The King's palace\",\n \"The king's palace.\"\n ],\n [\n \"Goblin Prince Harelip\",\n \"goblin prince harelip\"\n ],\n [\n \"A new red petticoat\",\n \"a red petticoat for his mother.\"\n ],\n [\n \"Lootie.\",\n \"Lootie\"\n ],\n [\n \"The Goblins.\",\n \"goblins\"\n ],\n [\n \"Curdie.\",\n \"Curdie.\"\n ],\n [\n \"Their soft feet.\",\n \"They have soft, vulnerable feet.\"\n ],\n [\n \"Irene's.\",\n \"Princess Irene\"\n ],\n [\n \"Stone.\",\n \"Stone.\"\n ],\n [\n \"One of the Queen's shoes.\",\n \"one of the shoes of the queen goblin\"\n ],\n [\n \"Harelip.\",\n \"Harelip.\"\n ],\n [\n \"Bodyguard.\",\n \"Bodyguard.\"\n ],\n [\n \"A red petticoat for his mother.\",\n \"A new red petticoat for his mother.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"c6bf28c8adbc7b8fb371bc7cb38d1be353597147"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":48,"cells":{"text":{"kind":"list like","value":[[" of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again."," BULLSHIT! You were scared, Jake! You - \n Lost your nerve! You lost your \n confidence! You weren't being noble. \n You weren't trying to save anybody but \n yourself! Admit it. \n JAKE \n It's not true. \n BUTCH \n Yes it is Jake! Yes it is! They were \n right there for you. She was right \n there for you! Look at her!"," Just go wherever it is you would go. \n It's over. \n Lily looks around the room. No one seems to be backing \n her up. \n LILY \n What about... \n JAKE \n What about what? \n LILY \n What about the money? \n Jake stops and levels a look at Lily. \n JAKE \n So there it is. You got that big itch \n you need to scratch. It's all about","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money."," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin."," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","Jake takes off after her. \n CUT TO: \n EXT. - BACK ALLEY- NIGHT (PRESENT) \n Butch cracks a big smile. \n BUTCH \n She had you tempting fate. \n JAKE \n My father used to play the same fucking \n lotto numbers with these other guys in \n the pharmacy. The same numbers everyday \n for sixteen years. One day he gets \n pissed off, tells them he's out and"," He'll find us. We go talk to him. \n GORDO \n Whoa. What? \n MILES \n We're going to give him the money back? \n JAKE \n You know what we're doing with the money. \n GORDO \n And what about Big Al? \n JAKE \n Leave him. Someone's going to find him \n eventually. Then they'll start looking \n for us, too."," Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It"," Literally. It's not a bad deal, \n gentleman. I get peace of mind. You \n get Detective Sheilds. But this is the \n best part, Walter... Walter, your \n daughter will get to keep her braces \n and have that winning smile. Capice? \n Rottovich and Sobozinski remain silent. \n MOONAN \n Good. One more thing... You gotta give \n up the booty. I can't have you guys"," Wha- \n Butch spins and aims at her. \n Lily pulls out a gun and... BLAM!!! \n CUT TO: \n INT.- JFK AIRPORT/BATHROOM- SAME \n Gordo stirs on the floor of the stall, slowly getting up. \n Pieces of toilet paper are stuck to his face. \n JAKE (V.O.) \n Trust... \n CUT TO: \n INT.- CAR- SAME"," the Underworld. A grifter had to survive \n on his wits, his instincts... I like \n that. I like the idea of that. \n These days, things being what they are, \n guys like me gotta stay low. \n (MORE) \n \n \n \n (CONTINUED) \n \n 21. \n CONTINUED: \n KING PIN (cont' d)"," the money. You twisted fuck. So we \n gotta give you the \"Blow-off\". We make \n sure that you never, ever want to look \n for us again. We get you off our backs. \n Forever. \n Jake stops for a second and listens... He points over his \n shoulder and on cue A POLICE SIREN WAILS in the distance. \n JAKE \n And that's why you need the \"Fix\"... \n Dolby bolts for the door without the money."],["in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money.","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again.","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one."," suit. Keep on him. \n CUT TO: \n EXT.- JFK AIRPORT/PARKING LOT- CONTINUOUS \n Rottovich turns the walkie talkie off as he and Sobozinski \n fall in behind Harlin. \n ANGLE ON MILES-- Who steps out of his car, watching the \n little parade go by with a look of confusion. \n CUT TO: \n INT.- THE EUCLID- SAME"," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH"," KING PIN \n Grifters... Always working an angle. \n Alright. I can see you got some vision. \n But I give you the Mark. I tell you \n the who and you give me the how. Lupus \n go with him. \n Lupus snaps to attention. \n LUPUS \n What? \n KING PIN \n Consider him part of your crew. \n Consider him a part of me.","The others exchange greetings with Suits who moves over \n to Lupus and studies his loud sweatsuit. \n JAKE (V.O.) \n Back in the day, Suits made money \n running fight stores and the wire with \n a Fix so tight it was like a legit \n business. I never understood what the \n point was if grifting became like a \n regular job. \n JAKE \n We need wardrobe."," We have work. It pays a lot. Unless \n you figure on getting rich lifting \n wallets while old guys feel you up. \n LILY \n Oooh. Sassy. What do you care who \n feels me up, Jake? Unless it kinda \n gotcha going. Did it, Jake? Getcha \n going? \n Lily saunters to Jake with a seductive grin. \n Jake may be aware that he's stopped breathing.","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good.","This isn't so bad. Jake almost has to stifle a laugh. \n KING PIN (cont'd) \n Every time, you get the pinkie and I \n get a hang nail. \n ( to Jake) \n You Jake? \n Jake nods and the King motions for the manicurist to \n leave. \n KING PIN \n Grifter huh? Where have you been on \n the grift? Couldn't been here long","Rottovich and Sobozinski get in the front of a squad car. \n In the back, Moonan sits reading the Travel section of \n the NY Times. \n MOONAN \n Did he buy it? \n ROTTOVICH \n I think so. What'd he ever do to you \n anyway? \n MOONAN \n Let's just say he burned me once. \n Moonan calmly turns the page of the paper.","EXT. - CITY BANK OF NEW YORK DAY \n A flood of people exit the bank at the end of the day. \n Jake, Lupus, Lily, Miles and Gordo wait by the side of \n the building. Miles reads off a piece of paper. \n JAKE (V.O.) \n What you're looking for in a mark is \n someone who's weakness you can exploit. \n MILES \n Michelle Strigo. Loan officer."," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY","Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY"," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:"," KID \n My Pops is going to be mad. \n ROTTOVICH \n Give the kid a twenty. \n Sobozinski fishes in his pocket starts to peel off bills \n for the kid who then sprints away. \n SOBOZINSKI \n What's the world coming to? \n Everybody's on the friggin' take... \n Rottovich and Sobozinski head off with the knapsack. \n CUT TO:"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to"],[" Gentlemen? Special Agent Gunther Moonan. \n Moonan quickly flashes a badge and his best Kodak smile. \n ROTTOVICH \n Special Agent? \n MOONAN \n You are Officer Richard Rottovich. And \n this would be Officer Walter Sobozinski. \n I'm looking for Jake Vig. \n SOBOZINSKI \n Who? \n MOONAN \n I've been looking for this Jake Vig for"," Special Agent Gunther Moonan. \n Jake turns and catches Moonan looking at him. \n CUT TO: \n EXT.- RACETRACK/PARKING LOT- DAY \n Moonan walks over to a car. \n JAKE (V.O.) \n He didn't really have anything on us, \n but I figure, maybe this guy's good \n for a Fix. So I ask him out to dinner. \n Moonan pulls a piece of paper off the windshield that","original black suitcase. He nods to the Customs Officer. \n Moonan turns and walks TOWARDS CAMERA, wheeling the \n suitcase behind him. \n JAKE (V.O.) \n And all of them would ask what agency \n Special Agent Gunther Moonan worked \n for. \n We CLOSE-IN ON THE BADGE hanging from Moonan's neck. On \n it is a number and the single word, \"CUSTOMS\". \n CUT TO:"," JAKE (V.O.) \n But most of all, you need the \"Fix\". \n This time, Moonan TAKES IT. \n CUT TO: \n (FLASHBACK) INT.- THE EUCLID \n Jake finishing the Moonan story... \n JAKE \n That's how Special Agent Gunther Moonan \n and I became friends. \n \n \n \n (CONTINUED) \n \n 120.","Miles pulls up in an old Cadillac, picking up Jake at the \n entrance. They pick up Gordo and Big Al from a side door \n and drive off as Moonan limps out of the restaurant, still \n holding his crotch. \n CUT TO: \n INT.- THE EUCLID- DAY (RESUMING) \n Jake finishes the story to Lupus. \n JAKE \n And that's how Special Agent Gunther \n Moonan and I became friends.","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:","Gordo, Miles, Big A1 and Jake watch the race with \n indifference, surrounded by excited SPECTATORS. \n JAKE (V.O.) \n Turns out this local goon was being \n watched by the Feds, which means we \n were being watched by the Feds. One in \n particular. \n Through the crowd, we catch a glimpse of Moonan, in \n sunglasses, watching the guys. \n JAKE (V.O.)","Jake steps back and raises his arms. \n JAKE \n You the one that did it? You the one \n that got Al? \n HARLIN \n Mr. King prefers to farm out for that \n kind of work. \n (gesturing to the \n door) \n Please, after you. \n Harlin gives the Officers Sobozinski and Rottovich a slight \n nod of acknowledgment. \n CUT TO:","A serious look comes across Jake's face-- Hate. Butch \n eases back with the gun for a second. \n JAKE \n He's just as crooked as the next guy. \n You'd think he'd have more important \n things to do with tax payer dollars. \n BUTCH \n Cue the fucking violins. Come on... \n It's getting cold. \n CUT TO:","After Rottovich and Sobozinski exit, Moonan dials a number. \n MOONAN \n It's Moonan. Tonight. JFK. \n International terminal. Come heavy. \n CUT TO: \n INT.- THE EUCLID- NIGHT \n Jake sits at the bar, looking at his watch. He notices \n his hand is shaking. \n LUPUS \n So that's it, huh? You get the cops to","Jake staggers back and Sobozinski pushes him into an \n alley. \n JAKE \n That tip not work-out for you fellas? \n ROTTOVICH \n Tip was fine, Jake. We were a little \n more curious about the Fed. \n JAKE \n Hey, listen... If you guys don't pay \n your taxes, that's your business. \n Sobozinski punches Jake in the stomach. Miles and Gordo","A nicer apartment than Jake's. Lionel Dolby, the Mark \n from the Euclid rushes around, haphazardly throwing \n things into a suitcase. There's a KNOCK on the door that \n stops Lionel dead in his tracks. \n Another KNOCK. Lionel still frozen. \n The door flies open with a BOOM. In the doorway, we see \n HARLIN, an older mountain of a man dressed in a plain","Moonan smiles and slides the envelope back over to Jake \n with a disappointed shake of his head. \n JAKE (V.O.) \n So I took a shot. But now he had me on \n attempted bribery of a Federal Agent. \n As Moonan stands, we see Big Al get up from the next table. \n A1 \"bumps\" into Gordo, dressed in a waiter's white jacket. \n Gordo \"trips;\" spilling scalding hot coffee into Moonan's \n lap."," JAKE \n I said stand up. \n CUT TO: \n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \n MORGAN GILLETTE sits behind a desk in an ultra modern \n office, his reptilian like face fixed straight ahead. \n Butch leans against the wall behind him. \n JAKE (V.O.) \n This is probably about where you came \n in. \n GILLETTE"," 41. \n CONTINUED: \n The Officer literally looks the other way as he pockets \n the envelope and waves Jake through the gate. \n CUT TO: \n EXT.- JFK AIRPORT- DAY \n Jake exits the terminal. Outside, the street is empty, \n not a traveler, an airlines rep, a luggage handler or a \n cab. Jake waits at an empty cross walk until the \"walk\" \n signal is given.","CONTINUED: \n Miles hangs up before Jake can answer. \n CUT TO: \n INT.- BIG AL'S- DAY \n Jake stand's with Miles in the sparse living room. Big \n AI's body sits reclining on a Lazy Boy chair, eyes bulging \n open. An open carton of food rests in his lap. A feast \n of take-out Chinese surrounds him. The TV blares an old \n episode of \"The Little Rascals.\"","head, sending him to the ground. Jake straddles Lupus \n and raises the phone for the last whack. \n We HEAR A LOUD CLICK. \n Jake stops and the two slowly get up. As they stand, we \n can see that Lupus has the barrel of a small gun in \n Jake's mouth. \n Jake shuts his eyes tight, still holding the phone. Which \n just then, RINGS. \n Jake opens his eyes and looks at the phone. Then to Lupus,","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan"," guy was, but he was so pissed off at \n him, he gets him drilled. It ain't \n personal. It's business. \n JAKE \n Point, Lupus. Give us a point. \n LUPUS \n Point is, you don't go through with \n this, he's going to go after you next. \n And he don't even like you, Jake. \n Lupus stares blankly at Jake."," MR. HEAVYSET \n Oh jeez. \n Mr. Heavyset quickly gets up. \n CUT TO: \n INT.- THE EUCLID- SAME \n Jake sits at the bar, the phone a few inches away. Lupus \n pours himself a drink from the bar. The phone RINGS. \n JAKE \n Gordo. \n CUT TO: \n INT.- JET- SAME"],[" Gordo was making the withdrawal from \n the Grand Laymen's Bank. \n Gordo stands in front of a Teller. She reads off a paper \n then does a double take at Gordo, who smiles back. \n JAKE (V. O. ) \n They check the papers... \n Gordo slides a folder of corporate papers along with his \n photo ID towards the Teller. \n We follow the teller as she hands the papers to the \n OFFICIOUS LOAN OFFICER."," CUT TO: \n INT.- CITY BANK OF MANHATTAN/ASHBY'S OFFICE- DAY \n Ashby sits, nervously tapping his computer monitor with a \n pen. MARIE, a secretary, pokes her head in. \n MAR I E \n Mr. Ashby? Mr. Thompson from \n International with a 34R on a \n corporate account. \n Ashby watches the screen, as a big broad smile comes \n across his face.","The Teller turns to a computer printer and removes a \n check. Jake signs a few documents and places the check \n into his pocket. \n CUT TO: \n EXT.- CAYMEN ISLANDS/STREET--DAY \n Lined with shops and stores, but it's as empty as the \n bank. Not even a car: Jake strides out of the Grand \n Caymen's Bank and walks across the street to another \n building with a sign reading \"BANK OF THE GRAND CAYMENS.\""," We find a doable guy in Gillette's \n bank... Someone about mid-level. Not \n too high, not too low. \n A lone man, GRANT ASHBY, MATERIALIZES behind a desk on \n the empty floor and sits behind a computer terminal. \n JAKE (V.O.) \n We meet him with corporate papers, \n inquiring about a corporate loan for \n start up capital. The corporate papers \n are in order, but we need things to","Gordo is escorted into the room by a BANK OFFICIAL. \n BANK OFFICIAL \n We'll let you have a moment. \n On a small table are neat piles of bundled money, shrink \n wrapped in plastic. Gordo seems in awe. \n JAKE (V.O.) \n We called them Green Twinkies. \n The Bank Official and Security Guard exit. Gordo holds \n up a Green Twinkie up to his nose and takes a deep breath.","An envelope stuffed with cash MATERIALIZES on the desk \n next to Ashby. \n CUT TO: \n EXT . -- CAYMEN ISLANDS--DAY \n Crystal clear water gently rolls onto a white beach. \n JAKE (V.O.) \n Our guy gets us approved for the start \n up capital. But, the money can't be \n transferred to any one person. On the \n given day, the money's wired into a"," (CONTINUED) \n \n 101. \n CONTINUED: \n Gordo hangs up without another word. He approaches a \n building with the words \"BANK OF THE CAYMENS\" engraved \n over the brass handled doors. \n CUT TO: \n INT.- BANK OF THE CAYMENS- DAY \n Gordo approaches the teller window with the check in hand. \n JAKE (V.O.)","As Gillette and his crew disappear into the car, we PAN \n up to see the front of the building which has a large \n sign reading, \"City Bank of Manhattan; A Gillette Family \n Company.\" \n CUT TO: \n INT.- THE EUCLID-- RESUMING \n Jake looks over the crew, who are less than convinced. \n GORDO \n How much we going after? \n JAKE \n Two million. \n Miles lets out a whistle. \n \n"," corporate account in an off-shore \n bank. \n CUT TO: \n INT.- GRAND CAYMEN'S BANK- DAY \n Another empty bank... A lone TELLER MATERIALIZES behind \n the counter. \n JAKE (V.O.) \n That same day, I show up in the Caymens \n with the proper I.D. and corporate papers \n to make a withdrawal."," ASHBY \n (Confidently Yeah. That's right. \n FREEZE FRAME ON ASHBY... \n JAKE (V.O.) \n Here's where a little research comes in \n handy. Corporate banks give out VP \n titles like calendars. It's a small \n lie, but now we're sure he's playing. \n RESUME ACTION \n JAKE \n Maybe you can help us understand what's"," Because that's who the King Fin wants \n us to fleece. And Gillette's perfect... \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \n A circle of BUSINESS MEN sitting at a conference table. \n JAKE (V.O.) \n His grandfather used to run liquor \n during prohibition and his father made \n a bundle in illegal importing and \n exporting. That makes him a third","Jake approaches the Teller, now wheeling a BLACK SUITCASE \n behind him by the handle. \n Jake presents the Teller with a series of papers and a \n photo I.D. \n JAKE (V.O.) \n It's bank policy not to release this \n money in cash because it's under a \n corporate account. \n \n \n (CONTINUED) \n \n 40. \n CONTINUED:"," CUT TO: \n INT.- BANK OF THE GRAND CAYMENS- DAY \n Again, empty... Jake strides in and approaches the deserted \n teller counter. \n ANOTHER TELLER MATERIALIZES and greets him with a smile. \n JAKE (V.O.) \n So we cash the check at another bank. \n Jake slides the suitcase and the check \n over to the Teller. \n CUT TO:"," Then he had to bang it out across the \n street at the Bank of the Caymens... \n GORDO \n I'd like this cashed, please. \n ANOTHER TELLER looks at the check then back up at Gordo. \n GORDO (cont'd ) \n I also need to deduct a certain amount \n and deposit it into this account number. \n Gordo takes another piece of paper and slides it to the \n Teller."," MILES \n I'm with Jack LaLane. That guy's \n untouchable. \n JAKE \n That's why we don't go after him \n directly. \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/LOBBY \n Empty. The marble floor spotless, the dark oak teller \n windows vacant, a row of desks. \n JAKE (V.O.)"," CUT T0: \n INT. - THE EUCLID BAR- SAME \n Jake hangs up and immediately dials another number. \n JAKE (V.O.) \n In order to ensure that we weren't going \n to welch, Ashby's pay-off was to be \n directly deposited into his own offshore \n account which he could confirm \n electronically. In this age of \n ecommerce, paper currency has become \"","he gets up, wheeling a nondescript BLACK SUITCASE. \n Across the street sits the Grand Caymen's Bank in all \n it's pastel and brass glory. \n CUT TO: \n INT.-- GRAND LAYMEN'S BANK- DAY \n Gordo moves across the lobby of the bank to the back of a \n line at the Teller windows wheeling the black suitcase. \n JAKE (V.O.)"," And all you need to do for your ten \n percent is put some paperwork through \n and push a button tomorrow. \n There's a pause before Ashby smiles, then reaches around \n to scratch his neck. \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/HALLWAY- DAY \n Jake exits Ashby's office with Lupus, Gordo, Miles and \n Lily. They all follow Jake down the hallway. \n \n \n"," Wow. Now that's an exciting story. \n Butch, has anyone ever tried something \n like this before? \n BUTCH \n Not that I recall. What do you want us \n to do about it? \n GILLETTE \n Let's see... Let's suppose he gets to \n Customs and he gets caught. We get our \n money back, but then we have to deal \n with a criminal investigation. I don't"," eighties. \n Gillette and his crew head through a large glass revolving \n door to... \n CUT TO: \n EXT.- CITY BANK OF MANHATTAN- DAY \n A busy mid-day New York sidewalk. Gillette heads towards \n a waiting Town Car. \n JAKE \n Most of his money's clean. A lot of it \n isn't. The best part is that we know \n exactly where it is."],[" After Glenn was finished, he gave me a \n couple of valiums and I went home. The \n next day, I finished my shift and met \n him around back, like we always did. I \n stuck a number eight scalpel into his \n chest. Three or four times. \n Jake slides off Lily. \n JAKE \n Did, uh... Did you kill him? \n LILY \n I don't know. I packed up my shit and","A DEAD GUY lies face down on the floor in a pool of blood. \n Jake grabs the Dead Guy's legs as Lionel watches in \n disbelief. \n JAKE \n Come on. Grab his arms. \n Lionel stands frozen. Jake, drops the dead guy's legs \n with a THUD. \n JAKE \n Lionel... He's dead. Yeah, maybe you \n didn't pull the trigger, but you were \n standing right there and watched me do","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," some time now. Problem is, the guy's \n the invisible man. A spook, a spectre, \n a ghost. Then, like a gift, Jake's \n good buddy and member of his crew, \n Alfonse Moorely, is found the other day \n with a hole in his head. \n \n (CONTINUED) \n \n 44. \n CONTINUED: \n Moonan holds up crime scene photos of Big Al's body."," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again."," Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:"," So I'm dead... \n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \n all over the parking lot. \n The King and Harlin are bent over the hood of the car, \n cuffed. \n One Federal Agent pulls the black suitcase out of the \n car. \n JAKE (V . O . ) \n But maybe I can't blame Lily. Maybe I"," LIONEL \n Not for nothing, Jake, but the guy who \n whacked your buddy? It was me. The \n King usually farms out for that kind of \n stuff, but I tell ya, he was so pissed \n off he couldn't wait for the regular \n guy. Fucker didn't even put down his \n Kung Pao Chicken. \n \n \n (CONTINUED) \n \n 109. \n CONTINUED:","There's a singed, neat bullet hole in his forehead. \n MILES \n I was supposed to meet him for breakfast. \n He likes that new IHOP they just opened, \n you know... He likes to order that thing. \n The Rutti-Tutti-Fresh and Fruity thing \n they got. \n JAKE \n Miles... \n MILES \n Sorry. I'm just... Look what they did"," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A"," Big Al gets whacked mid-egg foo young. \n The whole thing took about two and a \n half hours. That's how good he is. \n MILES \n We sure Big Al threw him to us? \n GORDO \n Come on... \n All three of them turn their attention out the window. \n They watch the bustle of people walking past wondering if \n any one of them is looking back. \n JAKE \n A bird flew into my house last night.","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good."," Jesus Christ! Tell me before you do \n something like that! \n Jake lies face down in a puddle, the collected pool of \n water growing red with blood. \n POLICE SIRENS WAIL in the distance, growing closer. \n BUTCH \n You should leave. \n Butch disappears down the dark alley. \n Lily stands for a moment and takes a final look at Jake's \n body. She then turns and runs back into the bar. \n JAKE (V.O.)","SLAM!!!-- Blood splatters across the front page of the \n Metro Section. The paper falls away revealing Jake, wide- \n eyed, the gun hanging from his mouth. \n Lupus lies in a heap at the floor. \n \n 115. \n \n \n CONTINUED: \n Jake lets the gun fall and Looks up to see Butch, standing \n at the door, gun in hand. \n Lily steps out from behind him. \n JAKE (V.O.)","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","This isn't so bad. Jake almost has to stifle a laugh. \n KING PIN (cont'd) \n Every time, you get the pinkie and I \n get a hang nail. \n ( to Jake) \n You Jake? \n Jake nods and the King motions for the manicurist to \n leave. \n KING PIN \n Grifter huh? Where have you been on \n the grift? Couldn't been here long","Harlin picks him up off the toilet and throws him into \n the wall repeatedly before letting him fall face first \n onto the dirty floor. \n CUT TO: \n INT.- JFK AIRPORT/TERMINAL- CONTINUOUS \n Moonan watches the door to the Men's Room as Harlin comes \n out, wheeling the black suitcase behind him. \n MOONAN \n (into mic) \n They pulled a switch. Big guy. Blue","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin."," to him. Right in the middle of his egg- \n foo-young. \n Big Al stares up at them with those bulging, vacant eyes, \n his mouth hanging open. Jake reaches down and grabs the \n remote control and turns the TV off. \n JAKE (V.O.) \n Big Al used to send money to his Father, \n some Vietnam Vet slowly losing his mind \n in a VA hospital in Cleveland. Al was \n like that. That's why Al never played"],["Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY"," After Glenn was finished, he gave me a \n couple of valiums and I went home. The \n next day, I finished my shift and met \n him around back, like we always did. I \n stuck a number eight scalpel into his \n chest. Three or four times. \n Jake slides off Lily. \n JAKE \n Did, uh... Did you kill him? \n LILY \n I don't know. I packed up my shit and"," Just go wherever it is you would go. \n It's over. \n Lily looks around the room. No one seems to be backing \n her up. \n LILY \n What about... \n JAKE \n What about what? \n LILY \n What about the money? \n Jake stops and levels a look at Lily. \n JAKE \n So there it is. You got that big itch \n you need to scratch. It's all about"," LILY \n Says who? \n JAKE \n You're working Daffy's block. He was \n going to break your kneecaps. Pick- \n pockets can be so bitchy sometimes. I \n told him you were with us, so that's \n two you owe me. \n Lily takes a second to look the guys over. Miles gives \n her a wink. Lily slowly raises her middle finger at him. \n JAKE","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","her bag. \n From out of nowhere, Jake bumps into her. \n \n \n \n \n (CONTINUED) \n \n 33. \n CONTINUED: \n JAKE \n (not so innocently) \n Oops. \n Jake takes her by the arm out to... \n CUT TO: \n EXT.- ALLEY/OUTSIDE BAR- NIGHT \n Jake pushes Lily through the back door where she finds","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads...","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","EXT. BACK ALLEY- NIGHT (PRESENT) \n With a shrug, Jake continues... \n JAKE \n We were back on. \n BUTCH \n After you cut her loose. \n JAKE \n She walked. \n Lily pushes Butch aside and moves closer to Jake. \n LILY \n I walked? Let me tell you a story, \n asshole... \n CUT TO:"," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY","Miles gets back in the car and SCREECHES out of his parking \n space. \n \n (CONTINUED) \n \n 117. \n CONTINUED: \n JAKE (V.O.) \n It should be a four letter word. \n CUT TO: \n EXT. - BACK ALLEY- NIGHT (PRESENT) \n Lily drops the gun and breaks down in tears \n BUTCH","CONTINUED: \n LILY \n Everyone's working an angle, right? \n JAKE \n There are three people I trust-- him, \n him and a guy who got killed. I don't \n know who you are! You're like some \n stray doq that wandered into the \n house. So I'm telling you to cut loose \n of this. No one's looking for you, Not \n the King, not Moonan and not Gillette."," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:","She grabs the smoking pan from the stove and WHACKS Harlin \n across the head. The burned egg lands on the floor. \n Lily watches as he sways and teeters on his feet, like a \n drunk. She raises the pan again... But before she \n delivers the final blow, Harlin steps on the egg, causing \n his leg to shoot out from under him. He lands flat on \n his back, out cold. The wood floor CREAKS with his weight. \n Lily wipes the blood from her nose and turns the hot"," the fucking money. What do you want, \n an apology? \n LILY \n No, I want my cut! \n JAKE \n I'm going to say this one last time for \n You, so take a deep breath and count to \n ten. There is no cut. \n Lily levels a look of utter contempt at Jake. \n LILY \n You're an asshole. \n With that, she grabs her coat and leaves.","She puts her hands on Jake's chest and leans in a half \n inch more, her lips an eyelash away from his. She \n whispers... \n LILY (cont' d) \n Keep the wallet. We're even. Take a \n deep breath... Count to ten... And go \n fuck yourself. \n Lily pushes past Jake and heads out of the alley. \n MILES \n Is it just me or is there something \n really hot about a girl telling you to"," just should have just trusted her to \n play her part. Because playing the big \n con is like putting on a play. A play \n where everyone knows their part except \n for the Mark... \n CUT TO: \n (FLASHBACK) INT.- DINER \n Jake sits with Lily, Miles and Gordo crammed into a \n booth. \n \n \n \n \n (CONTINUED) \n \n 118.","Lily, wide-eyed, stands frozen with the bat still cocked.. \n LILY \n Uh, right now? \n HARLI \n Please. I have a car waiting. \n Lily takes a swing. Harlin easily grabs the bat and \n backhands Lily. She goes flying back into the far wall, \n bounces off and lands with a THUD at Harlin's feet where \n she finds the butter knife.","Lily hops into the Cab and tosses Jake's new wallet onto \n the sidewalk. \n LILY (cont'd) \n That's twice. \n The cab pulls away. \n Jake looks up at the clock-- \"11:12P\". \n CUT TO: \n EXT. - BACK ALLEY- NIGHT (PRESENT) \n Butch smiles... \n BUTCH \n I can see why you liked her. \n JAKE"," LILY \n Look at you... You want to go. \n JAKE \n For what? A couple hundred bucks? \n \n \n \n \n (CONTINUED) \n \n 78. \n CONTINUED: \n LILY \n I think you'd do it for free. You' re \n almost drooling. You like the rush. \n JAKE"],[" I think so. The airport's going to be \n crawling with police. Traffic will be \n a nightmare. Go down to the bar. If \n they pull it off, great. Have someone \n deal with Ashby. \n BUTCH \n We'll take care of it. \n GILLETTE \n And how much did you say you wanted for \n this... What did you call it? A finder's \n fee?"," to him. Right in the middle of his egg- \n foo-young. \n Big Al stares up at them with those bulging, vacant eyes, \n his mouth hanging open. Jake reaches down and grabs the \n remote control and turns the TV off. \n JAKE (V.O.) \n Big Al used to send money to his Father, \n some Vietnam Vet slowly losing his mind \n in a VA hospital in Cleveland. Al was \n like that. That's why Al never played","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," happens sometimes. \n In the distance, A POLICE SIREN WAILS, growing louder. \n LIONEL \n Oh Jesus! \n JAKE \n LISTEN to me! We don't have much time. \n We can still get through this but you \n have to keep your head and trust me! \n Jake takes a tentative step forward. Lionel sees a BLOOD \n STAIN on Jake's shirt and recoils.","Rottovich and Sobozinski get in the front of a squad car. \n In the back, Moonan sits reading the Travel section of \n the NY Times. \n MOONAN \n Did he buy it? \n ROTTOVICH \n I think so. What'd he ever do to you \n anyway? \n MOONAN \n Let's just say he burned me once. \n Moonan calmly turns the page of the paper.","A DEAD GUY lies face down on the floor in a pool of blood. \n Jake grabs the Dead Guy's legs as Lionel watches in \n disbelief. \n JAKE \n Come on. Grab his arms. \n Lionel stands frozen. Jake, drops the dead guy's legs \n with a THUD. \n JAKE \n Lionel... He's dead. Yeah, maybe you \n didn't pull the trigger, but you were \n standing right there and watched me do","place between buildings that a reasonable person avoids. \n We see JAKE VIG, a guy in his late 20's whose fashionable \n suit and good looks are in obvious contrast to the \n surroundings-- At first glance, you'd think he could run \n for Congress some day. At first glance. \n Jake faces a garbage dumpster on his knees, execution \n style. His face gives away nothing-- He could be kneeling \n in a strawberry field. \n JAKE (V.O.)","We PAN OVER TO REVEAL Jake, Miles and BIG AL (the Patron) \n sitting at the bar by the Dead Guy. \n JAKE \n Stop waving that thing around. \n MILES \n You sure we're clear? \n \n \n (CONTINUED) \n \n 6. \n CONTINUED: \n ROTTOVICH \n Guy looked like he was trying not to \n shit himself.","INT.- FOUR SEASONS HOTEL- NIGHT \n A suite in the upscale hotel. Miles answers a KNOCK on \n the door-- An expensive CALL GIRL stands at the door in \n an overcoat. \n JAKE (V.O.) \n It's what makes us run. And despite \n what they say, it can buy you love. \n CALL GIRL \n Are you ready for me, Ralph? \n She lets the overcoat fall open, revealing her lack of"," 4. \n CONTINUED: \n Miles lets out a little chuckle; it's just enough to set \n Jake off again. \n Jake pulls the gun and points it at Miles. \n MILES \n Oh please... \n Miles non-chalantly pulls a sawed off shot gun frown under \n the bar. \n MILES (cont' d) \n You think this kinda shit hasn't happened \n here before? Given it's usually on"," After Glenn was finished, he gave me a \n couple of valiums and I went home. The \n next day, I finished my shift and met \n him around back, like we always did. I \n stuck a number eight scalpel into his \n chest. Three or four times. \n Jake slides off Lily. \n JAKE \n Did, uh... Did you kill him? \n LILY \n I don't know. I packed up my shit and","CONTINUED: \n Miles hangs up before Jake can answer. \n CUT TO: \n INT.- BIG AL'S- DAY \n Jake stand's with Miles in the sparse living room. Big \n AI's body sits reclining on a Lazy Boy chair, eyes bulging \n open. An open carton of food rests in his lap. A feast \n of take-out Chinese surrounds him. The TV blares an old \n episode of \"The Little Rascals.\"","There's a singed, neat bullet hole in his forehead. \n MILES \n I was supposed to meet him for breakfast. \n He likes that new IHOP they just opened, \n you know... He likes to order that thing. \n The Rutti-Tutti-Fresh and Fruity thing \n they got. \n JAKE \n Miles... \n MILES \n Sorry. I'm just... Look what they did","After Rottovich and Sobozinski exit, Moonan dials a number. \n MOONAN \n It's Moonan. Tonight. JFK. \n International terminal. Come heavy. \n CUT TO: \n INT.- THE EUCLID- NIGHT \n Jake sits at the bar, looking at his watch. He notices \n his hand is shaking. \n LUPUS \n So that's it, huh? You get the cops to","A serious look comes across Jake's face-- Hate. Butch \n eases back with the gun for a second. \n JAKE \n He's just as crooked as the next guy. \n You'd think he'd have more important \n things to do with tax payer dollars. \n BUTCH \n Cue the fucking violins. Come on... \n It's getting cold. \n CUT TO:"," HE GOT CAUGHT! Your boss tried to pull \n a switch and he got us all fucking \n pinched! \n Lupus picks up the phone and dials another number... No \n answer. \n LUPUS \n Shit. \n Lupus cocks the gun and crams it back into Jake's mouth. \n JAKE \n Aaaaiiit!!! Ooopusss!! \n Lupus takes a newspaper off the bar and covers Jake's \n face with it."," guy was, but he was so pissed off at \n him, he gets him drilled. It ain't \n personal. It's business. \n JAKE \n Point, Lupus. Give us a point. \n LUPUS \n Point is, you don't go through with \n this, he's going to go after you next. \n And he don't even like you, Jake. \n Lupus stares blankly at Jake."," (CONTINUED) \n \n 31. \n CONTINUED: \n Dolby eyes the briefcases of money. \n DOLBY \n What about... The money? \n JAKE \n (turns back to CAMERA) \n Then there it is again... That little \n itch. There's a guy holding a smoking \n gun, a guy bleeding all over the floor \n and still, all you can think about is"],[" Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It"," BULLSHIT! You were scared, Jake! You - \n Lost your nerve! You lost your \n confidence! You weren't being noble. \n You weren't trying to save anybody but \n yourself! Admit it. \n JAKE \n It's not true. \n BUTCH \n Yes it is Jake! Yes it is! They were \n right there for you. She was right \n there for you! Look at her!"," I'll shoot your dog... All the usual. \n Then he said good luck. \n \n \n \n \n (CONTINUED) \n \n 95. \n CONTINUED: \n A FLAPPING SOUND catches Jake and Lupus's attention. A \n WHITE PIGEON sits on the frame of an open window. \n JAKE \n Aww, shit! \n CUT TO:","it straight at the CAMERA. \n JAKE (cont'd) \n Then someone does... \n BLAM!!! \n CUT TO: \n \n 30. \n \n \n INT. - THE EUGLID BAR- NIGHT \n A flash of Gordo's stunned face before his chest EXPLODES \n IN RED. \n Jake stands holding the smoking gun. Dolby looks around \n in shock. \n JAKE"," After Glenn was finished, he gave me a \n couple of valiums and I went home. The \n next day, I finished my shift and met \n him around back, like we always did. I \n stuck a number eight scalpel into his \n chest. Three or four times. \n Jake slides off Lily. \n JAKE \n Did, uh... Did you kill him? \n LILY \n I don't know. I packed up my shit and","head, sending him to the ground. Jake straddles Lupus \n and raises the phone for the last whack. \n We HEAR A LOUD CLICK. \n Jake stops and the two slowly get up. As they stand, we \n can see that Lupus has the barrel of a small gun in \n Jake's mouth. \n Jake shuts his eyes tight, still holding the phone. Which \n just then, RINGS. \n Jake opens his eyes and looks at the phone. Then to Lupus,"," 4. \n CONTINUED: \n Miles lets out a little chuckle; it's just enough to set \n Jake off again. \n Jake pulls the gun and points it at Miles. \n MILES \n Oh please... \n Miles non-chalantly pulls a sawed off shot gun frown under \n the bar. \n MILES (cont' d) \n You think this kinda shit hasn't happened \n here before? Given it's usually on"," Jesus Christ! Tell me before you do \n something like that! \n Jake lies face down in a puddle, the collected pool of \n water growing red with blood. \n POLICE SIRENS WAIL in the distance, growing closer. \n BUTCH \n You should leave. \n Butch disappears down the dark alley. \n Lily stands for a moment and takes a final look at Jake's \n body. She then turns and runs back into the bar. \n JAKE (V.O.)","SLAM!!!-- Blood splatters across the front page of the \n Metro Section. The paper falls away revealing Jake, wide- \n eyed, the gun hanging from his mouth. \n Lupus lies in a heap at the floor. \n \n 115. \n \n \n CONTINUED: \n Jake lets the gun fall and Looks up to see Butch, standing \n at the door, gun in hand. \n Lily steps out from behind him. \n JAKE (V.O.)"," to him. Right in the middle of his egg- \n foo-young. \n Big Al stares up at them with those bulging, vacant eyes, \n his mouth hanging open. Jake reaches down and grabs the \n remote control and turns the TV off. \n JAKE (V.O.) \n Big Al used to send money to his Father, \n some Vietnam Vet slowly losing his mind \n in a VA hospital in Cleveland. Al was \n like that. That's why Al never played"," happens sometimes. \n In the distance, A POLICE SIREN WAILS, growing louder. \n LIONEL \n Oh Jesus! \n JAKE \n LISTEN to me! We don't have much time. \n We can still get through this but you \n have to keep your head and trust me! \n Jake takes a tentative step forward. Lionel sees a BLOOD \n STAIN on Jake's shirt and recoils."," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," LIONEL \n I can't be here! \n Jake cocks his gun, never taking his stare off Miles. \n JAKE \n Then go. \n Lionel looks at the briefcases of bloodied money. \n LIONEL \n What about... The money? \n JAKE \n What about this situation makes you \n think I can answer that question right \n now? \n Lionel again looks at the briefcases; then the shotgun","CONTINUED: \n Miles hangs up before Jake can answer. \n CUT TO: \n INT.- BIG AL'S- DAY \n Jake stand's with Miles in the sparse living room. Big \n AI's body sits reclining on a Lazy Boy chair, eyes bulging \n open. An open carton of food rests in his lap. A feast \n of take-out Chinese surrounds him. The TV blares an old \n episode of \"The Little Rascals.\"","A DEAD GUY lies face down on the floor in a pool of blood. \n Jake grabs the Dead Guy's legs as Lionel watches in \n disbelief. \n JAKE \n Come on. Grab his arms. \n Lionel stands frozen. Jake, drops the dead guy's legs \n with a THUD. \n JAKE \n Lionel... He's dead. Yeah, maybe you \n didn't pull the trigger, but you were \n standing right there and watched me do","There's a singed, neat bullet hole in his forehead. \n MILES \n I was supposed to meet him for breakfast. \n He likes that new IHOP they just opened, \n you know... He likes to order that thing. \n The Rutti-Tutti-Fresh and Fruity thing \n they got. \n JAKE \n Miles... \n MILES \n Sorry. I'm just... Look what they did","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","who nods. Jake picks up the receiver and speaks, the gun \n still in his mouth. \n JAKE \n Eww-Whoa? \n CUT TO: \n EXT.- JFK AIRPORT/PARKING LOT- SAME \n Miles on a cell phone... \n \n \n \n (CONTINUED) \n \n 114. \n CONTINUED: \n MILES"," So why don't you take a deep breath, \n Jake, and I'll count to ten. One. \n Two. Three... \n As Butch continues to count, Jake slowly turns his head \n and looks at Lily. \n Butch, still counting, smiles at Lily's obvious contempt \n then slides the gun along the back of Jake's head. \n JAKE \n I do trust you, Lily. \n Butch turns back to Lily to see her reaching into her \n bag... \n BUTCH"],[" Wha- \n Butch spins and aims at her. \n Lily pulls out a gun and... BLAM!!! \n CUT TO: \n INT.- JFK AIRPORT/BATHROOM- SAME \n Gordo stirs on the floor of the stall, slowly getting up. \n Pieces of toilet paper are stuck to his face. \n JAKE (V.O.) \n Trust... \n CUT TO: \n INT.- CAR- SAME","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," happens sometimes. \n In the distance, A POLICE SIREN WAILS, growing louder. \n LIONEL \n Oh Jesus! \n JAKE \n LISTEN to me! We don't have much time. \n We can still get through this but you \n have to keep your head and trust me! \n Jake takes a tentative step forward. Lionel sees a BLOOD \n STAIN on Jake's shirt and recoils."," I think so. The airport's going to be \n crawling with police. Traffic will be \n a nightmare. Go down to the bar. If \n they pull it off, great. Have someone \n deal with Ashby. \n BUTCH \n We'll take care of it. \n GILLETTE \n And how much did you say you wanted for \n this... What did you call it? A finder's \n fee?"," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:","and Gordo up front. \n LILY \n (innocently) \n Oops. \n She smiles that smile. \n JAKE (V.O.) \n Redheads... \n Jake gets in and the car pulls away, followed seconds \n later by two Police Cars SCREECHING to a stop in front of \n the Euclid. \n FADE TO BLACK: \n THE END. \n \n"," Just go wherever it is you would go. \n It's over. \n Lily looks around the room. No one seems to be backing \n her up. \n LILY \n What about... \n JAKE \n What about what? \n LILY \n What about the money? \n Jake stops and levels a look at Lily. \n JAKE \n So there it is. You got that big itch \n you need to scratch. It's all about","SLAM!!!-- Blood splatters across the front page of the \n Metro Section. The paper falls away revealing Jake, wide- \n eyed, the gun hanging from his mouth. \n Lupus lies in a heap at the floor. \n \n 115. \n \n \n CONTINUED: \n Jake lets the gun fall and Looks up to see Butch, standing \n at the door, gun in hand. \n Lily steps out from behind him. \n JAKE (V.O.)"," Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It"," to him. Right in the middle of his egg- \n foo-young. \n Big Al stares up at them with those bulging, vacant eyes, \n his mouth hanging open. Jake reaches down and grabs the \n remote control and turns the TV off. \n JAKE (V.O.) \n Big Al used to send money to his Father, \n some Vietnam Vet slowly losing his mind \n in a VA hospital in Cleveland. Al was \n like that. That's why Al never played","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin.","A DEAD GUY lies face down on the floor in a pool of blood. \n Jake grabs the Dead Guy's legs as Lionel watches in \n disbelief. \n JAKE \n Come on. Grab his arms. \n Lionel stands frozen. Jake, drops the dead guy's legs \n with a THUD. \n JAKE \n Lionel... He's dead. Yeah, maybe you \n didn't pull the trigger, but you were \n standing right there and watched me do"," So I'm dead... \n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \n all over the parking lot. \n The King and Harlin are bent over the hood of the car, \n cuffed. \n One Federal Agent pulls the black suitcase out of the \n car. \n JAKE (V . O . ) \n But maybe I can't blame Lily. Maybe I"," 121. \n CONTINUED: \n \n \n Jake emerges from .the back alley, his shirt ripped and \n splattered with fake blood. \n JAKE (V.O.) \n No one's going to ask me: \n A black car comes to a stop n front of him. The tinted \n glass slides down and Jake leans in. \n JAKE \n Drop something? \n Inside we see Moonan and Lily riding in the back, Miles"," Jesus Christ! Tell me before you do \n something like that! \n Jake lies face down in a puddle, the collected pool of \n water growing red with blood. \n POLICE SIRENS WAIL in the distance, growing closer. \n BUTCH \n You should leave. \n Butch disappears down the dark alley. \n Lily stands for a moment and takes a final look at Jake's \n body. She then turns and runs back into the bar. \n JAKE (V.O.)","Rottovich and Sobozinski get in the front of a squad car. \n In the back, Moonan sits reading the Travel section of \n the NY Times. \n MOONAN \n Did he buy it? \n ROTTOVICH \n I think so. What'd he ever do to you \n anyway? \n MOONAN \n Let's just say he burned me once. \n Moonan calmly turns the page of the paper.","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","Harlin picks him up off the toilet and throws him into \n the wall repeatedly before letting him fall face first \n onto the dirty floor. \n CUT TO: \n INT.- JFK AIRPORT/TERMINAL- CONTINUOUS \n Moonan watches the door to the Men's Room as Harlin comes \n out, wheeling the black suitcase behind him. \n MOONAN \n (into mic) \n They pulled a switch. Big guy. Blue"," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY"," the airport... \n CUT TO: \n \n 119. \n \n \n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \n around the King Pin's car. \n JAKE (V.O.) \n Then you give them the \"Blow-off\". You \n get them off your back. Forever."],["They all break out into LAUGHTER. \n JAKE \n So this is our boss, right? He chases \n me and Miles out of his office and \n he's yelling and screaming, \"You're \n fired! Your whole team's fired!\" He \n starts looking for Lily, Lupus, Gordo-- \n MILES \n But the best part was that he couldn't \n find Gordo! He was in the bathroom.","The same flood of people exit the bank... Jake, Lupus, \n Lily, Miles and Gordo wait by the side of the building. \n MILES \n Alice Tanner. Finance Director. \n Miles points out ALICE TANNER, a mousy looking woman in a \n bad skirt. She gets to the intersection and waits for \n the light to change, even as hordes of others jaywalk the \n way New Yorkers do.","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan"," I don't follow. \n An uncomfortable silence falls. \n GORDO \n Jake... \n LILY \n It's alright. Grant's one of the good \n guys. \n She throws Ashby a flirty smile. \n LUPUS \n Yeah. He's our boy. \n Lupus casually punches Ashby in the arm. It's meant to \n be a friendly tap, but it's hard enough to jerk Ashby's","around with a group of friends. \n JAKE (V.O.) \n She got one leg out from under him. \n Now we had to lean. \n \n 73. \n \n \n GORDO \n So then Miles walks straight into the \n Creative Director's office and says \n \"The code's fine, the program's for \n shit\" and throws down like a thousand \n pages of code on the guy's desk!"," suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin."," boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece"," Come on... \n ASHBY \n No. \n More LAUGHS. \n JAKE \n What do you do over at your bank, \n Grant? \n ASHBY \n What do I do? I'm the VP of Finance. \n The group exchanges Looks. \n MILES \n Wow. We haven't met with anyone your \n level yet. VP? So that means there's \n you, then the P."," (re: the Dead Guy) \n Nice. \n DEAD GUY \n What took so fucking long? \n The Dead Guy stirs-- GORDO, late 20's, dressed in a blood \n soaked suit stands up; wiping blood off his face. \n DEAD GUY/GORDO \n I've been lying in this shit like half \n the night. \n MILES \n You guys were late. We had to go to a","Lupus start to head off. \n JAKE \n Lupus! \n Lupus turns and Jake moves closer. \n JAKE (cont'd) \n When this is all over, you're going to \n tell me who the King put on Al. \n LUPUS \n You going to have the time? \n JAKE \n I'11 find the time. \n Lupus nods and heads off. Jake watches them go.","Gordo, Miles, Big A1 and Jake watch the race with \n indifference, surrounded by excited SPECTATORS. \n JAKE (V.O.) \n Turns out this local goon was being \n watched by the Feds, which means we \n were being watched by the Feds. One in \n particular. \n Through the crowd, we catch a glimpse of Moonan, in \n sunglasses, watching the guys. \n JAKE (V.O.)","Jake steps back and raises his arms. \n JAKE \n You the one that did it? You the one \n that got Al? \n HARLIN \n Mr. King prefers to farm out for that \n kind of work. \n (gesturing to the \n door) \n Please, after you. \n Harlin gives the Officers Sobozinski and Rottovich a slight \n nod of acknowledgment. \n CUT TO:"," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES","A dive furnished with a few mismatched chairs and a bar. \n A single overweight PATRON sits at a corner table with \n face buried in his hands as he WHIMPERS. Jake and, Lionel \n Dolby pass him as they emerge from a back hallway. \n MILES, late 20's, wipes blood off the bar. Placed at the \n edge of the bar are two briefcases, both open, both filled \n with neat stacks of blood splattered money.","buried in his pockets, a knapsack slung over his shoulder. \n As he gets closer, we see that he's just a KID of about \n ten or eleven. \n Rottovich reaches over and pulls off the Kid's hood. \n SOBOZINSKI \n You know who we are? \n KID \n The heat. \n \n (CONTINUED) \n \n 26. \n CONTINUED:"," you, I'm still running the show. That \n means I get a little respect. So I \n don't want to hear anymore of this \n Scooter, Buddy, Junior, Skippy, Tiger, \n bullshit. It's Jake. \n (beat) \n \n \n \n (CONTINUED) \n \n 49. \n CONTINUED: \n JAKE \n And I gotta tell you, for a guy who","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","Lupus sits quietly, taking it all in. \n GORDO \n So that's it... \n JAKE \n That's it. \n \n \n (CONTINUED) \n \n 92. \n CONTINUED: \n LUPUS \n King ain't gonna like this. \n JAKE \n Don't worry, I'll settle up with your","The second middle aged cop, OFFICER RICHARD ROTTOVICH \n comes calmly down the stairs behind Sobozinski. \n ROTTOVICH \n We're clear. \n Rottovich closes the door and locks it behind him. \n SOBOZINSKI \n (still yelling) \n Or I'll blow off every one of your \n fucking heads! \n Sobozinski lets out a bellowing LAUGH."],[" MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES","Gordo is escorted into the room by a BANK OFFICIAL. \n BANK OFFICIAL \n We'll let you have a moment. \n On a small table are neat piles of bundled money, shrink \n wrapped in plastic. Gordo seems in awe. \n JAKE (V.O.) \n We called them Green Twinkies. \n The Bank Official and Security Guard exit. Gordo holds \n up a Green Twinkie up to his nose and takes a deep breath."," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY"," had an invoice number-- \n Jake's smile dissolves as he grows a little anxious. \n JAKE \n I told you. My wallet was stolen. \n Please... Check again. \n Jake takes a nervous look over at Lily, who is drying on \n earrings with another Salesperson. \n MR. LEWIS \n Good luck. Congratulations again. \n He and Jake shake hands. \n JAKE \n Thank you, sir. You know, I hope this","As Gillette and his crew disappear into the car, we PAN \n up to see the front of the building which has a large \n sign reading, \"City Bank of Manhattan; A Gillette Family \n Company.\" \n CUT TO: \n INT.- THE EUCLID-- RESUMING \n Jake looks over the crew, who are less than convinced. \n GORDO \n How much we going after? \n JAKE \n Two million. \n Miles lets out a whistle. \n \n","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY"," much like that idea. Then again, let's \n suppose he actually gets through \n Customs. Now, that'll be something. \n We recover the money in cash and let \n the insurance cover the corporate fraud. \n We double our money. \n \n \n (CONTINUED) \n \n 110. \n CONTINUED: \n BUTCH \n So we go to the bar. \n GILLETTE"," We have work. It pays a lot. Unless \n you figure on getting rich lifting \n wallets while old guys feel you up. \n LILY \n Oooh. Sassy. What do you care who \n feels me up, Jake? Unless it kinda \n gotcha going. Did it, Jake? Getcha \n going? \n Lily saunters to Jake with a seductive grin. \n Jake may be aware that he's stopped breathing.","Ashby leafs through the money in the envelope. \n ASHBY \n Let's just slow down for a second... \n JAKE \n You're worried about recouping the loan. \n I already told you. \n ASHBY \n No, I understand that. What I mean... \n What I'm trying to say... I was \n actually wondering about... \n Well, my cut.","A dive furnished with a few mismatched chairs and a bar. \n A single overweight PATRON sits at a corner table with \n face buried in his hands as he WHIMPERS. Jake and, Lionel \n Dolby pass him as they emerge from a back hallway. \n MILES, late 20's, wipes blood off the bar. Placed at the \n edge of the bar are two briefcases, both open, both filled \n with neat stacks of blood splattered money."," Just go wherever it is you would go. \n It's over. \n Lily looks around the room. No one seems to be backing \n her up. \n LILY \n What about... \n JAKE \n What about what? \n LILY \n What about the money? \n Jake stops and levels a look at Lily. \n JAKE \n So there it is. You got that big itch \n you need to scratch. It's all about"," boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece"," He'll find us. We go talk to him. \n GORDO \n Whoa. What? \n MILES \n We're going to give him the money back? \n JAKE \n You know what we're doing with the money. \n GORDO \n And what about Big Al? \n JAKE \n Leave him. Someone's going to find him \n eventually. Then they'll start looking \n for us, too."," our office. Our Power Point. \n Gordo and Miles start unloading the same neat stacks of \n money from their pockets. It's not as much as Jake put \n in. \n JAKE \n That's it? \n \n \n MILES/GORDO \n Bills.../Had that thing... \n Shaking his head, Jake seals the Fed--Ex box, then hands \n the form to Miles and. Picks up the phone."," suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the"," (CONTINUED) \n \n 31. \n CONTINUED: \n Dolby eyes the briefcases of money. \n DOLBY \n What about... The money? \n JAKE \n (turns back to CAMERA) \n Then there it is again... That little \n itch. There's a guy holding a smoking \n gun, a guy bleeding all over the floor \n and still, all you can think about is"," the fucking money. What do you want, \n an apology? \n LILY \n No, I want my cut! \n JAKE \n I'm going to say this one last time for \n You, so take a deep breath and count to \n ten. There is no cut. \n Lily levels a look of utter contempt at Jake. \n LILY \n You're an asshole. \n With that, she grabs her coat and leaves."," the money. You twisted fuck. So we \n gotta give you the \"Blow-off\". We make \n sure that you never, ever want to look \n for us again. We get you off our backs. \n Forever. \n Jake stops for a second and listens... He points over his \n shoulder and on cue A POLICE SIREN WAILS in the distance. \n JAKE \n And that's why you need the \"Fix\"... \n Dolby bolts for the door without the money.","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"],["in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money.","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one."," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again.","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," KING PIN \n Let me repeat-- Why not? \n JAKE \n Because you killed one of my crew. \n KING PIN \n Buddy, that was business. Besides, you \n have more crew. Then there's you... \n JAKE \n I'll get the money back, plus interest. \n I go on the grift for you. You get a \n cat, I get a cut. And we get square. \n KING PIN"," KING PIN \n Grifters... Always working an angle. \n Alright. I can see you got some vision. \n But I give you the Mark. I tell you \n the who and you give me the how. Lupus \n go with him. \n Lupus snaps to attention. \n LUPUS \n What? \n KING PIN \n Consider him part of your crew. \n Consider him a part of me."," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A","The others exchange greetings with Suits who moves over \n to Lupus and studies his loud sweatsuit. \n JAKE (V.O.) \n Back in the day, Suits made money \n running fight stores and the wire with \n a Fix so tight it was like a legit \n business. I never understood what the \n point was if grifting became like a \n regular job. \n JAKE \n We need wardrobe."," We have work. It pays a lot. Unless \n you figure on getting rich lifting \n wallets while old guys feel you up. \n LILY \n Oooh. Sassy. What do you care who \n feels me up, Jake? Unless it kinda \n gotcha going. Did it, Jake? Getcha \n going? \n Lily saunters to Jake with a seductive grin. \n Jake may be aware that he's stopped breathing.","As Gillette and his crew disappear into the car, we PAN \n up to see the front of the building which has a large \n sign reading, \"City Bank of Manhattan; A Gillette Family \n Company.\" \n CUT TO: \n INT.- THE EUCLID-- RESUMING \n Jake looks over the crew, who are less than convinced. \n GORDO \n How much we going after? \n JAKE \n Two million. \n Miles lets out a whistle. \n \n"," Literally. It's not a bad deal, \n gentleman. I get peace of mind. You \n get Detective Sheilds. But this is the \n best part, Walter... Walter, your \n daughter will get to keep her braces \n and have that winning smile. Capice? \n Rottovich and Sobozinski remain silent. \n MOONAN \n Good. One more thing... You gotta give \n up the booty. I can't have you guys"," Because that's who the King Fin wants \n us to fleece. And Gillette's perfect... \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \n A circle of BUSINESS MEN sitting at a conference table. \n JAKE (V.O.) \n His grandfather used to run liquor \n during prohibition and his father made \n a bundle in illegal importing and \n exporting. That makes him a third"," You guy's are not working with me here. \n I just got off the phone with my boss. \n After he got done ripping me a new \n Lincoln Tunnel size asshole, he let me \n know exactly how little I'm welcome \n back if we come up short. And now here \n you guys are, WASTING MY FUCKING TIME! \n Moonan kicks a chair across the floor. \n ROTTOVICH \n Like we told you before, we think he's"," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY"," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin.","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH","EXT. - CITY BANK OF NEW YORK DAY \n A flood of people exit the bank at the end of the day. \n Jake, Lupus, Lily, Miles and Gordo wait by the side of \n the building. Miles reads off a piece of paper. \n JAKE (V.O.) \n What you're looking for in a mark is \n someone who's weakness you can exploit. \n MILES \n Michelle Strigo. Loan officer.","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"],["They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money.","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH"," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again."," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," Have a little faith in him, honey. \n Butch, see if you can get him to tell \n you how he did it. Or almost did it. \n Sounds like a good story. \n BUTCH \n I' ll ask. \n Gillette picks up an APPLE from a bowl in his desk... The \n oldest con. \n GILLETTE \n Apple? \n CUT TO: \n \n 111. \n \n"," LUPUS \n I'm the King's eyes and ears. Just in \n case you decide to get cute. \n MILES \n So we gotta short con our way out of a \n hundred and fifty grand? That could \n only take like, a year. \n JAKE \n No. Big con. One rag. One rag and we \n get out from under all this. But we \n need another Shill. \n MILES"," (turns 'to face CAMERA) \n Frankie Suits always said, that what \n you have to understand about any \n confidence game, is that it's like \n putting on a play where everyone knows \n their part... The Roper, the \n Insideman, the Shills... Everyone \n except for the Mark. \n Gordo lying in a pool of blood... \n GORDO \n (while playing dead) \n I've been shot. Oh. The humanity."," just should have just trusted her to \n play her part. Because playing the big \n con is like putting on a play. A play \n where everyone knows their part except \n for the Mark... \n CUT TO: \n (FLASHBACK) INT.- DINER \n Jake sits with Lily, Miles and Gordo crammed into a \n booth. \n \n \n \n \n (CONTINUED) \n \n 118."," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","EXT. - CITY BANK OF NEW YORK DAY \n A flood of people exit the bank at the end of the day. \n Jake, Lupus, Lily, Miles and Gordo wait by the side of \n the building. Miles reads off a piece of paper. \n JAKE (V.O.) \n What you're looking for in a mark is \n someone who's weakness you can exploit. \n MILES \n Michelle Strigo. Loan officer.","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","Miles points out a woman crisply dressed in a suit, \n MICHELLE STRIGO. They follow her down the street. \n JAKE (V.O.) \n Guy like me, with people like that... \n I'll tell you what you're looking for \n without even meeting you. It's like a \n personal ad you wear over your head. \n Jake watches as she hails a cab. A MAN, also hailing a \n cab goes for the same one. Michelle gets into a screaming"," Haven't you ever had someone say they \n had a good feeling about you before? \n Lily studies Jake's face for any hint of sarcasm. None. \n LILY \n No. \n (beat) \n What's my cut? \n JAKE \n You get an equal cut. \n LILY \n What do I have to do? \n JAKE \n Just play a part. A little acting.","black revolver with bullets. \n JAKE \n Doesn't matter what the con is. \n Insider trading, a line we got on a \n bookie club, insurance scam, \n whatever... You saw the money and you \n want it. More of it. Who cares if you \n have to bend the rules a little? As \n long as no one gets hurt. \n Jake spins the gun cylinder then SLAPS it closed, pointing"," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He"," your wife and daughter at the same time. \n It's too late for you... \n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \n the nervous mark from the earlier con. \n JAKE (V.O.) \n I have your confidence. \n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \n Jake smiles back. He puts his drink down, then takes the"," Because that's who the King Fin wants \n us to fleece. And Gillette's perfect... \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \n A circle of BUSINESS MEN sitting at a conference table. \n JAKE (V.O.) \n His grandfather used to run liquor \n during prohibition and his father made \n a bundle in illegal importing and \n exporting. That makes him a third"," JAKE (V.O.) \n Same thing with playing a con. You \n have to be able to see that deep. \n ASHBY \n Jake? Right. Uh-huh... Uh-huh... Yeah, \n it's going through-- \n INSERT SHOT- ECU of Ashby's finger on the \"Enter\" key. \n ASHBY (coat' d) \n Now. \n Ashby hangs up and checks over his shoulder."],[" suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan","Lily rumages in the closet and a baseball bat. She hefts \n the bat and takes a stance in front of the door. \n More KNOCKING. \n LILY \n HOLD ON! \n Another KNOCK. Lily slowly reaches for the doorknob. \n Then the door flies open with a CRASH. Harlin fills the \n doorway. \n HARLIN \n The King would like to have a word \n with you."," and start rubbing me down or anything, \n are you? \n The King smiles and begins to take off his shirt. Harlin \n and Lupus share an uncomfortable glance. \n The King strips down to the waist and reveals an incredibly \n large, incredibly round stomach which he SLAPS loudly. \n KING PIN \n Come here. Feel this. \n JAKE \n No thanks. I'm good. \n KING PIN \n Come here!"," boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece","Lupus start to head off. \n JAKE \n Lupus! \n Lupus turns and Jake moves closer. \n JAKE (cont'd) \n When this is all over, you're going to \n tell me who the King put on Al. \n LUPUS \n You going to have the time? \n JAKE \n I'11 find the time. \n Lupus nods and heads off. Jake watches them go.","The King grabs Jake's hand and puts it on his stomach. \n It just got weirder. \n Now the whole gym has stopped, everyone focused on Jake \n and the King Pin. \n \n (CONTINUED) \n \n 50. \n CONTINUED: \n LILY \n You guys are freaking me out. \n KING PIN \n Shut up. Feel that? That's solid"," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES","black suit. Behind him is LUPUS (late-20's), dressed in \n a sweatsuit a pilot could spot from 20,000ft. \n LUPUS \n Mr. Dolby. King would like a word with \n you. \n LIONEL \n R-r-right now? \n LUPUS \n Please. We have a car waiting. I \n apologize for the door. \n CUT T0:","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good.","robe is THE KING PIN. His large body is less fat than \n just big, constructed of circles and topped off with the \n baldest head you've ever seen. \n A MANICURIST sits next to the King Pin working on his \n nails. \n \n \n \n (CONTINUED) \n \n 20. \n CONTINUED: \n KING PIN \n Ow! Watch the pinkie!","Lily's hand moves down Jake's arm until it finds his hand. \n LILY \n You have really soft hands. Like a \n baby's. \n JAKE \n (remembering the King) \n Don't ruin this for me. \n They roll off the bed onto the floor, a naked tangle of \n arms and legs, their hands still entwined. \n CUT TO: \n EXT. - BACK ALLEY NIGHT (PRESENT)","A police car comes to a stop in front. Rottovich and \n Sobozinski in the front seats. Jake gets out of the back. \n SOBOZINSKI \n The King, huh? Nice going. \n JAKE \n I try. \n ROTTOVICH \n Don't dick around too long. And if he \n stabs you or shoots you or causes any \n other form of profuse bleeding, call a \n cab because you are not getting back in"," muscle. Not an ounce of fat. Go ahead. \n Punch it. \n JAKE \n I am not going-- \n The King starts to get that look again. \n Jake winds up and punches the King in the stomach. He \n shakes his fist in pain. \n KING PIN \n Come on. Harder. \n JAKE \n I think I just broke my hand. \n KING PIN","Lupus sits quietly, taking it all in. \n GORDO \n So that's it... \n JAKE \n That's it. \n \n \n (CONTINUED) \n \n 92. \n CONTINUED: \n LUPUS \n King ain't gonna like this. \n JAKE \n Don't worry, I'll settle up with your"," chicken delivered to the King with a \n nice kiss my ass card attached to it. \n Then we woulda moved on `til the next \n local putz caught on. \n JAKE \n We're getting a little old for \n running. \n MILES \n Yeah, well we're still a little young \n for Albany State Prison. Are you pissed \n about Al? I'm pissed too, but I' m not","Lupus watches quietly, taking it all in... \n CUT TO: \n (FLASHBACK) INT.- THE EUCLID/BATHROOM \n Lupus on the cellphone to the King... \n JAKE (V.O.) \n And like in a game of chess, you've \n played every possible move in your \n head... \n LUPUS \n You were right. He's trying to fuck \n you. You want it, you gotta get it at"," Do you think we can do it? \n Jake resumes kissing Lily's neck, trying to rekindle some \n of last night's magic. \n JAKE \n Maybe. Even if we don't, you'll be \n alright. You're not in the hole with \n the King. \n Lily rolls away from Jake. Undaunted, Jake starts kissing \n her back. \n LILY \n Who says you have to know the King to"," Harder. Remember, I killed your buddy. \n Jake's demeanor changes as he winds up and hits the King \n as hard as he can. The King just smiles. \n KING PIN (cont'd) \n All muscle. \n The King then hits Jake back in the gut with surprising \n speed. Jake falls to his knees, but the King's right \n there. With one arm he pulls Jake up and starts to pummel \n him in the stomach with an unbridled visciousness."," LUPUS \n I'm the King's eyes and ears. Just in \n case you decide to get cute. \n MILES \n So we gotta short con our way out of a \n hundred and fifty grand? That could \n only take like, a year. \n JAKE \n No. Big con. One rag. One rag and we \n get out from under all this. But we \n need another Shill. \n MILES"],["CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed"," Then I gotta say, in my opinion, you \n can't get what you want. \n Jake considers those words for a moment. \n JAKE \n Yes I can. \n Suits guages the seriousness in Jake's face and nods. \n The he gently rests his hands on the papers. \n \n \n \n (CONTINUED) \n \n 57. \n CONTINUED: \n SUITS \n Still time."," your wife and daughter at the same time. \n It's too late for you... \n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \n the nervous mark from the earlier con. \n JAKE (V.O.) \n I have your confidence. \n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \n Jake smiles back. He puts his drink down, then takes the"," BULLSHIT! You were scared, Jake! You - \n Lost your nerve! You lost your \n confidence! You weren't being noble. \n You weren't trying to save anybody but \n yourself! Admit it. \n JAKE \n It's not true. \n BUTCH \n Yes it is Jake! Yes it is! They were \n right there for you. She was right \n there for you! Look at her!","A change comes over Jake. It's subtle-- Posture, facial \n expressions, a slight tug of an accent-- but it's there. \n JAKE \n Mr. Lewis? \n Mr. Lewis turns and looks at Jake. There's no real hint \n of recognition, but Jake's smiling up at him like an old \n friend. \n JAKE \n It is you. Hello! \n Jake extends his hand. \n MR. LEWIS \n Sorry, I--","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one."," JAKE (V.O.) \n Then we disappear. \n As he walks away, WE SEE some PEOPLE MATERIALIZE carrying \n luggage... Then a FEW CARS... Then an AIRLINE REP... \n Gradually more and more people and cars, each MATERIALIZING \n into a normal scene at the airport until we lose Jake in \n the crowd. \n CUT TO: \n INT.- THE EUCLID- RESUMING"," guy was, but he was so pissed off at \n him, he gets him drilled. It ain't \n personal. It's business. \n JAKE \n Point, Lupus. Give us a point. \n LUPUS \n Point is, you don't go through with \n this, he's going to go after you next. \n And he don't even like you, Jake. \n Lupus stares blankly at Jake."," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," JAKE (V.O.) \n Same thing with playing a con. You \n have to be able to see that deep. \n ASHBY \n Jake? Right. Uh-huh... Uh-huh... Yeah, \n it's going through-- \n INSERT SHOT- ECU of Ashby's finger on the \"Enter\" key. \n ASHBY (coat' d) \n Now. \n Ashby hangs up and checks over his shoulder.","Jake sits with Miles and Lupus at a table in the otherwise \n empty bar. \n MILES \n He should be landing in the Caymens \n about now. The Custom's guy is ready \n right? \n Jake stares off into space, absentmindedly flipping a \n penny in his hand. \n JAKE \n Feeling lucky today, Miles. Found a \n penny-- Heads up. There was an empty \n cab right outside my building. We hit"," 121. \n CONTINUED: \n \n \n Jake emerges from .the back alley, his shirt ripped and \n splattered with fake blood. \n JAKE (V.O.) \n No one's going to ask me: \n A black car comes to a stop n front of him. The tinted \n glass slides down and Jake leans in. \n JAKE \n Drop something? \n Inside we see Moonan and Lily riding in the back, Miles","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:","black revolver with bullets. \n JAKE \n Doesn't matter what the con is. \n Insider trading, a line we got on a \n bookie club, insurance scam, \n whatever... You saw the money and you \n want it. More of it. Who cares if you \n have to bend the rules a little? As \n long as no one gets hurt. \n Jake spins the gun cylinder then SLAPS it closed, pointing"," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He"," I gotta tell you, I was pretty \n convinced that the whole thing before \n was blowing her off for her cut. You \n know how it is, get her to do some \n shit for you, throw her a bang to keep \n her happy. But, if you're into her... \n That's cool. \n JAKE \n That's what I like about you, Lupus. \n You're a free thinker. Don't let the \n King tell you different."],["ANGLE ON the teller window-- A check is pushed to Gordo. \n JAKE (V.O.) \n ...They stick. \n Gordo shakes the Loan Officer's hand and calmly walks \n towards the door. \n CUT TO: \n EXT.- LAYMEN ISLANDS/STREET DAY \n Gordo walks across the street with the suitcase and pulls \n a cell phone from his pocket. \n GORDO \n First and ten."," (CONTINUED) \n \n 101. \n CONTINUED: \n Gordo hangs up without another word. He approaches a \n building with the words \"BANK OF THE CAYMENS\" engraved \n over the brass handled doors. \n CUT TO: \n INT.- BANK OF THE CAYMENS- DAY \n Gordo approaches the teller window with the check in hand. \n JAKE (V.O.)"," CUT TO: \n EXT.- CAYMEN ISLANDS/STREET- DAY \n The Security Guard holds open the door as Gordo exits, \n suitcase in tow. Gordo takes his cell phone out as he \n moves across the street. \n GORDO \n We got Twinkies. \n Gordo pockets the phone and disappears into the crowd. \n CUT TO: \n INT.-- THE EUCLID- SAME"," Gordo was making the withdrawal from \n the Grand Laymen's Bank. \n Gordo stands in front of a Teller. She reads off a paper \n then does a double take at Gordo, who smiles back. \n JAKE (V. O. ) \n They check the papers... \n Gordo slides a folder of corporate papers along with his \n photo ID towards the Teller. \n We follow the teller as she hands the papers to the \n OFFICIOUS LOAN OFFICER.","he gets up, wheeling a nondescript BLACK SUITCASE. \n Across the street sits the Grand Caymen's Bank in all \n it's pastel and brass glory. \n CUT TO: \n INT.-- GRAND LAYMEN'S BANK- DAY \n Gordo moves across the lobby of the bank to the back of a \n line at the Teller windows wheeling the black suitcase. \n JAKE (V.O.)","Gordo is escorted into the room by a BANK OFFICIAL. \n BANK OFFICIAL \n We'll let you have a moment. \n On a small table are neat piles of bundled money, shrink \n wrapped in plastic. Gordo seems in awe. \n JAKE (V.O.) \n We called them Green Twinkies. \n The Bank Official and Security Guard exit. Gordo holds \n up a Green Twinkie up to his nose and takes a deep breath.","Gordo lays the suitcase on the desk: The Customs Officer \n looks nervously in both directions before waving Gordo \n through. \n Moonan follows at a safe distance as Gordo clears \n Customs. \n CUT TO: \n INT.- CAR- SAME \n Rottovich and Sobozinski check their guns. \n MOONAN (O.S.) \n He's headed towards the eastern most \n exit. Do not, under any circumstances"," Then he had to bang it out across the \n street at the Bank of the Caymens... \n GORDO \n I'd like this cashed, please. \n ANOTHER TELLER looks at the check then back up at Gordo. \n GORDO (cont'd ) \n I also need to deduct a certain amount \n and deposit it into this account number. \n Gordo takes another piece of paper and slides it to the \n Teller.","An envelope stuffed with cash MATERIALIZES on the desk \n next to Ashby. \n CUT TO: \n EXT . -- CAYMEN ISLANDS--DAY \n Crystal clear water gently rolls onto a white beach. \n JAKE (V.O.) \n Our guy gets us approved for the start \n up capital. But, the money can't be \n transferred to any one person. On the \n given day, the money's wired into a"," our office. Our Power Point. \n Gordo and Miles start unloading the same neat stacks of \n money from their pockets. It's not as much as Jake put \n in. \n JAKE \n That's it? \n \n \n MILES/GORDO \n Bills.../Had that thing... \n Shaking his head, Jake seals the Fed--Ex box, then hands \n the form to Miles and. Picks up the phone."," more of a liability than a commodity. \n Especially to us. \n \n \n \n \n (CONTINUED) \n \n 100. \n CONTINUED: \n JAKE \n (into phone) \n Go. \n CUT TO: \n EXT.- CAYMEN ISLANDS/CAFE- SAME \n Gordo listens into a cell phone: Without saying a word,"," He'll find us. We go talk to him. \n GORDO \n Whoa. What? \n MILES \n We're going to give him the money back? \n JAKE \n You know what we're doing with the money. \n GORDO \n And what about Big Al? \n JAKE \n Leave him. Someone's going to find him \n eventually. Then they'll start looking \n for us, too.","hands the envelope back to Gordo. \n JAKE (V.O. ) \n That`s when I put you on the \"Send.\" \n You put in -a little, you got a little. \n Put in a lot... I \"send\" you out for \n mare. As much as you can get. \n CUT TO: \n INT. - JAKE'S APARTMENT- NIGHT \n Jake stands TALKING DIRECTLY TO CAMERA, loading a big,"," of money. You get it? It's over. We \n walk. \n GORDO \n Jake-- \n JAKE \n What do I always tell you guys? Don't \n spend it all. Sooner or later we're \n going to run into some bad luck. Save \n some. Put it away, so when shit like \n this happens, you're not desperate. \n That's it. The gig's up. \n LILY"," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He","INT.- AIRPORT/TERMINAL HALLWAY- NIGHT \n We follow Gordo as he wheels the black suitcase down the \n long corridor towards the Customs Desk. \n Moonan spots Gordo and speaks into his wrist. \n MOONAN \n I got him. \n ANGLE ON THE CUSTOMS DESK \n A few TRAVELERS quickly move past the desk. Gordo \n approaches a CUSTOMS OFFICER."," 14. \n CONTINUED: \n GORDO \n It gets worse. Now I know why he was \n such a good rope. X mean, cash.... \n That much and we never had to put him \n on the \"Send?\" Turns out this ducking \n Moe was an accountant for the King Pin. \n Gordo throws Jake a hard look, letting the news sink in. \n Jake can only slump back into the booth."," (CONTINUED) \n \n 15. \n CONTINUED: \n GORDO (cont'd) \n Does he tell him that he cashed in a \n fucking Bar Mitzvah bond? Does he tell \n him he's been giving head out back for \n twenty bucks a pop? No... He starts \n going on about this job he just pulled \n and how he fleeced some Wall Street","CONTINUED: \n Lupus nods, satisfied. \n CUT TO: \n (FLASHBACK) INT.- CUSTOMS DESK \n Gordo hoists the suitcase onto the desk. The Customs \n Officer looks around nervously. We see he's looking at \n Moonan in the B.G., who gives him a nod. \n JAKE (V.O.) \n Like Suits said, sooner or later \n someone's going to start asking the","Moonan sits a safe distance away from an area marked \n \"Customs\". Behind a large table, a few CUSTOMS OFFICERS \n in white shirts mill around. \n Moonan speaks into a mic hidden in his sleeve. \n MOONAN \n Stay sharp. \n Moonan keeps his eyes on the Customs desk. \n CUT TO: \n INT . - JET- NIGHT \n Gordo sits squashed in the window seat, next to a VERY \n HEAVYSET COUPLE."],["head, sending him to the ground. Jake straddles Lupus \n and raises the phone for the last whack. \n We HEAR A LOUD CLICK. \n Jake stops and the two slowly get up. As they stand, we \n can see that Lupus has the barrel of a small gun in \n Jake's mouth. \n Jake shuts his eyes tight, still holding the phone. Which \n just then, RINGS. \n Jake opens his eyes and looks at the phone. Then to Lupus,"," I'll shoot your dog... All the usual. \n Then he said good luck. \n \n \n \n \n (CONTINUED) \n \n 95. \n CONTINUED: \n A FLAPPING SOUND catches Jake and Lupus's attention. A \n WHITE PIGEON sits on the frame of an open window. \n JAKE \n Aww, shit! \n CUT TO:","Lupus sits quietly, taking it all in. \n GORDO \n So that's it... \n JAKE \n That's it. \n \n \n (CONTINUED) \n \n 92. \n CONTINUED: \n LUPUS \n King ain't gonna like this. \n JAKE \n Don't worry, I'll settle up with your","Lupus watches quietly, taking it all in... \n CUT TO: \n (FLASHBACK) INT.- THE EUCLID/BATHROOM \n Lupus on the cellphone to the King... \n JAKE (V.O.) \n And like in a game of chess, you've \n played every possible move in your \n head... \n LUPUS \n You were right. He's trying to fuck \n you. You want it, you gotta get it at","Lupus start to head off. \n JAKE \n Lupus! \n Lupus turns and Jake moves closer. \n JAKE (cont'd) \n When this is all over, you're going to \n tell me who the King put on Al. \n LUPUS \n You going to have the time? \n JAKE \n I'11 find the time. \n Lupus nods and heads off. Jake watches them go.","Jake seems to be reeling with the information. \n JAKE \n Egg Foo Young. \n (standing) \n Stand up. \n LUPUS \n What? \n JAKE \n Stand up. \n LUPUS \n (laughing) \n No offense, but I've seen you fight. \n You gotta be kidding m- \n Jake's sends a fist flying right into Lupus' mouth, \n knocking him over.","SLAM!!!-- Blood splatters across the front page of the \n Metro Section. The paper falls away revealing Jake, wide- \n eyed, the gun hanging from his mouth. \n Lupus lies in a heap at the floor. \n \n 115. \n \n \n CONTINUED: \n Jake lets the gun fall and Looks up to see Butch, standing \n at the door, gun in hand. \n Lily steps out from behind him. \n JAKE (V.O.)"," suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the","A LOUD THUMPING NOISE... Jake has Lupus by the hair as he \n rams his head repeatedly into the bar. Jake then gets \n him into a headlock. \n Lupus snaps his head back and butts Jake in the nose, \n sending him staggering back. \n CUT TO: \n \n \n (CONTINUED) \n \n 113. \n CONTINUED:"," guy was, but he was so pissed off at \n him, he gets him drilled. It ain't \n personal. It's business. \n JAKE \n Point, Lupus. Give us a point. \n LUPUS \n Point is, you don't go through with \n this, he's going to go after you next. \n And he don't even like you, Jake. \n Lupus stares blankly at Jake."," HE GOT CAUGHT! Your boss tried to pull \n a switch and he got us all fucking \n pinched! \n Lupus picks up the phone and dials another number... No \n answer. \n LUPUS \n Shit. \n Lupus cocks the gun and crams it back into Jake's mouth. \n JAKE \n Aaaaiiit!!! Ooopusss!! \n Lupus takes a newspaper off the bar and covers Jake's \n face with it.","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan","black suit. Behind him is LUPUS (late-20's), dressed in \n a sweatsuit a pilot could spot from 20,000ft. \n LUPUS \n Mr. Dolby. King would like a word with \n you. \n LIONEL \n R-r-right now? \n LUPUS \n Please. We have a car waiting. I \n apologize for the door. \n CUT T0:"," CUT TO: \n INT. - THE EUCLID BAR- SAME \n Jake drops the phone and looks at Lupus. \n LUPUS \n What happened? \n JAKE \n (w/ the gun still in \n his mouth) \n Eee Oott Auught! \n LUPUS \n (pulling the gun out) \n Sorry. What? \n JAKE","lurch forward-- \n SOBOZINSKI \n (pulling his gun) \n Back up. \n LUPUS \n You want I should hold him down? \n \n \n \n (CONTINUED) \n \n 86. \n CONTINUED: \n Gordo throws Lupus a look. \n ROTTOVICH \n Special Agent Gunther Moonan. Ring a \n bell?"," I gotta tell you, I was pretty \n convinced that the whole thing before \n was blowing her off for her cut. You \n know how it is, get her to do some \n shit for you, throw her a bang to keep \n her happy. But, if you're into her... \n That's cool. \n JAKE \n That's what I like about you, Lupus. \n You're a free thinker. Don't let the \n King tell you different.","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:","Lupus nods, satisfied. \n GORDO \n Moonan. Here. Shit... \n LILY \n So what? We just stay clear of him. \n Jake gets up, hard enough to knock the chair over. \n LILY \n Jesus... Take it easy. \n \n \n \n \n (CONTINUED) \n \n 90. \n CONTINUED: \n JAKE","Jake hangs up... \n JAKE \n He's wheeling around two million dollars \n in cash and he wants to stop to use the \n bathroom. You believe this? \n LUPUS \n Maybe he's got it right. Maybe we're \n all just looking for a safe place to \n shit. \n JAKE \n That was fucking deep. \n Lupus gets up and heads for the bathroom again. \n CUT TO:"," Y-y-you fucking shot him! That's what \n happened! \n JAKE \n I had to! That motherfucker was about \n to welch! You saw what he was doing, \n right? You heard him! \n Lionel starts shaking his head spastically. \n LIONEL \n I can't be here! You understand? I \n can' t-- \n JAKE \n Listen to me! It went to shit. It"],["CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," just should have just trusted her to \n play her part. Because playing the big \n con is like putting on a play. A play \n where everyone knows their part except \n for the Mark... \n CUT TO: \n (FLASHBACK) INT.- DINER \n Jake sits with Lily, Miles and Gordo crammed into a \n booth. \n \n \n \n \n (CONTINUED) \n \n 118.","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," (turns 'to face CAMERA) \n Frankie Suits always said, that what \n you have to understand about any \n confidence game, is that it's like \n putting on a play where everyone knows \n their part... The Roper, the \n Insideman, the Shills... Everyone \n except for the Mark. \n Gordo lying in a pool of blood... \n GORDO \n (while playing dead) \n I've been shot. Oh. The humanity."," Have a little faith in him, honey. \n Butch, see if you can get him to tell \n you how he did it. Or almost did it. \n Sounds like a good story. \n BUTCH \n I' ll ask. \n Gillette picks up an APPLE from a bowl in his desk... The \n oldest con. \n GILLETTE \n Apple? \n CUT TO: \n \n 111. \n \n"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to"," your wife and daughter at the same time. \n It's too late for you... \n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \n the nervous mark from the earlier con. \n JAKE (V.O.) \n I have your confidence. \n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \n Jake smiles back. He puts his drink down, then takes the"," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," Literally. It's not a bad deal, \n gentleman. I get peace of mind. You \n get Detective Sheilds. But this is the \n best part, Walter... Walter, your \n daughter will get to keep her braces \n and have that winning smile. Capice? \n Rottovich and Sobozinski remain silent. \n MOONAN \n Good. One more thing... You gotta give \n up the booty. I can't have you guys"," LUPUS \n I'm the King's eyes and ears. Just in \n case you decide to get cute. \n MILES \n So we gotta short con our way out of a \n hundred and fifty grand? That could \n only take like, a year. \n JAKE \n No. Big con. One rag. One rag and we \n get out from under all this. But we \n need another Shill. \n MILES"," 121. \n CONTINUED: \n \n \n Jake emerges from .the back alley, his shirt ripped and \n splattered with fake blood. \n JAKE (V.O.) \n No one's going to ask me: \n A black car comes to a stop n front of him. The tinted \n glass slides down and Jake leans in. \n JAKE \n Drop something? \n Inside we see Moonan and Lily riding in the back, Miles","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin."," HE GOT CAUGHT! Your boss tried to pull \n a switch and he got us all fucking \n pinched! \n Lupus picks up the phone and dials another number... No \n answer. \n LUPUS \n Shit. \n Lupus cocks the gun and crams it back into Jake's mouth. \n JAKE \n Aaaaiiit!!! Ooopusss!! \n Lupus takes a newspaper off the bar and covers Jake's \n face with it.","CONTINUED: \n Lupus nods, satisfied. \n CUT TO: \n (FLASHBACK) INT.- CUSTOMS DESK \n Gordo hoists the suitcase onto the desk. The Customs \n Officer looks around nervously. We see he's looking at \n Moonan in the B.G., who gives him a nod. \n JAKE (V.O.) \n Like Suits said, sooner or later \n someone's going to start asking the"," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed"," If we find out you're keeping us out, I \n may suddenly develope a conscious and \n give you up to Moonan myself. Say \n something stupid if we got a deal, \n Jake. \n JAKE \n (gasping for breath) \n Something stupid. \n ROTTOVICH \n Good boy. \n SOBOZINSKI \n And don't leave town! \n (to Rottovich)"," much like that idea. Then again, let's \n suppose he actually gets through \n Customs. Now, that'll be something. \n We recover the money in cash and let \n the insurance cover the corporate fraud. \n We double our money. \n \n \n (CONTINUED) \n \n 110. \n CONTINUED: \n BUTCH \n So we go to the bar. \n GILLETTE","Gordo, Miles, Big A1 and Jake watch the race with \n indifference, surrounded by excited SPECTATORS. \n JAKE (V.O.) \n Turns out this local goon was being \n watched by the Feds, which means we \n were being watched by the Feds. One in \n particular. \n Through the crowd, we catch a glimpse of Moonan, in \n sunglasses, watching the guys. \n JAKE (V.O.)"],["Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","A change comes over Jake. It's subtle-- Posture, facial \n expressions, a slight tug of an accent-- but it's there. \n JAKE \n Mr. Lewis? \n Mr. Lewis turns and looks at Jake. There's no real hint \n of recognition, but Jake's smiling up at him like an old \n friend. \n JAKE \n It is you. Hello! \n Jake extends his hand. \n MR. LEWIS \n Sorry, I--"," your wife and daughter at the same time. \n It's too late for you... \n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \n the nervous mark from the earlier con. \n JAKE (V.O.) \n I have your confidence. \n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \n Jake smiles back. He puts his drink down, then takes the","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","She throws Jake a smile he can't but help return. They \n stand for a second facing each other before she's whisked \n away by an OLDER MAN, dressed in an expensive suit. \n \n \n \n \n (CONTINUED) \n \n 11. \n CONTINUED: \n Jake's smile fades as he watches her saunter into the \n bar, but not before she throws him another glance over \n her shoulder. Jake continues on into...","Lupus start to head off. \n JAKE \n Lupus! \n Lupus turns and Jake moves closer. \n JAKE (cont'd) \n When this is all over, you're going to \n tell me who the King put on Al. \n LUPUS \n You going to have the time? \n JAKE \n I'11 find the time. \n Lupus nods and heads off. Jake watches them go.","Jake sits with Miles and Lupus at a table in the otherwise \n empty bar. \n MILES \n He should be landing in the Caymens \n about now. The Custom's guy is ready \n right? \n Jake stares off into space, absentmindedly flipping a \n penny in his hand. \n JAKE \n Feeling lucky today, Miles. Found a \n penny-- Heads up. There was an empty \n cab right outside my building. We hit","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:","Miles pulls up in an old Cadillac, picking up Jake at the \n entrance. They pick up Gordo and Big Al from a side door \n and drive off as Moonan limps out of the restaurant, still \n holding his crotch. \n CUT TO: \n INT.- THE EUCLID- DAY (RESUMING) \n Jake finishes the story to Lupus. \n JAKE \n And that's how Special Agent Gunther \n Moonan and I became friends."," JAKE \n Jake. Jake Pearson. I go to lawschool \n with your daughter. Carolyn. We met \n once or twice. \n Mr. Lewis seems to search for second, then extends his \n hand more in an effort not to appear rude. \n MR. LEWIS \n Of course. Jake. Nice to see you. \n JAKE \n Well, it certainly is a coincidence. \n Here of all places! How is Mrs. Lewis?"," JAKE \n I said stand up. \n CUT TO: \n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \n MORGAN GILLETTE sits behind a desk in an ultra modern \n office, his reptilian like face fixed straight ahead. \n Butch leans against the wall behind him. \n JAKE (V.O.) \n This is probably about where you came \n in. \n GILLETTE","Gordo, Miles, Big A1 and Jake watch the race with \n indifference, surrounded by excited SPECTATORS. \n JAKE (V.O.) \n Turns out this local goon was being \n watched by the Feds, which means we \n were being watched by the Feds. One in \n particular. \n Through the crowd, we catch a glimpse of Moonan, in \n sunglasses, watching the guys. \n JAKE (V.O.)"," (CONTINUED) \n \n 85. \n CONTINUED: \n GORDO \n You'll be there? \n JAKE \n Eight A.M. flight. \n GORDO \n Calls? \n JAKE \n We'll use the Euc. \n They pass the glass partitioned conference room. Jake \n looks inside to see Morgan Gillette holding court with a"," BULLSHIT! You were scared, Jake! You - \n Lost your nerve! You lost your \n confidence! You weren't being noble. \n You weren't trying to save anybody but \n yourself! Admit it. \n JAKE \n It's not true. \n BUTCH \n Yes it is Jake! Yes it is! They were \n right there for you. She was right \n there for you! Look at her!","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","A nicer apartment than Jake's. Lionel Dolby, the Mark \n from the Euclid rushes around, haphazardly throwing \n things into a suitcase. There's a KNOCK on the door that \n stops Lionel dead in his tracks. \n Another KNOCK. Lionel still frozen. \n The door flies open with a BOOM. In the doorway, we see \n HARLIN, an older mountain of a man dressed in a plain"," some time now. Problem is, the guy's \n the invisible man. A spook, a spectre, \n a ghost. Then, like a gift, Jake's \n good buddy and member of his crew, \n Alfonse Moorely, is found the other day \n with a hole in his head. \n \n (CONTINUED) \n \n 44. \n CONTINUED: \n Moonan holds up crime scene photos of Big Al's body.","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads...","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH"," 121. \n CONTINUED: \n \n \n Jake emerges from .the back alley, his shirt ripped and \n splattered with fake blood. \n JAKE (V.O.) \n No one's going to ask me: \n A black car comes to a stop n front of him. The tinted \n glass slides down and Jake leans in. \n JAKE \n Drop something? \n Inside we see Moonan and Lily riding in the back, Miles"],[" grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again."," the Underworld. A grifter had to survive \n on his wits, his instincts... I like \n that. I like the idea of that. \n These days, things being what they are, \n guys like me gotta stay low. \n (MORE) \n \n \n \n (CONTINUED) \n \n 21. \n CONTINUED: \n KING PIN (cont' d)","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money.","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:"," KING PIN \n Grifters... Always working an angle. \n Alright. I can see you got some vision. \n But I give you the Mark. I tell you \n the who and you give me the how. Lupus \n go with him. \n Lupus snaps to attention. \n LUPUS \n What? \n KING PIN \n Consider him part of your crew. \n Consider him a part of me.","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good.","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","This isn't so bad. Jake almost has to stifle a laugh. \n KING PIN (cont'd) \n Every time, you get the pinkie and I \n get a hang nail. \n ( to Jake) \n You Jake? \n Jake nods and the King motions for the manicurist to \n leave. \n KING PIN \n Grifter huh? Where have you been on \n the grift? Couldn't been here long"," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A","The others exchange greetings with Suits who moves over \n to Lupus and studies his loud sweatsuit. \n JAKE (V.O.) \n Back in the day, Suits made money \n running fight stores and the wire with \n a Fix so tight it was like a legit \n business. I never understood what the \n point was if grifting became like a \n regular job. \n JAKE \n We need wardrobe."," KING PIN \n Let me repeat-- Why not? \n JAKE \n Because you killed one of my crew. \n KING PIN \n Buddy, that was business. Besides, you \n have more crew. Then there's you... \n JAKE \n I'll get the money back, plus interest. \n I go on the grift for you. You get a \n cat, I get a cut. And we get square. \n KING PIN","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH"," (turns 'to face CAMERA) \n Frankie Suits always said, that what \n you have to understand about any \n confidence game, is that it's like \n putting on a play where everyone knows \n their part... The Roper, the \n Insideman, the Shills... Everyone \n except for the Mark. \n Gordo lying in a pool of blood... \n GORDO \n (while playing dead) \n I've been shot. Oh. The humanity.","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed"," We have work. It pays a lot. Unless \n you figure on getting rich lifting \n wallets while old guys feel you up. \n LILY \n Oooh. Sassy. What do you care who \n feels me up, Jake? Unless it kinda \n gotcha going. Did it, Jake? Getcha \n going? \n Lily saunters to Jake with a seductive grin. \n Jake may be aware that he's stopped breathing.","place between buildings that a reasonable person avoids. \n We see JAKE VIG, a guy in his late 20's whose fashionable \n suit and good looks are in obvious contrast to the \n surroundings-- At first glance, you'd think he could run \n for Congress some day. At first glance. \n Jake faces a garbage dumpster on his knees, execution \n style. His face gives away nothing-- He could be kneeling \n in a strawberry field. \n JAKE (V.O.)","the crowd, taking a seat alone at the bar. \n FREEZE FRAME ON ASHBY-- A CGI SIGN appears over his head: \n \"SINGLE MALE seeks end to safety of tedious and solitary \n lifestyle. Moral and ethical constitution flexible.\" \n JAKE (V.O.) \n What you're looking for in a mark is \n someone who's got nothing to lose. No \n friends, no family, no life. You're"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to"],["They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money."," the Underworld. A grifter had to survive \n on his wits, his instincts... I like \n that. I like the idea of that. \n These days, things being what they are, \n guys like me gotta stay low. \n (MORE) \n \n \n \n (CONTINUED) \n \n 21. \n CONTINUED: \n KING PIN (cont' d)"," KING PIN \n Grifters... Always working an angle. \n Alright. I can see you got some vision. \n But I give you the Mark. I tell you \n the who and you give me the how. Lupus \n go with him. \n Lupus snaps to attention. \n LUPUS \n What? \n KING PIN \n Consider him part of your crew. \n Consider him a part of me."," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again."," boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good."," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A"," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin.","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","This isn't so bad. Jake almost has to stifle a laugh. \n KING PIN (cont'd) \n Every time, you get the pinkie and I \n get a hang nail. \n ( to Jake) \n You Jake? \n Jake nods and the King motions for the manicurist to \n leave. \n KING PIN \n Grifter huh? Where have you been on \n the grift? Couldn't been here long"," CUT TO: \n EXT.- DOG RACETRACK- DAY \n A BELL... A mechanical rabbit springs forward. Greyhounds \n bolt out of the gate. \n JAKE (V.O.) \n About four years ago, we were working \n in Miami, turf fixing for some local \n goon. \n CUT TO: \n \n 88. \n \n \n INT.-- RACETRACK- DAY","The others exchange greetings with Suits who moves over \n to Lupus and studies his loud sweatsuit. \n JAKE (V.O.) \n Back in the day, Suits made money \n running fight stores and the wire with \n a Fix so tight it was like a legit \n business. I never understood what the \n point was if grifting became like a \n regular job. \n JAKE \n We need wardrobe."," Have a little faith in him, honey. \n Butch, see if you can get him to tell \n you how he did it. Or almost did it. \n Sounds like a good story. \n BUTCH \n I' ll ask. \n Gillette picks up an APPLE from a bowl in his desk... The \n oldest con. \n GILLETTE \n Apple? \n CUT TO: \n \n 111. \n \n"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","buried in his pockets, a knapsack slung over his shoulder. \n As he gets closer, we see that he's just a KID of about \n ten or eleven. \n Rottovich reaches over and pulls off the Kid's hood. \n SOBOZINSKI \n You know who we are? \n KID \n The heat. \n \n (CONTINUED) \n \n 26. \n CONTINUED:","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan"," (turns 'to face CAMERA) \n Frankie Suits always said, that what \n you have to understand about any \n confidence game, is that it's like \n putting on a play where everyone knows \n their part... The Roper, the \n Insideman, the Shills... Everyone \n except for the Mark. \n Gordo lying in a pool of blood... \n GORDO \n (while playing dead) \n I've been shot. Oh. The humanity."],["around with a group of friends. \n JAKE (V.O.) \n She got one leg out from under him. \n Now we had to lean. \n \n 73. \n \n \n GORDO \n So then Miles walks straight into the \n Creative Director's office and says \n \"The code's fine, the program's for \n shit\" and throws down like a thousand \n pages of code on the guy's desk!"," JAKE \n She's up for it. \n ANGLE ON ASHBY AT THE BAR \n Ashby sits finishing a drink. Snippets of CONVERSATION \n and LAUGHTER from the cliques around him catch his \n attention, but he remains alone. \n BLONDE (O.S.) \n Is this seat taken? \n Ashby turns to see an ATTRACTIVE BLONDE pointing to the \n empty seat next to him. \n ASHBY","Gordo and Miles exchange a look, unsure of how to \n respond. \n \n (CONTINUED) \n \n 16. \n CONTINUED: \n JAKE (cont'd) \n It's bad luck. \n MILES \n Just an idea, but let's just fucking \n split. We'll meet up anywhere. Akron \n or Austin or Atlanta. Anywhere... \n JAKE","Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:"," JAKE \n Tonight. Just me. \n MILES \n Fuck that. We're going too. \n GORDO \n Alright, let's all put our dicks back \n in our pants for a second. Is this the \n best thing to do? \n Jake levels a stare at Gordo for a second. \n \n (CONTINUED) \n \n 18. \n CONTINUED:","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," her, pieces of your whole crew. Can't \n be any mare honest than that. I'll \n stake you, but that's three hundred \n fifty you're in the hole and consider \n the juice running. Now go make me proud. \n Harlin and Lupus lift Jake up. Lily looks at Jake with a \n pained expression. \n \n \n \n (CONTINUED) \n \n 51. \n CONTINUED:"," I always wanted to say that... \n As the cops exit, Lily, Miles and Gordo rush to Jake. \n \n \n \n \n (CONTINUED) \n \n 87. \n CONTINUED: \n LILY \n People don't like you much, do they? \n Jake lets out a pained GROAN as they help him up. \n CUT TO: \n INT.- CAR- DAY","to Jake's head. \n BUTCH \n Hurry up. \n CUT TO: \n INT.- ASHBY'S OFFICE- DAY \n Ashby sits behind a desk in front of the crew. In front \n of him are the corporate papers. \n JAKE (V.O.) \n We had to finalize the deal. \n ASHBY \n Everything looks in order. \n JAKE \n This has to happen fast."," JAKE \n Now we gotta give him a strong finish. \n \n \n \n \n (CONTINUED) \n \n 64. \n CONTINUED: \n Jake pulls Lily closer and looks into her eyes. She leans \n in and they kiss-- A deep, slow kiss that makes people \n have to walk around them. \n Mr. Lewis sees them and smiles to himself as he gets into \n a cab. \n Jake and Lily are still kissing as the cab pulls away."," guy was, but he was so pissed off at \n him, he gets him drilled. It ain't \n personal. It's business. \n JAKE \n Point, Lupus. Give us a point. \n LUPUS \n Point is, you don't go through with \n this, he's going to go after you next. \n And he don't even like you, Jake. \n Lupus stares blankly at Jake."," Shop guy over in Brooklyn. Anybody \n want in? \n LILY \n I' m going home \n GORDO \n Let's go, Jake? \n JAKE \n Uh... No thanks. I'm not going all the \n way to Brooklyn for a hundred dollar \n pay-off. \n GORDO \n You sure? \n Jake looks over at. Lily then nods. Gordo, Miles and","Jake stops and gauges the crew for their reactions, which \n are the same all the way around-- Slack jawed disbelief. \n MILES \n (breaking the silence) \n This might just be me, but that is hands \n down, the dumbest fucking idea I've \n ever heard. \n GORDO \n People have tried this before, Jake. \n It's never worked. Teddy Fraiser and \n his crew went on vacation in Chicago"," 121. \n CONTINUED: \n \n \n Jake emerges from .the back alley, his shirt ripped and \n splattered with fake blood. \n JAKE (V.O.) \n No one's going to ask me: \n A black car comes to a stop n front of him. The tinted \n glass slides down and Jake leans in. \n JAKE \n Drop something? \n Inside we see Moonan and Lily riding in the back, Miles"," JAKE \n Probably some investment banker or \n convertible-bonds-broker-dickhead. Did \n you see how fast he ran out of here? \n It's done. He's not coming back. \n GORDO \n I guess. I gotta drop a dime. Did \n anybody mess up the hoop? \n MILES \n It's clean. \n Gordo disappears dawn the back hallway. \n \n \n","CONTINUED: \n Miles hangs up before Jake can answer. \n CUT TO: \n INT.- BIG AL'S- DAY \n Jake stand's with Miles in the sparse living room. Big \n AI's body sits reclining on a Lazy Boy chair, eyes bulging \n open. An open carton of food rests in his lap. A feast \n of take-out Chinese surrounds him. The TV blares an old \n episode of \"The Little Rascals.\"","CONTINUED: \n SALESGIRL \n (sympathetic) \n I'm sorry. \n JAKE \n (clearing his throat) \n This is embarrassing. \n MR. LEWIS \n Jake? \n Jake looks up and rips the check out from his book. \n JAKE \n I'm sorry, sir. Thank you very much \n for doing this. And please tell Carolyn \n hello for me."," I'm in. \n Her eyes stay on Jake as a smile grows across her face. \n CUT TO: \n EXT.- PAY PHONE- DAY \n Jake dials a number... \n JAKE (V.O.) \n I agreed with Miles. It was, hands down, \n a dumb fucking idea. \n \n \n \n \n (CONTINUED) \n \n 43. \n CONTINUED:"," JAKE (V.O.) \n Then we disappear. \n As he walks away, WE SEE some PEOPLE MATERIALIZE carrying \n luggage... Then a FEW CARS... Then an AIRLINE REP... \n Gradually more and more people and cars, each MATERIALIZING \n into a normal scene at the airport until we lose Jake in \n the crowd. \n CUT TO: \n INT.- THE EUCLID- RESUMING"],[" LIONEL \n Not for nothing, Jake, but the guy who \n whacked your buddy? It was me. The \n King usually farms out for that kind of \n stuff, but I tell ya, he was so pissed \n off he couldn't wait for the regular \n guy. Fucker didn't even put down his \n Kung Pao Chicken. \n \n \n (CONTINUED) \n \n 109. \n CONTINUED:","black suit. Behind him is LUPUS (late-20's), dressed in \n a sweatsuit a pilot could spot from 20,000ft. \n LUPUS \n Mr. Dolby. King would like a word with \n you. \n LIONEL \n R-r-right now? \n LUPUS \n Please. We have a car waiting. I \n apologize for the door. \n CUT T0:"," suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the"," to him. Right in the middle of his egg- \n foo-young. \n Big Al stares up at them with those bulging, vacant eyes, \n his mouth hanging open. Jake reaches down and grabs the \n remote control and turns the TV off. \n JAKE (V.O.) \n Big Al used to send money to his Father, \n some Vietnam Vet slowly losing his mind \n in a VA hospital in Cleveland. Al was \n like that. That's why Al never played","Lily rumages in the closet and a baseball bat. She hefts \n the bat and takes a stance in front of the door. \n More KNOCKING. \n LILY \n HOLD ON! \n Another KNOCK. Lily slowly reaches for the doorknob. \n Then the door flies open with a CRASH. Harlin fills the \n doorway. \n HARLIN \n The King would like to have a word \n with you."," and start rubbing me down or anything, \n are you? \n The King smiles and begins to take off his shirt. Harlin \n and Lupus share an uncomfortable glance. \n The King strips down to the waist and reveals an incredibly \n large, incredibly round stomach which he SLAPS loudly. \n KING PIN \n Come here. Feel this. \n JAKE \n No thanks. I'm good. \n KING PIN \n Come here!","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan","The King grabs Jake's hand and puts it on his stomach. \n It just got weirder. \n Now the whole gym has stopped, everyone focused on Jake \n and the King Pin. \n \n (CONTINUED) \n \n 50. \n CONTINUED: \n LILY \n You guys are freaking me out. \n KING PIN \n Shut up. Feel that? That's solid","Lily's hand moves down Jake's arm until it finds his hand. \n LILY \n You have really soft hands. Like a \n baby's. \n JAKE \n (remembering the King) \n Don't ruin this for me. \n They roll off the bed onto the floor, a naked tangle of \n arms and legs, their hands still entwined. \n CUT TO: \n EXT. - BACK ALLEY NIGHT (PRESENT)","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good.","robe is THE KING PIN. His large body is less fat than \n just big, constructed of circles and topped off with the \n baldest head you've ever seen. \n A MANICURIST sits next to the King Pin working on his \n nails. \n \n \n \n (CONTINUED) \n \n 20. \n CONTINUED: \n KING PIN \n Ow! Watch the pinkie!"," boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece"," file) \n Let me see `em. \n Jake turns to find Lupus and Harlin on either side of \n him. They take him by the wrists and hold his hands up \n for the King. \n KING PIN (cont' d) \n I don't like to ask things more than \n once, Junior. I want you to know how \n much that irks me. \n The King begins to gently trace between Jake's fingers \n with the nail file."," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES"," Harder. Remember, I killed your buddy. \n Jake's demeanor changes as he winds up and hits the King \n as hard as he can. The King just smiles. \n KING PIN (cont'd) \n All muscle. \n The King then hits Jake back in the gut with surprising \n speed. Jake falls to his knees, but the King's right \n there. With one arm he pulls Jake up and starts to pummel \n him in the stomach with an unbridled visciousness."," I got it figured out... He's got this \n thing with bathrooms. If he makes it \n through Customs, he'll be heading for \n the john. \n \n \n \n \n (CONTINUED) \n \n 108. \n CONTINUED: \n KING PIN \n Good. Good. Do not let Vig out of \n your sight.","Lupus watches quietly, taking it all in... \n CUT TO: \n (FLASHBACK) INT.- THE EUCLID/BATHROOM \n Lupus on the cellphone to the King... \n JAKE (V.O.) \n And like in a game of chess, you've \n played every possible move in your \n head... \n LUPUS \n You were right. He's trying to fuck \n you. You want it, you gotta get it at"," chicken delivered to the King with a \n nice kiss my ass card attached to it. \n Then we woulda moved on `til the next \n local putz caught on. \n JAKE \n We're getting a little old for \n running. \n MILES \n Yeah, well we're still a little young \n for Albany State Prison. Are you pissed \n about Al? I'm pissed too, but I' m not","INT.- TOWN CAR- SAME \n A CELL PHONE RINGS with a digitized version of \"Ode to \n Joy\". The King answers it. \n KING PIN \n Speak. \n LUPUS (O.S.) \n He's landing. He's got a suitcase on \n wheels. \n KING PIN \n So do half the other people in this \n place. How do I know which one? \n LUPUS (O.S.)"," muscle. Not an ounce of fat. Go ahead. \n Punch it. \n JAKE \n I am not going-- \n The King starts to get that look again. \n Jake winds up and punches the King in the stomach. He \n shakes his fist in pain. \n KING PIN \n Come on. Harder. \n JAKE \n I think I just broke my hand. \n KING PIN"],["Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," 'you' re the suspicious type . So I \n give you the \"Convincer.\" We both put \n up a little and we get a little back. \n Just a taste. \n Gordo pulls an envelope out of his coat and gives it to \n Dolby. \n JAKE (V.O.) \n Just enough that when I tell you we can \n make more off of it, you agree. \n Jake speaks quickly to Dolby who nods emphatically. He"," Fix... \n Jake nonchalantly slides a fat envelope over to Moonan. \n Moonan picks it up and finds a wad of cash. \n JAKE (V.O.) \n It was probably a stupid idea. There I \n am, Armani and Rolex. There he is, JC \n Penny and Timex... \n \n \n \n (CONTINUED) \n \n 89. \n CONTINUED:"," (CONTINUED) \n \n 8. \n CONTINUED: \n Jake rubber bands two small wads of cash and hands them \n to Rottovich and Sobozinski. \n JAKE \n Ten percent. \n SOBOZINSKI \n You guys got sack, I'll give you that \n much. \n JAKE \n Confidence. It's just confidence.","Jake staggers back and Sobozinski pushes him into an \n alley. \n JAKE \n That tip not work-out for you fellas? \n ROTTOVICH \n Tip was fine, Jake. We were a little \n more curious about the Fed. \n JAKE \n Hey, listen... If you guys don't pay \n your taxes, that's your business. \n Sobozinski punches Jake in the stomach. Miles and Gordo"," trouble with the Feds down there. You \n guy's pretty good? \n JAKE \n I have a good crew. \n KING PIN \n Minus one. \n Jake visibly bristles... \n JAKE \n Minus one. \n KING PIN \n You know, back in the day, grafting was \n considered a gentleman's racket. Good \n suits, good food... The Underworld of","Jake steps back and raises his arms. \n JAKE \n You the one that did it? You the one \n that got Al? \n HARLIN \n Mr. King prefers to farm out for that \n kind of work. \n (gesturing to the \n door) \n Please, after you. \n Harlin gives the Officers Sobozinski and Rottovich a slight \n nod of acknowledgment. \n CUT TO:"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","Moonan smiles and slides the envelope back over to Jake \n with a disappointed shake of his head. \n JAKE (V.O.) \n So I took a shot. But now he had me on \n attempted bribery of a Federal Agent. \n As Moonan stands, we see Big Al get up from the next table. \n A1 \"bumps\" into Gordo, dressed in a waiter's white jacket. \n Gordo \"trips;\" spilling scalding hot coffee into Moonan's \n lap.","black revolver with bullets. \n JAKE \n Doesn't matter what the con is. \n Insider trading, a line we got on a \n bookie club, insurance scam, \n whatever... You saw the money and you \n want it. More of it. Who cares if you \n have to bend the rules a little? As \n long as no one gets hurt. \n Jake spins the gun cylinder then SLAPS it closed, pointing"," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed","CONTINUED: \n JAKE \n I think two million. \n KING PIN \n What do you need from me? Permission? \n Go! If you can fleece him for two \n million, then do it, Kid. \n JAKE \n I need you to stake me. \n KING PIN \n Stake you? \n JAKE \n I need you to stake me. I can't do it","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","Jake hangs up the phone and dials another number. He \n nods at Lupus. \n JAKE (V.O.) \n Miles was on his way to the airport to \n wait for Gordo to land. I made the \n call. \n JAKE \n Yeah, it's me. I need an escort. Not \n a ride, just an escort. You wanted in, \n this is in. \n CUT TO:","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one."," JAKE \n I said stand up. \n CUT TO: \n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \n MORGAN GILLETTE sits behind a desk in an ultra modern \n office, his reptilian like face fixed straight ahead. \n Butch leans against the wall behind him. \n JAKE (V.O.) \n This is probably about where you came \n in. \n GILLETTE"," JAKE (V.O.) \n Same thing with playing a con. You \n have to be able to see that deep. \n ASHBY \n Jake? Right. Uh-huh... Uh-huh... Yeah, \n it's going through-- \n INSERT SHOT- ECU of Ashby's finger on the \"Enter\" key. \n ASHBY (coat' d) \n Now. \n Ashby hangs up and checks over his shoulder.","to Jake's head. \n BUTCH \n Hurry up. \n CUT TO: \n INT.- ASHBY'S OFFICE- DAY \n Ashby sits behind a desk in front of the crew. In front \n of him are the corporate papers. \n JAKE (V.O.) \n We had to finalize the deal. \n ASHBY \n Everything looks in order. \n JAKE \n This has to happen fast."],[" boss. We haven't skipped town yet. \n LUPUS \n What I'm saying is, is that the King \n ain't gonna care. See he had a real \n thing with getting this Gillette guy, \n If you ask me I think he's jealous. \n JAKE \n Of what? They're both crooks. \n LUPUS \n Exactly. `Cept this Gillette guy. He \n gets to walk around in three piece"," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES"," Because that's who the King Fin wants \n us to fleece. And Gillette's perfect... \n CUT TO: \n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \n A circle of BUSINESS MEN sitting at a conference table. \n JAKE (V.O.) \n His grandfather used to run liquor \n during prohibition and his father made \n a bundle in illegal importing and \n exporting. That makes him a third"," LIONEL \n Not for nothing, Jake, but the guy who \n whacked your buddy? It was me. The \n King usually farms out for that kind of \n stuff, but I tell ya, he was so pissed \n off he couldn't wait for the regular \n guy. Fucker didn't even put down his \n Kung Pao Chicken. \n \n \n (CONTINUED) \n \n 109. \n CONTINUED:"," suits, hob knob with the Mayor, own a \n bank, that kinda shit. Meanwhile, the \n King sits holed up in the steam, afraid \n to even take a leak without me or Harlin \n watching the door. \n JAKE \n My fucking heart bleeds. \n LUPUS \n Your buddy. That fat guy. The King \n couldn't wait to have that guy \n whacked. He didn't even know who the"," trouble with the Feds down there. You \n guy's pretty good? \n JAKE \n I have a good crew. \n KING PIN \n Minus one. \n Jake visibly bristles... \n JAKE \n Minus one. \n KING PIN \n You know, back in the day, grafting was \n considered a gentleman's racket. Good \n suits, good food... The Underworld of","him, punching the King's stomach hard enough that he's \n sweating. The King seems to hardly notice. \n LUPUS (O.S.) \n Coupla things. They got this Fed , loo \n king around and the girl just split. \n KING PIN \n A Fed? Is he close? \n LUPUS (O.S.) \n I don't think so. Their Fix gave us \n the heads up and Jake's got a plan","robe is THE KING PIN. His large body is less fat than \n just big, constructed of circles and topped off with the \n baldest head you've ever seen. \n A MANICURIST sits next to the King Pin working on his \n nails. \n \n \n \n (CONTINUED) \n \n 20. \n CONTINUED: \n KING PIN \n Ow! Watch the pinkie!","INT.- TOWN CAR- SAME \n A CELL PHONE RINGS with a digitized version of \"Ode to \n Joy\". The King answers it. \n KING PIN \n Speak. \n LUPUS (O.S.) \n He's landing. He's got a suitcase on \n wheels. \n KING PIN \n So do half the other people in this \n place. How do I know which one? \n LUPUS (O.S.)"," Jake! I don't know what's going on! \n The King Pin... He's here and he just \n got pinched. I think with the \n twinkies! It looks like half the \n police department's down here! \n In the BACKGROUND, a whirlwind of activity-- Red and blue \n flashing lights, half of the police department, Federal \n Agents in blue windbreakers... The King and Harlin slumped \n over the hood of the car, cuffed."," 14. \n CONTINUED: \n GORDO \n It gets worse. Now I know why he was \n such a good rope. X mean, cash.... \n That much and we never had to put him \n on the \"Send?\" Turns out this ducking \n Moe was an accountant for the King Pin. \n Gordo throws Jake a hard look, letting the news sink in. \n Jake can only slump back into the booth.","A dive furnished with a few mismatched chairs and a bar. \n A single overweight PATRON sits at a corner table with \n face buried in his hands as he WHIMPERS. Jake and, Lionel \n Dolby pass him as they emerge from a back hallway. \n MILES, late 20's, wipes blood off the bar. Placed at the \n edge of the bar are two briefcases, both open, both filled \n with neat stacks of blood splattered money."," file) \n Let me see `em. \n Jake turns to find Lupus and Harlin on either side of \n him. They take him by the wrists and hold his hands up \n for the King. \n KING PIN (cont' d) \n I don't like to ask things more than \n once, Junior. I want you to know how \n much that irks me. \n The King begins to gently trace between Jake's fingers \n with the nail file.","The King Pin and Harlin are bent over the hood handcuffed. \n Rottovich and Sobozinski lie on the ground, face down, \n their hands behind their heads. \n ROTTOVICH \n We're on the job! We're active in the \n one-six. \n Next to them, a Federal Agent opens the suitcase. Coffee \n beans spill out on the asphalt, followed by the two bricks \n of heroin."," generation crook. \n \n (CONTINUED) \n \n 37. \n CONTINUED: \n JAKE (cont' d) \n He's been tied into pretty much \n everything; drugs, mob, money \n rinsing... \n We PAN AROUND THE TABLE OF BUSINESS MEN and settle on \n MORGAN GILLETTE, a man in his early fifties with the"," chicken delivered to the King with a \n nice kiss my ass card attached to it. \n Then we woulda moved on `til the next \n local putz caught on. \n JAKE \n We're getting a little old for \n running. \n MILES \n Yeah, well we're still a little young \n for Albany State Prison. Are you pissed \n about Al? I'm pissed too, but I' m not"," City Bank of Manhattan. \n \n \n \n \n (CONTINUED) \n \n 74. \n CONTINUED: \n GORDO \n That's that Gillette guy, right? \n (off Ashby's nod) \n You Like him? As a boss, I mean. \n ASHBY \n He's . . . He's okay. \n GORDO \n (goading)","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good."," JAKE \n I said stand up. \n CUT TO: \n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \n MORGAN GILLETTE sits behind a desk in an ultra modern \n office, his reptilian like face fixed straight ahead. \n Butch leans against the wall behind him. \n JAKE (V.O.) \n This is probably about where you came \n in. \n GILLETTE"," KING PIN \n He's got pigs for an escort. You \n believe this guy? \n HARLIN \n I'll get the car. \n KING PIN \n Always something. \n The King struggles into a pair of pants, then turns \n around. \n KING PIN (cont' d) \n My ass look big in this? \n Harlin deliberately looks away. \n HARLIN \n Looks fine, Boss."],["CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH"," CUT TO: \n EXT - BACK ALLEY- NIGHT (PRESENT) \n Butch eases the gun off Jake's head. \n BUTCH \n So how'd you get caught? \n \n \n \n \n (CONTINUED) \n \n 32. \n CONTINUED: \n JAKE \n Suits used to say that in any con, \n sooner or later someone's going to","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads..."," Have a little faith in him, honey. \n Butch, see if you can get him to tell \n you how he did it. Or almost did it. \n Sounds like a good story. \n BUTCH \n I' ll ask. \n Gillette picks up an APPLE from a bowl in his desk... The \n oldest con. \n GILLETTE \n Apple? \n CUT TO: \n \n 111. \n \n","Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My"," JAKE \n So you want to know how to play the Big \n Con. \n BUTCH \n In this case, you might say I want to \n know how not to play the Big Con. \n Butch shoves the gun a little harder into Jake's head. \n CUT TO: \n INT.- BAR- NIGHT \n A trendy bar, dimly lit and packed. We PAN along the hip \n crowd and STOP on Jake speaking with a SLICK GUY dressed","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","Gordo is escorted into the room by a BANK OFFICIAL. \n BANK OFFICIAL \n We'll let you have a moment. \n On a small table are neat piles of bundled money, shrink \n wrapped in plastic. Gordo seems in awe. \n JAKE (V.O.) \n We called them Green Twinkies. \n The Bank Official and Security Guard exit. Gordo holds \n up a Green Twinkie up to his nose and takes a deep breath."," Wow. Now that's an exciting story. \n Butch, has anyone ever tried something \n like this before? \n BUTCH \n Not that I recall. What do you want us \n to do about it? \n GILLETTE \n Let's see... Let's suppose he gets to \n Customs and he gets caught. We get our \n money back, but then we have to deal \n with a criminal investigation. I don't"," Alright... Turn around. She doesn't \n get shit, unless I get that money. \n Where is it? \n JAKE \n Probably safe in the hands of the Federal \n Government. \n Butch buttons his coat. \n BUTCH \n Oh, Jake. You disappoint me. And you \n just let Lily here down again. \n (MORE) \n \n (CONTINUED) \n \n 116."," much like that idea. Then again, let's \n suppose he actually gets through \n Customs. Now, that'll be something. \n We recover the money in cash and let \n the insurance cover the corporate fraud. \n We double our money. \n \n \n (CONTINUED) \n \n 110. \n CONTINUED: \n BUTCH \n So we go to the bar. \n GILLETTE"," MILES \n Who's that? \n GORDO \n The cash we fleeced off of him was \n collection money. He was supposed to \n take that money and give it to the \n King earlier yesterday like he does \n every Thursday. `Cept this time, he \n figured he could make a little \n something for himself off us and still \n get the King's money back before any \n body says \"boo.\" \n MILES"," ass. You're just any other lowlife \n stammer-- Looking out for number one. \n Jake shuts his eyes, maybe because Butch is right. \n CUT TO: \n INT . - JAKE'S APARTMENT-- NIGHT \n Lupus and Jake sit at the table. Lupus on the phone. \n LUPUS \n Hey, boss. It's me. The bank's in. \n It's happening tomorrow... Jake?","sharp, angular features of a reptile. We STAY with \n Morgan as the meeting breaks and everyone heads for the \n door and into... \n CUT TO: \n INT. - CITY BANK OF MANHATTAN/HALLWAY-DAY \n Gillette is greeted by a handful of SUITS. Butch is with \n them, staying in the periphery. \n JAKE (V.O.) \n There's a story going around that he \n helped fund the Contras back in the","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","A serious look comes across Jake's face-- Hate. Butch \n eases back with the gun for a second. \n JAKE \n He's just as crooked as the next guy. \n You'd think he'd have more important \n things to do with tax payer dollars. \n BUTCH \n Cue the fucking violins. Come on... \n It's getting cold. \n CUT TO:","to Jake's head. \n BUTCH \n Hurry up. \n CUT TO: \n INT.- ASHBY'S OFFICE- DAY \n Ashby sits behind a desk in front of the crew. In front \n of him are the corporate papers. \n JAKE (V.O.) \n We had to finalize the deal. \n ASHBY \n Everything looks in order. \n JAKE \n This has to happen fast."," JAKE \n I said stand up. \n CUT TO: \n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \n MORGAN GILLETTE sits behind a desk in an ultra modern \n office, his reptilian like face fixed straight ahead. \n Butch leans against the wall behind him. \n JAKE (V.O.) \n This is probably about where you came \n in. \n GILLETTE"," (CONTINUED) \n \n 8. \n CONTINUED: \n Jake rubber bands two small wads of cash and hands them \n to Rottovich and Sobozinski. \n JAKE \n Ten percent. \n SOBOZINSKI \n You guys got sack, I'll give you that \n much. \n JAKE \n Confidence. It's just confidence."," I think so. The airport's going to be \n crawling with police. Traffic will be \n a nightmare. Go down to the bar. If \n they pull it off, great. Have someone \n deal with Ashby. \n BUTCH \n We'll take care of it. \n GILLETTE \n And how much did you say you wanted for \n this... What did you call it? A finder's \n fee?"],["Jake doesn't move. Butch grabs him by the hair and turns \n him towards Lily. \n BUTCH (cont'd) \n She trusted you and you sold her out! \n Be honest! Be a man! Tell her, Jake! \n Tell her that you loved her but the \n money meant more to you! \n Butch kicks Jake in the gut. \n BUTCH (cont'd) \n Grifters... Gentleman's racket... My","They're greeted by FRANKIE SUITS, an ancient rake-thin \n man, perfectly coiffed and exceptionally dressed. \n JAKE (V.O.) \n Frankie Suits was a legend in certain \n circles. He. Was on the grift since \n he was ten. \n FRANKIE \n Last of the red hot grifters. \n Suits grabs Jake with a hug. It's a heartfelt one.","Jake takes a deep breath, Butch and Lily behind him. \n BUTCH \n Is that what it was, Jake? Was it \n love? \n JAKE \n You know when the first con was ever \n played? It was when Adam fell for Eve \n in the Garden of Eden. \n Lily looks away, her face softening for a moment. \n JAKE \n Then she fucked him over with an apple. \n (with a dry laugh) \n Redheads...","This isn't so bad. Jake almost has to stifle a laugh. \n KING PIN (cont'd) \n Every time, you get the pinkie and I \n get a hang nail. \n ( to Jake) \n You Jake? \n Jake nods and the King motions for the manicurist to \n leave. \n KING PIN \n Grifter huh? Where have you been on \n the grift? Couldn't been here long"," grifter comes in here with a fifteen \n hundred dollar D-K-fucking-N-Y suit, \n cooler than an Eskimo in winter and \n tells me he wants to grift for me? \n First thing I have to ask myself is, \n is he playing for me or is he just \n plain playing me? You tried it once. \n JAKE \n We got caught. So you know it won't \n happen again.","Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY","EXT. BACK ALLEY- NIGHT (PRESENT) \n Butch shaking his head, still holding the gun. \n BUTCH \n Grifters... \n JAKE \n We can't all be model citizens such as \n yourself. \n BUTCH \n It's all about the money, isn't it? \n JAKE \n Isn't it always? \n CUT TO:","Jake remains rigid against Lupus and Harlin as the nail \n file scrapes along the soft, fleshy webbing between his \n fingers. \n Jake shuts his eyes... Then opens them to find the King \n now gently stroking his hands-- Almost a loving caress. \n KING PIN \n You have incredibly soft hands. Good \n cuticles . They' re like a baby's hands. \n Grifters with rough hands... You know \n that they're probably not that good.","in black Armani. \n JAKE (V.O.) \n First thing about being on the grift.... \n You're only as good as your Mark. The \n Roper's the guy who finds them. \n Jake buys another round to the indifferent Slick. \n JAKE (V.O.) \n They all have money one way or \n another. Some of them come from money.","Miles points out a woman crisply dressed in a suit, \n MICHELLE STRIGO. They follow her down the street. \n JAKE (V.O.) \n Guy like me, with people like that... \n I'll tell you what you're looking for \n without even meeting you. It's like a \n personal ad you wear over your head. \n Jake watches as she hails a cab. A MAN, also hailing a \n cab goes for the same one. Michelle gets into a screaming","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH","CONTINUED: \n BUTCH (cont'd) \n What was it you said about playing the \n big con? \n JAKE \n It's like putting on a play, where \n everyone knows their part except for \n the mark. \n BUTCH \n Like putting on a play... Guess some \n people forgot their lines. \n JAKE \n Guess so. \n BUTCH","Lily hops into the Cab and tosses Jake's new wallet onto \n the sidewalk. \n LILY (cont'd) \n That's twice. \n The cab pulls away. \n Jake looks up at the clock-- \"11:12P\". \n CUT TO: \n EXT. - BACK ALLEY- NIGHT (PRESENT) \n Butch smiles... \n BUTCH \n I can see why you liked her. \n JAKE"," plays his own numbers. They hit the \n Lucky Seven for one point two million. \n LILY steps out from behind Butch. \n LILY \n Guess he passed on that unlucky- \n asshole gene. \n Lily looks down at Jake and the gun pointed at his head. \n There's not even a hint of sympathy. \n LILY \n You should have trusted me Jake. \n CUT TO:"," (laughing) \n Fucking grifters! I love it! You got \n balls, I'll give you that much. \n \n \n \n (CONTINUED) \n \n 22. \n CONTINUED: \n JAKE \n No. Just confidence. \n The King Pin stands up and moves over to Jake. \n KING PIN \n I' ll be honest with you, Kid. A"," your wife and daughter at the same time. \n It's too late for you... \n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \n the nervous mark from the earlier con. \n JAKE (V.O.) \n I have your confidence. \n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \n Jake smiles back. He puts his drink down, then takes the","Jake takes off after her. \n CUT TO: \n EXT. - BACK ALLEY- NIGHT (PRESENT) \n Butch cracks a big smile. \n BUTCH \n She had you tempting fate. \n JAKE \n My father used to play the same fucking \n lotto numbers with these other guys in \n the pharmacy. The same numbers everyday \n for sixteen years. One day he gets \n pissed off, tells them he's out and","She throws Jake a smile he can't but help return. They \n stand for a second facing each other before she's whisked \n away by an OLDER MAN, dressed in an expensive suit. \n \n \n \n \n (CONTINUED) \n \n 11. \n CONTINUED: \n Jake's smile fades as he watches her saunter into the \n bar, but not before she throws him another glance over \n her shoulder. Jake continues on into...","INT.- FOUR SEASONS HOTEL- NIGHT \n A suite in the upscale hotel. Miles answers a KNOCK on \n the door-- An expensive CALL GIRL stands at the door in \n an overcoat. \n JAKE (V.O.) \n It's what makes us run. And despite \n what they say, it can buy you love. \n CALL GIRL \n Are you ready for me, Ralph? \n She lets the overcoat fall open, revealing her lack of","Lily's hand moves down Jake's arm until it finds his hand. \n LILY \n You have really soft hands. Like a \n baby's. \n JAKE \n (remembering the King) \n Don't ruin this for me. \n They roll off the bed onto the floor, a naked tangle of \n arms and legs, their hands still entwined. \n CUT TO: \n EXT. - BACK ALLEY NIGHT (PRESENT)"],[" LILY \n Says who? \n JAKE \n You're working Daffy's block. He was \n going to break your kneecaps. Pick- \n pockets can be so bitchy sometimes. I \n told him you were with us, so that's \n two you owe me. \n Lily takes a second to look the guys over. Miles gives \n her a wink. Lily slowly raises her middle finger at him. \n JAKE"," No, no. Nothing like that. I work in \n a bank. \n LILY \n (leaning in) \n Really? Wish we had met eight hours \n ago. \n Ashby nods and shyly looks away. He could be blushing. \n Lily lets the moment play out for a beat before looking \n over her shoulder. \n LILY \n (getting up) \n My partners are here. \n Ashby reverts back to schlub mode."," We have work. It pays a lot. Unless \n you figure on getting rich lifting \n wallets while old guys feel you up. \n LILY \n Oooh. Sassy. What do you care who \n feels me up, Jake? Unless it kinda \n gotcha going. Did it, Jake? Getcha \n going? \n Lily saunters to Jake with a seductive grin. \n Jake may be aware that he's stopped breathing.","Lily rumages in the closet and a baseball bat. She hefts \n the bat and takes a stance in front of the door. \n More KNOCKING. \n LILY \n HOLD ON! \n Another KNOCK. Lily slowly reaches for the doorknob. \n Then the door flies open with a CRASH. Harlin fills the \n doorway. \n HARLIN \n The King would like to have a word \n with you."," LILY \n We're getting down to the wire. \n Apparently another company has a \n similar product in R&D right now. If \n they beat us to it... \n JAKE \n Off the record, I'm this close to \n cutting someone in on the action if \n it'd help. \n Ashby considers for a moment. \n ASHBY \n Should we get another round? \n Jake and Lily share an almost imperceptible look.","her bag. \n From out of nowhere, Jake bumps into her. \n \n \n \n \n (CONTINUED) \n \n 33. \n CONTINUED: \n JAKE \n (not so innocently) \n Oops. \n Jake takes her by the arm out to... \n CUT TO: \n EXT.- ALLEY/OUTSIDE BAR- NIGHT \n Jake pushes Lily through the back door where she finds","She grabs the smoking pan from the stove and WHACKS Harlin \n across the head. The burned egg lands on the floor. \n Lily watches as he sways and teeters on his feet, like a \n drunk. She raises the pan again... But before she \n delivers the final blow, Harlin steps on the egg, causing \n his leg to shoot out from under him. He lands flat on \n his back, out cold. The wood floor CREAKS with his weight. \n Lily wipes the blood from her nose and turns the hot","CONTINUED: \n LILY \n Everyone's working an angle, right? \n JAKE \n There are three people I trust-- him, \n him and a guy who got killed. I don't \n know who you are! You're like some \n stray doq that wandered into the \n house. So I'm telling you to cut loose \n of this. No one's looking for you, Not \n the King, not Moonan and not Gillette.","Jake takes her bag and dumps the contents on the floor-- \n A few wallets, a watch, even a wedding ring. Jake picks \n up one of the wallets filled with cash. \n LILY (cont'd) \n That's not-- \n JAKE \n (pocketing the wallet) \n You interested in a little work? \n Lily scoops up her bag and finds a cigarette, eyeing them \n all suspiciously. \n LILY","Butch presses the gun against Jake's head. Jake turns \n and looks at Lily. They lock eyes. \n JAKE \n What do you get, Lily? Finder's Fee? \n Because it is all about the money, \n right? \n LILY \n You sold me out. You should have trusted \n me like I trusted you. You fucked up. \n You fucked up HUGE. \n Butch taps Jake on the head with the gun. \n BUTCH"," After Glenn was finished, he gave me a \n couple of valiums and I went home. The \n next day, I finished my shift and met \n him around back, like we always did. I \n stuck a number eight scalpel into his \n chest. Three or four times. \n Jake slides off Lily. \n JAKE \n Did, uh... Did you kill him? \n LILY \n I don't know. I packed up my shit and"," (CONTINUED) \n \n 82. \n CONTINUED: \n LILY (cont'd) \n He told me that I was stupid because \n my boyfriend didn't really love me. \n Jake grabs Lily and rolls her over onto her back. He \n climbs on top of her. \n JAKE \n He was looking out for you. \n LILY \n Then he grabbed me and threw me down"," LILY \n Mr . King, I think--- \n JAKE \n (w/ a look) \n Hey, I got it! Take some mental notes. \n You just might learn something here. \n Lily just shrugs and rolls her eyes. \n KING PIN \n Listen, Scooter--- \n JAKE \n No, you listen. We're partners now and \n even though I'm running the show for","Just then, a KNOCK on the door. Jake opens the door to \n reveal Lily, dressed in an expensive business suit and \n sporting a sophisticated cut of new RED HAIR \n JAKE (V.O.) \n Redheads. \n JAKE \n FUCK! \n Gordo, Lupus and Miles look up at Lily. \n GORDO \n Oh shit. \n \n \n \n \n (CONTINUED) \n"," LILY (O.S.) \n You got my cell. Leave a message. \n JAKE \n It's me. It's Jake. Listen... It's \n happening. Gordo's landing right now. \n Meet me at the Euclid... For your cut, \n I mean. It's... I want you to have it. \n Jake hangs up the phone. \n LUPUS \n You really like that bitch don't you?","The same flood of people exit the bank... Jake, Lupus, \n Lily, Miles and Gordo wait by the side of the building. \n MILES \n Alice Tanner. Finance Director. \n Miles points out ALICE TANNER, a mousy looking woman in a \n bad skirt. She gets to the intersection and waits for \n the light to change, even as hordes of others jaywalk the \n way New Yorkers do."," (CONTINUED) \n \n 72. \n CONTINUED: \n ASHBY \n Well, typically, corporate loans are \n relatively simple matters, but you do \n need to demonstrate a capacity for gross \n fund recovery. \n Lily arches an eyebrow at Ashby. \n LILY \n Don't tell me you started a tech firm \n here before us. \n ASHBY","Lily, wide-eyed, stands frozen with the bat still cocked.. \n LILY \n Uh, right now? \n HARLI \n Please. I have a car waiting. \n Lily takes a swing. Harlin easily grabs the bat and \n backhands Lily. She goes flying back into the far wall, \n bounces off and lands with a THUD at Harlin's feet where \n she finds the butter knife.","INT.- LILY'S APARTMENT- NIGHT \n Lily stands at a hot plate in her \"kitchen\" frying an \n egg. \n HEAVY FOOTSTEPS from the hall catch her attention, growing \n louder, then stopping at her door. A KNOCK. \n HARLIN (0.S.) \n Lily? \n Lily frantically rumages through drawers. She pulls a \n knife, but it's only a butter knife. She tosses it aside.","see that it's thrown Jake a bit. \n LILY \n What the hell's his problem? \n JAKE \n Don't worry about it. \n LILY \n It's just that I left my asshole decoder \n ring at home, so how do I know not to \n worry? \n Jake stops and turns to her, looking her up and down. \n JAKE \n You need to get a haircut. \n LILY"]],"string":"[\n [\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \" BULLSHIT! You were scared, Jake! You - \\n Lost your nerve! You lost your \\n confidence! You weren't being noble. \\n You weren't trying to save anybody but \\n yourself! Admit it. \\n JAKE \\n It's not true. \\n BUTCH \\n Yes it is Jake! Yes it is! They were \\n right there for you. She was right \\n there for you! Look at her!\",\n \" Just go wherever it is you would go. \\n It's over. \\n Lily looks around the room. No one seems to be backing \\n her up. \\n LILY \\n What about... \\n JAKE \\n What about what? \\n LILY \\n What about the money? \\n Jake stops and levels a look at Lily. \\n JAKE \\n So there it is. You got that big itch \\n you need to scratch. It's all about\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"Jake takes off after her. \\n CUT TO: \\n EXT. - BACK ALLEY- NIGHT (PRESENT) \\n Butch cracks a big smile. \\n BUTCH \\n She had you tempting fate. \\n JAKE \\n My father used to play the same fucking \\n lotto numbers with these other guys in \\n the pharmacy. The same numbers everyday \\n for sixteen years. One day he gets \\n pissed off, tells them he's out and\",\n \" He'll find us. We go talk to him. \\n GORDO \\n Whoa. What? \\n MILES \\n We're going to give him the money back? \\n JAKE \\n You know what we're doing with the money. \\n GORDO \\n And what about Big Al? \\n JAKE \\n Leave him. Someone's going to find him \\n eventually. Then they'll start looking \\n for us, too.\",\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\",\n \" Literally. It's not a bad deal, \\n gentleman. I get peace of mind. You \\n get Detective Sheilds. But this is the \\n best part, Walter... Walter, your \\n daughter will get to keep her braces \\n and have that winning smile. Capice? \\n Rottovich and Sobozinski remain silent. \\n MOONAN \\n Good. One more thing... You gotta give \\n up the booty. I can't have you guys\",\n \" Wha- \\n Butch spins and aims at her. \\n Lily pulls out a gun and... BLAM!!! \\n CUT TO: \\n INT.- JFK AIRPORT/BATHROOM- SAME \\n Gordo stirs on the floor of the stall, slowly getting up. \\n Pieces of toilet paper are stuck to his face. \\n JAKE (V.O.) \\n Trust... \\n CUT TO: \\n INT.- CAR- SAME\",\n \" the Underworld. A grifter had to survive \\n on his wits, his instincts... I like \\n that. I like the idea of that. \\n These days, things being what they are, \\n guys like me gotta stay low. \\n (MORE) \\n \\n \\n \\n (CONTINUED) \\n \\n 21. \\n CONTINUED: \\n KING PIN (cont' d)\",\n \" the money. You twisted fuck. So we \\n gotta give you the \\\"Blow-off\\\". We make \\n sure that you never, ever want to look \\n for us again. We get you off our backs. \\n Forever. \\n Jake stops for a second and listens... He points over his \\n shoulder and on cue A POLICE SIREN WAILS in the distance. \\n JAKE \\n And that's why you need the \\\"Fix\\\"... \\n Dolby bolts for the door without the money.\"\n ],\n [\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \" suit. Keep on him. \\n CUT TO: \\n EXT.- JFK AIRPORT/PARKING LOT- CONTINUOUS \\n Rottovich turns the walkie talkie off as he and Sobozinski \\n fall in behind Harlin. \\n ANGLE ON MILES-- Who steps out of his car, watching the \\n little parade go by with a look of confusion. \\n CUT TO: \\n INT.- THE EUCLID- SAME\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \" KING PIN \\n Grifters... Always working an angle. \\n Alright. I can see you got some vision. \\n But I give you the Mark. I tell you \\n the who and you give me the how. Lupus \\n go with him. \\n Lupus snaps to attention. \\n LUPUS \\n What? \\n KING PIN \\n Consider him part of your crew. \\n Consider him a part of me.\",\n \"The others exchange greetings with Suits who moves over \\n to Lupus and studies his loud sweatsuit. \\n JAKE (V.O.) \\n Back in the day, Suits made money \\n running fight stores and the wire with \\n a Fix so tight it was like a legit \\n business. I never understood what the \\n point was if grifting became like a \\n regular job. \\n JAKE \\n We need wardrobe.\",\n \" We have work. It pays a lot. Unless \\n you figure on getting rich lifting \\n wallets while old guys feel you up. \\n LILY \\n Oooh. Sassy. What do you care who \\n feels me up, Jake? Unless it kinda \\n gotcha going. Did it, Jake? Getcha \\n going? \\n Lily saunters to Jake with a seductive grin. \\n Jake may be aware that he's stopped breathing.\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \"This isn't so bad. Jake almost has to stifle a laugh. \\n KING PIN (cont'd) \\n Every time, you get the pinkie and I \\n get a hang nail. \\n ( to Jake) \\n You Jake? \\n Jake nods and the King motions for the manicurist to \\n leave. \\n KING PIN \\n Grifter huh? Where have you been on \\n the grift? Couldn't been here long\",\n \"Rottovich and Sobozinski get in the front of a squad car. \\n In the back, Moonan sits reading the Travel section of \\n the NY Times. \\n MOONAN \\n Did he buy it? \\n ROTTOVICH \\n I think so. What'd he ever do to you \\n anyway? \\n MOONAN \\n Let's just say he burned me once. \\n Moonan calmly turns the page of the paper.\",\n \"EXT. - CITY BANK OF NEW YORK DAY \\n A flood of people exit the bank at the end of the day. \\n Jake, Lupus, Lily, Miles and Gordo wait by the side of \\n the building. Miles reads off a piece of paper. \\n JAKE (V.O.) \\n What you're looking for in a mark is \\n someone who's weakness you can exploit. \\n MILES \\n Michelle Strigo. Loan officer.\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \" KID \\n My Pops is going to be mad. \\n ROTTOVICH \\n Give the kid a twenty. \\n Sobozinski fishes in his pocket starts to peel off bills \\n for the kid who then sprints away. \\n SOBOZINSKI \\n What's the world coming to? \\n Everybody's on the friggin' take... \\n Rottovich and Sobozinski head off with the knapsack. \\n CUT TO:\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\"\n ],\n [\n \" Gentlemen? Special Agent Gunther Moonan. \\n Moonan quickly flashes a badge and his best Kodak smile. \\n ROTTOVICH \\n Special Agent? \\n MOONAN \\n You are Officer Richard Rottovich. And \\n this would be Officer Walter Sobozinski. \\n I'm looking for Jake Vig. \\n SOBOZINSKI \\n Who? \\n MOONAN \\n I've been looking for this Jake Vig for\",\n \" Special Agent Gunther Moonan. \\n Jake turns and catches Moonan looking at him. \\n CUT TO: \\n EXT.- RACETRACK/PARKING LOT- DAY \\n Moonan walks over to a car. \\n JAKE (V.O.) \\n He didn't really have anything on us, \\n but I figure, maybe this guy's good \\n for a Fix. So I ask him out to dinner. \\n Moonan pulls a piece of paper off the windshield that\",\n \"original black suitcase. He nods to the Customs Officer. \\n Moonan turns and walks TOWARDS CAMERA, wheeling the \\n suitcase behind him. \\n JAKE (V.O.) \\n And all of them would ask what agency \\n Special Agent Gunther Moonan worked \\n for. \\n We CLOSE-IN ON THE BADGE hanging from Moonan's neck. On \\n it is a number and the single word, \\\"CUSTOMS\\\". \\n CUT TO:\",\n \" JAKE (V.O.) \\n But most of all, you need the \\\"Fix\\\". \\n This time, Moonan TAKES IT. \\n CUT TO: \\n (FLASHBACK) INT.- THE EUCLID \\n Jake finishing the Moonan story... \\n JAKE \\n That's how Special Agent Gunther Moonan \\n and I became friends. \\n \\n \\n \\n (CONTINUED) \\n \\n 120.\",\n \"Miles pulls up in an old Cadillac, picking up Jake at the \\n entrance. They pick up Gordo and Big Al from a side door \\n and drive off as Moonan limps out of the restaurant, still \\n holding his crotch. \\n CUT TO: \\n INT.- THE EUCLID- DAY (RESUMING) \\n Jake finishes the story to Lupus. \\n JAKE \\n And that's how Special Agent Gunther \\n Moonan and I became friends.\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \"Gordo, Miles, Big A1 and Jake watch the race with \\n indifference, surrounded by excited SPECTATORS. \\n JAKE (V.O.) \\n Turns out this local goon was being \\n watched by the Feds, which means we \\n were being watched by the Feds. One in \\n particular. \\n Through the crowd, we catch a glimpse of Moonan, in \\n sunglasses, watching the guys. \\n JAKE (V.O.)\",\n \"Jake steps back and raises his arms. \\n JAKE \\n You the one that did it? You the one \\n that got Al? \\n HARLIN \\n Mr. King prefers to farm out for that \\n kind of work. \\n (gesturing to the \\n door) \\n Please, after you. \\n Harlin gives the Officers Sobozinski and Rottovich a slight \\n nod of acknowledgment. \\n CUT TO:\",\n \"A serious look comes across Jake's face-- Hate. Butch \\n eases back with the gun for a second. \\n JAKE \\n He's just as crooked as the next guy. \\n You'd think he'd have more important \\n things to do with tax payer dollars. \\n BUTCH \\n Cue the fucking violins. Come on... \\n It's getting cold. \\n CUT TO:\",\n \"After Rottovich and Sobozinski exit, Moonan dials a number. \\n MOONAN \\n It's Moonan. Tonight. JFK. \\n International terminal. Come heavy. \\n CUT TO: \\n INT.- THE EUCLID- NIGHT \\n Jake sits at the bar, looking at his watch. He notices \\n his hand is shaking. \\n LUPUS \\n So that's it, huh? You get the cops to\",\n \"Jake staggers back and Sobozinski pushes him into an \\n alley. \\n JAKE \\n That tip not work-out for you fellas? \\n ROTTOVICH \\n Tip was fine, Jake. We were a little \\n more curious about the Fed. \\n JAKE \\n Hey, listen... If you guys don't pay \\n your taxes, that's your business. \\n Sobozinski punches Jake in the stomach. Miles and Gordo\",\n \"A nicer apartment than Jake's. Lionel Dolby, the Mark \\n from the Euclid rushes around, haphazardly throwing \\n things into a suitcase. There's a KNOCK on the door that \\n stops Lionel dead in his tracks. \\n Another KNOCK. Lionel still frozen. \\n The door flies open with a BOOM. In the doorway, we see \\n HARLIN, an older mountain of a man dressed in a plain\",\n \"Moonan smiles and slides the envelope back over to Jake \\n with a disappointed shake of his head. \\n JAKE (V.O.) \\n So I took a shot. But now he had me on \\n attempted bribery of a Federal Agent. \\n As Moonan stands, we see Big Al get up from the next table. \\n A1 \\\"bumps\\\" into Gordo, dressed in a waiter's white jacket. \\n Gordo \\\"trips;\\\" spilling scalding hot coffee into Moonan's \\n lap.\",\n \" JAKE \\n I said stand up. \\n CUT TO: \\n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \\n MORGAN GILLETTE sits behind a desk in an ultra modern \\n office, his reptilian like face fixed straight ahead. \\n Butch leans against the wall behind him. \\n JAKE (V.O.) \\n This is probably about where you came \\n in. \\n GILLETTE\",\n \" 41. \\n CONTINUED: \\n The Officer literally looks the other way as he pockets \\n the envelope and waves Jake through the gate. \\n CUT TO: \\n EXT.- JFK AIRPORT- DAY \\n Jake exits the terminal. Outside, the street is empty, \\n not a traveler, an airlines rep, a luggage handler or a \\n cab. Jake waits at an empty cross walk until the \\\"walk\\\" \\n signal is given.\",\n \"CONTINUED: \\n Miles hangs up before Jake can answer. \\n CUT TO: \\n INT.- BIG AL'S- DAY \\n Jake stand's with Miles in the sparse living room. Big \\n AI's body sits reclining on a Lazy Boy chair, eyes bulging \\n open. An open carton of food rests in his lap. A feast \\n of take-out Chinese surrounds him. The TV blares an old \\n episode of \\\"The Little Rascals.\\\"\",\n \"head, sending him to the ground. Jake straddles Lupus \\n and raises the phone for the last whack. \\n We HEAR A LOUD CLICK. \\n Jake stops and the two slowly get up. As they stand, we \\n can see that Lupus has the barrel of a small gun in \\n Jake's mouth. \\n Jake shuts his eyes tight, still holding the phone. Which \\n just then, RINGS. \\n Jake opens his eyes and looks at the phone. Then to Lupus,\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \" guy was, but he was so pissed off at \\n him, he gets him drilled. It ain't \\n personal. It's business. \\n JAKE \\n Point, Lupus. Give us a point. \\n LUPUS \\n Point is, you don't go through with \\n this, he's going to go after you next. \\n And he don't even like you, Jake. \\n Lupus stares blankly at Jake.\",\n \" MR. HEAVYSET \\n Oh jeez. \\n Mr. Heavyset quickly gets up. \\n CUT TO: \\n INT.- THE EUCLID- SAME \\n Jake sits at the bar, the phone a few inches away. Lupus \\n pours himself a drink from the bar. The phone RINGS. \\n JAKE \\n Gordo. \\n CUT TO: \\n INT.- JET- SAME\"\n ],\n [\n \" Gordo was making the withdrawal from \\n the Grand Laymen's Bank. \\n Gordo stands in front of a Teller. She reads off a paper \\n then does a double take at Gordo, who smiles back. \\n JAKE (V. O. ) \\n They check the papers... \\n Gordo slides a folder of corporate papers along with his \\n photo ID towards the Teller. \\n We follow the teller as she hands the papers to the \\n OFFICIOUS LOAN OFFICER.\",\n \" CUT TO: \\n INT.- CITY BANK OF MANHATTAN/ASHBY'S OFFICE- DAY \\n Ashby sits, nervously tapping his computer monitor with a \\n pen. MARIE, a secretary, pokes her head in. \\n MAR I E \\n Mr. Ashby? Mr. Thompson from \\n International with a 34R on a \\n corporate account. \\n Ashby watches the screen, as a big broad smile comes \\n across his face.\",\n \"The Teller turns to a computer printer and removes a \\n check. Jake signs a few documents and places the check \\n into his pocket. \\n CUT TO: \\n EXT.- CAYMEN ISLANDS/STREET--DAY \\n Lined with shops and stores, but it's as empty as the \\n bank. Not even a car: Jake strides out of the Grand \\n Caymen's Bank and walks across the street to another \\n building with a sign reading \\\"BANK OF THE GRAND CAYMENS.\\\"\",\n \" We find a doable guy in Gillette's \\n bank... Someone about mid-level. Not \\n too high, not too low. \\n A lone man, GRANT ASHBY, MATERIALIZES behind a desk on \\n the empty floor and sits behind a computer terminal. \\n JAKE (V.O.) \\n We meet him with corporate papers, \\n inquiring about a corporate loan for \\n start up capital. The corporate papers \\n are in order, but we need things to\",\n \"Gordo is escorted into the room by a BANK OFFICIAL. \\n BANK OFFICIAL \\n We'll let you have a moment. \\n On a small table are neat piles of bundled money, shrink \\n wrapped in plastic. Gordo seems in awe. \\n JAKE (V.O.) \\n We called them Green Twinkies. \\n The Bank Official and Security Guard exit. Gordo holds \\n up a Green Twinkie up to his nose and takes a deep breath.\",\n \"An envelope stuffed with cash MATERIALIZES on the desk \\n next to Ashby. \\n CUT TO: \\n EXT . -- CAYMEN ISLANDS--DAY \\n Crystal clear water gently rolls onto a white beach. \\n JAKE (V.O.) \\n Our guy gets us approved for the start \\n up capital. But, the money can't be \\n transferred to any one person. On the \\n given day, the money's wired into a\",\n \" (CONTINUED) \\n \\n 101. \\n CONTINUED: \\n Gordo hangs up without another word. He approaches a \\n building with the words \\\"BANK OF THE CAYMENS\\\" engraved \\n over the brass handled doors. \\n CUT TO: \\n INT.- BANK OF THE CAYMENS- DAY \\n Gordo approaches the teller window with the check in hand. \\n JAKE (V.O.)\",\n \"As Gillette and his crew disappear into the car, we PAN \\n up to see the front of the building which has a large \\n sign reading, \\\"City Bank of Manhattan; A Gillette Family \\n Company.\\\" \\n CUT TO: \\n INT.- THE EUCLID-- RESUMING \\n Jake looks over the crew, who are less than convinced. \\n GORDO \\n How much we going after? \\n JAKE \\n Two million. \\n Miles lets out a whistle. \\n \\n\",\n \" corporate account in an off-shore \\n bank. \\n CUT TO: \\n INT.- GRAND CAYMEN'S BANK- DAY \\n Another empty bank... A lone TELLER MATERIALIZES behind \\n the counter. \\n JAKE (V.O.) \\n That same day, I show up in the Caymens \\n with the proper I.D. and corporate papers \\n to make a withdrawal.\",\n \" ASHBY \\n (Confidently Yeah. That's right. \\n FREEZE FRAME ON ASHBY... \\n JAKE (V.O.) \\n Here's where a little research comes in \\n handy. Corporate banks give out VP \\n titles like calendars. It's a small \\n lie, but now we're sure he's playing. \\n RESUME ACTION \\n JAKE \\n Maybe you can help us understand what's\",\n \" Because that's who the King Fin wants \\n us to fleece. And Gillette's perfect... \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \\n A circle of BUSINESS MEN sitting at a conference table. \\n JAKE (V.O.) \\n His grandfather used to run liquor \\n during prohibition and his father made \\n a bundle in illegal importing and \\n exporting. That makes him a third\",\n \"Jake approaches the Teller, now wheeling a BLACK SUITCASE \\n behind him by the handle. \\n Jake presents the Teller with a series of papers and a \\n photo I.D. \\n JAKE (V.O.) \\n It's bank policy not to release this \\n money in cash because it's under a \\n corporate account. \\n \\n \\n (CONTINUED) \\n \\n 40. \\n CONTINUED:\",\n \" CUT TO: \\n INT.- BANK OF THE GRAND CAYMENS- DAY \\n Again, empty... Jake strides in and approaches the deserted \\n teller counter. \\n ANOTHER TELLER MATERIALIZES and greets him with a smile. \\n JAKE (V.O.) \\n So we cash the check at another bank. \\n Jake slides the suitcase and the check \\n over to the Teller. \\n CUT TO:\",\n \" Then he had to bang it out across the \\n street at the Bank of the Caymens... \\n GORDO \\n I'd like this cashed, please. \\n ANOTHER TELLER looks at the check then back up at Gordo. \\n GORDO (cont'd ) \\n I also need to deduct a certain amount \\n and deposit it into this account number. \\n Gordo takes another piece of paper and slides it to the \\n Teller.\",\n \" MILES \\n I'm with Jack LaLane. That guy's \\n untouchable. \\n JAKE \\n That's why we don't go after him \\n directly. \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/LOBBY \\n Empty. The marble floor spotless, the dark oak teller \\n windows vacant, a row of desks. \\n JAKE (V.O.)\",\n \" CUT T0: \\n INT. - THE EUCLID BAR- SAME \\n Jake hangs up and immediately dials another number. \\n JAKE (V.O.) \\n In order to ensure that we weren't going \\n to welch, Ashby's pay-off was to be \\n directly deposited into his own offshore \\n account which he could confirm \\n electronically. In this age of \\n ecommerce, paper currency has become \\\"\",\n \"he gets up, wheeling a nondescript BLACK SUITCASE. \\n Across the street sits the Grand Caymen's Bank in all \\n it's pastel and brass glory. \\n CUT TO: \\n INT.-- GRAND LAYMEN'S BANK- DAY \\n Gordo moves across the lobby of the bank to the back of a \\n line at the Teller windows wheeling the black suitcase. \\n JAKE (V.O.)\",\n \" And all you need to do for your ten \\n percent is put some paperwork through \\n and push a button tomorrow. \\n There's a pause before Ashby smiles, then reaches around \\n to scratch his neck. \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/HALLWAY- DAY \\n Jake exits Ashby's office with Lupus, Gordo, Miles and \\n Lily. They all follow Jake down the hallway. \\n \\n \\n\",\n \" Wow. Now that's an exciting story. \\n Butch, has anyone ever tried something \\n like this before? \\n BUTCH \\n Not that I recall. What do you want us \\n to do about it? \\n GILLETTE \\n Let's see... Let's suppose he gets to \\n Customs and he gets caught. We get our \\n money back, but then we have to deal \\n with a criminal investigation. I don't\",\n \" eighties. \\n Gillette and his crew head through a large glass revolving \\n door to... \\n CUT TO: \\n EXT.- CITY BANK OF MANHATTAN- DAY \\n A busy mid-day New York sidewalk. Gillette heads towards \\n a waiting Town Car. \\n JAKE \\n Most of his money's clean. A lot of it \\n isn't. The best part is that we know \\n exactly where it is.\"\n ],\n [\n \" After Glenn was finished, he gave me a \\n couple of valiums and I went home. The \\n next day, I finished my shift and met \\n him around back, like we always did. I \\n stuck a number eight scalpel into his \\n chest. Three or four times. \\n Jake slides off Lily. \\n JAKE \\n Did, uh... Did you kill him? \\n LILY \\n I don't know. I packed up my shit and\",\n \"A DEAD GUY lies face down on the floor in a pool of blood. \\n Jake grabs the Dead Guy's legs as Lionel watches in \\n disbelief. \\n JAKE \\n Come on. Grab his arms. \\n Lionel stands frozen. Jake, drops the dead guy's legs \\n with a THUD. \\n JAKE \\n Lionel... He's dead. Yeah, maybe you \\n didn't pull the trigger, but you were \\n standing right there and watched me do\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" some time now. Problem is, the guy's \\n the invisible man. A spook, a spectre, \\n a ghost. Then, like a gift, Jake's \\n good buddy and member of his crew, \\n Alfonse Moorely, is found the other day \\n with a hole in his head. \\n \\n (CONTINUED) \\n \\n 44. \\n CONTINUED: \\n Moonan holds up crime scene photos of Big Al's body.\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \" So I'm dead... \\n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \\n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \\n all over the parking lot. \\n The King and Harlin are bent over the hood of the car, \\n cuffed. \\n One Federal Agent pulls the black suitcase out of the \\n car. \\n JAKE (V . O . ) \\n But maybe I can't blame Lily. Maybe I\",\n \" LIONEL \\n Not for nothing, Jake, but the guy who \\n whacked your buddy? It was me. The \\n King usually farms out for that kind of \\n stuff, but I tell ya, he was so pissed \\n off he couldn't wait for the regular \\n guy. Fucker didn't even put down his \\n Kung Pao Chicken. \\n \\n \\n (CONTINUED) \\n \\n 109. \\n CONTINUED:\",\n \"There's a singed, neat bullet hole in his forehead. \\n MILES \\n I was supposed to meet him for breakfast. \\n He likes that new IHOP they just opened, \\n you know... He likes to order that thing. \\n The Rutti-Tutti-Fresh and Fruity thing \\n they got. \\n JAKE \\n Miles... \\n MILES \\n Sorry. I'm just... Look what they did\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \" Big Al gets whacked mid-egg foo young. \\n The whole thing took about two and a \\n half hours. That's how good he is. \\n MILES \\n We sure Big Al threw him to us? \\n GORDO \\n Come on... \\n All three of them turn their attention out the window. \\n They watch the bustle of people walking past wondering if \\n any one of them is looking back. \\n JAKE \\n A bird flew into my house last night.\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \" Jesus Christ! Tell me before you do \\n something like that! \\n Jake lies face down in a puddle, the collected pool of \\n water growing red with blood. \\n POLICE SIRENS WAIL in the distance, growing closer. \\n BUTCH \\n You should leave. \\n Butch disappears down the dark alley. \\n Lily stands for a moment and takes a final look at Jake's \\n body. She then turns and runs back into the bar. \\n JAKE (V.O.)\",\n \"SLAM!!!-- Blood splatters across the front page of the \\n Metro Section. The paper falls away revealing Jake, wide- \\n eyed, the gun hanging from his mouth. \\n Lupus lies in a heap at the floor. \\n \\n 115. \\n \\n \\n CONTINUED: \\n Jake lets the gun fall and Looks up to see Butch, standing \\n at the door, gun in hand. \\n Lily steps out from behind him. \\n JAKE (V.O.)\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"This isn't so bad. Jake almost has to stifle a laugh. \\n KING PIN (cont'd) \\n Every time, you get the pinkie and I \\n get a hang nail. \\n ( to Jake) \\n You Jake? \\n Jake nods and the King motions for the manicurist to \\n leave. \\n KING PIN \\n Grifter huh? Where have you been on \\n the grift? Couldn't been here long\",\n \"Harlin picks him up off the toilet and throws him into \\n the wall repeatedly before letting him fall face first \\n onto the dirty floor. \\n CUT TO: \\n INT.- JFK AIRPORT/TERMINAL- CONTINUOUS \\n Moonan watches the door to the Men's Room as Harlin comes \\n out, wheeling the black suitcase behind him. \\n MOONAN \\n (into mic) \\n They pulled a switch. Big guy. Blue\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \" to him. Right in the middle of his egg- \\n foo-young. \\n Big Al stares up at them with those bulging, vacant eyes, \\n his mouth hanging open. Jake reaches down and grabs the \\n remote control and turns the TV off. \\n JAKE (V.O.) \\n Big Al used to send money to his Father, \\n some Vietnam Vet slowly losing his mind \\n in a VA hospital in Cleveland. Al was \\n like that. That's why Al never played\"\n ],\n [\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \" After Glenn was finished, he gave me a \\n couple of valiums and I went home. The \\n next day, I finished my shift and met \\n him around back, like we always did. I \\n stuck a number eight scalpel into his \\n chest. Three or four times. \\n Jake slides off Lily. \\n JAKE \\n Did, uh... Did you kill him? \\n LILY \\n I don't know. I packed up my shit and\",\n \" Just go wherever it is you would go. \\n It's over. \\n Lily looks around the room. No one seems to be backing \\n her up. \\n LILY \\n What about... \\n JAKE \\n What about what? \\n LILY \\n What about the money? \\n Jake stops and levels a look at Lily. \\n JAKE \\n So there it is. You got that big itch \\n you need to scratch. It's all about\",\n \" LILY \\n Says who? \\n JAKE \\n You're working Daffy's block. He was \\n going to break your kneecaps. Pick- \\n pockets can be so bitchy sometimes. I \\n told him you were with us, so that's \\n two you owe me. \\n Lily takes a second to look the guys over. Miles gives \\n her a wink. Lily slowly raises her middle finger at him. \\n JAKE\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"her bag. \\n From out of nowhere, Jake bumps into her. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 33. \\n CONTINUED: \\n JAKE \\n (not so innocently) \\n Oops. \\n Jake takes her by the arm out to... \\n CUT TO: \\n EXT.- ALLEY/OUTSIDE BAR- NIGHT \\n Jake pushes Lily through the back door where she finds\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n With a shrug, Jake continues... \\n JAKE \\n We were back on. \\n BUTCH \\n After you cut her loose. \\n JAKE \\n She walked. \\n Lily pushes Butch aside and moves closer to Jake. \\n LILY \\n I walked? Let me tell you a story, \\n asshole... \\n CUT TO:\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \"Miles gets back in the car and SCREECHES out of his parking \\n space. \\n \\n (CONTINUED) \\n \\n 117. \\n CONTINUED: \\n JAKE (V.O.) \\n It should be a four letter word. \\n CUT TO: \\n EXT. - BACK ALLEY- NIGHT (PRESENT) \\n Lily drops the gun and breaks down in tears \\n BUTCH\",\n \"CONTINUED: \\n LILY \\n Everyone's working an angle, right? \\n JAKE \\n There are three people I trust-- him, \\n him and a guy who got killed. I don't \\n know who you are! You're like some \\n stray doq that wandered into the \\n house. So I'm telling you to cut loose \\n of this. No one's looking for you, Not \\n the King, not Moonan and not Gillette.\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \"She grabs the smoking pan from the stove and WHACKS Harlin \\n across the head. The burned egg lands on the floor. \\n Lily watches as he sways and teeters on his feet, like a \\n drunk. She raises the pan again... But before she \\n delivers the final blow, Harlin steps on the egg, causing \\n his leg to shoot out from under him. He lands flat on \\n his back, out cold. The wood floor CREAKS with his weight. \\n Lily wipes the blood from her nose and turns the hot\",\n \" the fucking money. What do you want, \\n an apology? \\n LILY \\n No, I want my cut! \\n JAKE \\n I'm going to say this one last time for \\n You, so take a deep breath and count to \\n ten. There is no cut. \\n Lily levels a look of utter contempt at Jake. \\n LILY \\n You're an asshole. \\n With that, she grabs her coat and leaves.\",\n \"She puts her hands on Jake's chest and leans in a half \\n inch more, her lips an eyelash away from his. She \\n whispers... \\n LILY (cont' d) \\n Keep the wallet. We're even. Take a \\n deep breath... Count to ten... And go \\n fuck yourself. \\n Lily pushes past Jake and heads out of the alley. \\n MILES \\n Is it just me or is there something \\n really hot about a girl telling you to\",\n \" just should have just trusted her to \\n play her part. Because playing the big \\n con is like putting on a play. A play \\n where everyone knows their part except \\n for the Mark... \\n CUT TO: \\n (FLASHBACK) INT.- DINER \\n Jake sits with Lily, Miles and Gordo crammed into a \\n booth. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 118.\",\n \"Lily, wide-eyed, stands frozen with the bat still cocked.. \\n LILY \\n Uh, right now? \\n HARLI \\n Please. I have a car waiting. \\n Lily takes a swing. Harlin easily grabs the bat and \\n backhands Lily. She goes flying back into the far wall, \\n bounces off and lands with a THUD at Harlin's feet where \\n she finds the butter knife.\",\n \"Lily hops into the Cab and tosses Jake's new wallet onto \\n the sidewalk. \\n LILY (cont'd) \\n That's twice. \\n The cab pulls away. \\n Jake looks up at the clock-- \\\"11:12P\\\". \\n CUT TO: \\n EXT. - BACK ALLEY- NIGHT (PRESENT) \\n Butch smiles... \\n BUTCH \\n I can see why you liked her. \\n JAKE\",\n \" LILY \\n Look at you... You want to go. \\n JAKE \\n For what? A couple hundred bucks? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 78. \\n CONTINUED: \\n LILY \\n I think you'd do it for free. You' re \\n almost drooling. You like the rush. \\n JAKE\"\n ],\n [\n \" I think so. The airport's going to be \\n crawling with police. Traffic will be \\n a nightmare. Go down to the bar. If \\n they pull it off, great. Have someone \\n deal with Ashby. \\n BUTCH \\n We'll take care of it. \\n GILLETTE \\n And how much did you say you wanted for \\n this... What did you call it? A finder's \\n fee?\",\n \" to him. Right in the middle of his egg- \\n foo-young. \\n Big Al stares up at them with those bulging, vacant eyes, \\n his mouth hanging open. Jake reaches down and grabs the \\n remote control and turns the TV off. \\n JAKE (V.O.) \\n Big Al used to send money to his Father, \\n some Vietnam Vet slowly losing his mind \\n in a VA hospital in Cleveland. Al was \\n like that. That's why Al never played\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" happens sometimes. \\n In the distance, A POLICE SIREN WAILS, growing louder. \\n LIONEL \\n Oh Jesus! \\n JAKE \\n LISTEN to me! We don't have much time. \\n We can still get through this but you \\n have to keep your head and trust me! \\n Jake takes a tentative step forward. Lionel sees a BLOOD \\n STAIN on Jake's shirt and recoils.\",\n \"Rottovich and Sobozinski get in the front of a squad car. \\n In the back, Moonan sits reading the Travel section of \\n the NY Times. \\n MOONAN \\n Did he buy it? \\n ROTTOVICH \\n I think so. What'd he ever do to you \\n anyway? \\n MOONAN \\n Let's just say he burned me once. \\n Moonan calmly turns the page of the paper.\",\n \"A DEAD GUY lies face down on the floor in a pool of blood. \\n Jake grabs the Dead Guy's legs as Lionel watches in \\n disbelief. \\n JAKE \\n Come on. Grab his arms. \\n Lionel stands frozen. Jake, drops the dead guy's legs \\n with a THUD. \\n JAKE \\n Lionel... He's dead. Yeah, maybe you \\n didn't pull the trigger, but you were \\n standing right there and watched me do\",\n \"place between buildings that a reasonable person avoids. \\n We see JAKE VIG, a guy in his late 20's whose fashionable \\n suit and good looks are in obvious contrast to the \\n surroundings-- At first glance, you'd think he could run \\n for Congress some day. At first glance. \\n Jake faces a garbage dumpster on his knees, execution \\n style. His face gives away nothing-- He could be kneeling \\n in a strawberry field. \\n JAKE (V.O.)\",\n \"We PAN OVER TO REVEAL Jake, Miles and BIG AL (the Patron) \\n sitting at the bar by the Dead Guy. \\n JAKE \\n Stop waving that thing around. \\n MILES \\n You sure we're clear? \\n \\n \\n (CONTINUED) \\n \\n 6. \\n CONTINUED: \\n ROTTOVICH \\n Guy looked like he was trying not to \\n shit himself.\",\n \"INT.- FOUR SEASONS HOTEL- NIGHT \\n A suite in the upscale hotel. Miles answers a KNOCK on \\n the door-- An expensive CALL GIRL stands at the door in \\n an overcoat. \\n JAKE (V.O.) \\n It's what makes us run. And despite \\n what they say, it can buy you love. \\n CALL GIRL \\n Are you ready for me, Ralph? \\n She lets the overcoat fall open, revealing her lack of\",\n \" 4. \\n CONTINUED: \\n Miles lets out a little chuckle; it's just enough to set \\n Jake off again. \\n Jake pulls the gun and points it at Miles. \\n MILES \\n Oh please... \\n Miles non-chalantly pulls a sawed off shot gun frown under \\n the bar. \\n MILES (cont' d) \\n You think this kinda shit hasn't happened \\n here before? Given it's usually on\",\n \" After Glenn was finished, he gave me a \\n couple of valiums and I went home. The \\n next day, I finished my shift and met \\n him around back, like we always did. I \\n stuck a number eight scalpel into his \\n chest. Three or four times. \\n Jake slides off Lily. \\n JAKE \\n Did, uh... Did you kill him? \\n LILY \\n I don't know. I packed up my shit and\",\n \"CONTINUED: \\n Miles hangs up before Jake can answer. \\n CUT TO: \\n INT.- BIG AL'S- DAY \\n Jake stand's with Miles in the sparse living room. Big \\n AI's body sits reclining on a Lazy Boy chair, eyes bulging \\n open. An open carton of food rests in his lap. A feast \\n of take-out Chinese surrounds him. The TV blares an old \\n episode of \\\"The Little Rascals.\\\"\",\n \"There's a singed, neat bullet hole in his forehead. \\n MILES \\n I was supposed to meet him for breakfast. \\n He likes that new IHOP they just opened, \\n you know... He likes to order that thing. \\n The Rutti-Tutti-Fresh and Fruity thing \\n they got. \\n JAKE \\n Miles... \\n MILES \\n Sorry. I'm just... Look what they did\",\n \"After Rottovich and Sobozinski exit, Moonan dials a number. \\n MOONAN \\n It's Moonan. Tonight. JFK. \\n International terminal. Come heavy. \\n CUT TO: \\n INT.- THE EUCLID- NIGHT \\n Jake sits at the bar, looking at his watch. He notices \\n his hand is shaking. \\n LUPUS \\n So that's it, huh? You get the cops to\",\n \"A serious look comes across Jake's face-- Hate. Butch \\n eases back with the gun for a second. \\n JAKE \\n He's just as crooked as the next guy. \\n You'd think he'd have more important \\n things to do with tax payer dollars. \\n BUTCH \\n Cue the fucking violins. Come on... \\n It's getting cold. \\n CUT TO:\",\n \" HE GOT CAUGHT! Your boss tried to pull \\n a switch and he got us all fucking \\n pinched! \\n Lupus picks up the phone and dials another number... No \\n answer. \\n LUPUS \\n Shit. \\n Lupus cocks the gun and crams it back into Jake's mouth. \\n JAKE \\n Aaaaiiit!!! Ooopusss!! \\n Lupus takes a newspaper off the bar and covers Jake's \\n face with it.\",\n \" guy was, but he was so pissed off at \\n him, he gets him drilled. It ain't \\n personal. It's business. \\n JAKE \\n Point, Lupus. Give us a point. \\n LUPUS \\n Point is, you don't go through with \\n this, he's going to go after you next. \\n And he don't even like you, Jake. \\n Lupus stares blankly at Jake.\",\n \" (CONTINUED) \\n \\n 31. \\n CONTINUED: \\n Dolby eyes the briefcases of money. \\n DOLBY \\n What about... The money? \\n JAKE \\n (turns back to CAMERA) \\n Then there it is again... That little \\n itch. There's a guy holding a smoking \\n gun, a guy bleeding all over the floor \\n and still, all you can think about is\"\n ],\n [\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\",\n \" BULLSHIT! You were scared, Jake! You - \\n Lost your nerve! You lost your \\n confidence! You weren't being noble. \\n You weren't trying to save anybody but \\n yourself! Admit it. \\n JAKE \\n It's not true. \\n BUTCH \\n Yes it is Jake! Yes it is! They were \\n right there for you. She was right \\n there for you! Look at her!\",\n \" I'll shoot your dog... All the usual. \\n Then he said good luck. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 95. \\n CONTINUED: \\n A FLAPPING SOUND catches Jake and Lupus's attention. A \\n WHITE PIGEON sits on the frame of an open window. \\n JAKE \\n Aww, shit! \\n CUT TO:\",\n \"it straight at the CAMERA. \\n JAKE (cont'd) \\n Then someone does... \\n BLAM!!! \\n CUT TO: \\n \\n 30. \\n \\n \\n INT. - THE EUGLID BAR- NIGHT \\n A flash of Gordo's stunned face before his chest EXPLODES \\n IN RED. \\n Jake stands holding the smoking gun. Dolby looks around \\n in shock. \\n JAKE\",\n \" After Glenn was finished, he gave me a \\n couple of valiums and I went home. The \\n next day, I finished my shift and met \\n him around back, like we always did. I \\n stuck a number eight scalpel into his \\n chest. Three or four times. \\n Jake slides off Lily. \\n JAKE \\n Did, uh... Did you kill him? \\n LILY \\n I don't know. I packed up my shit and\",\n \"head, sending him to the ground. Jake straddles Lupus \\n and raises the phone for the last whack. \\n We HEAR A LOUD CLICK. \\n Jake stops and the two slowly get up. As they stand, we \\n can see that Lupus has the barrel of a small gun in \\n Jake's mouth. \\n Jake shuts his eyes tight, still holding the phone. Which \\n just then, RINGS. \\n Jake opens his eyes and looks at the phone. Then to Lupus,\",\n \" 4. \\n CONTINUED: \\n Miles lets out a little chuckle; it's just enough to set \\n Jake off again. \\n Jake pulls the gun and points it at Miles. \\n MILES \\n Oh please... \\n Miles non-chalantly pulls a sawed off shot gun frown under \\n the bar. \\n MILES (cont' d) \\n You think this kinda shit hasn't happened \\n here before? Given it's usually on\",\n \" Jesus Christ! Tell me before you do \\n something like that! \\n Jake lies face down in a puddle, the collected pool of \\n water growing red with blood. \\n POLICE SIRENS WAIL in the distance, growing closer. \\n BUTCH \\n You should leave. \\n Butch disappears down the dark alley. \\n Lily stands for a moment and takes a final look at Jake's \\n body. She then turns and runs back into the bar. \\n JAKE (V.O.)\",\n \"SLAM!!!-- Blood splatters across the front page of the \\n Metro Section. The paper falls away revealing Jake, wide- \\n eyed, the gun hanging from his mouth. \\n Lupus lies in a heap at the floor. \\n \\n 115. \\n \\n \\n CONTINUED: \\n Jake lets the gun fall and Looks up to see Butch, standing \\n at the door, gun in hand. \\n Lily steps out from behind him. \\n JAKE (V.O.)\",\n \" to him. Right in the middle of his egg- \\n foo-young. \\n Big Al stares up at them with those bulging, vacant eyes, \\n his mouth hanging open. Jake reaches down and grabs the \\n remote control and turns the TV off. \\n JAKE (V.O.) \\n Big Al used to send money to his Father, \\n some Vietnam Vet slowly losing his mind \\n in a VA hospital in Cleveland. Al was \\n like that. That's why Al never played\",\n \" happens sometimes. \\n In the distance, A POLICE SIREN WAILS, growing louder. \\n LIONEL \\n Oh Jesus! \\n JAKE \\n LISTEN to me! We don't have much time. \\n We can still get through this but you \\n have to keep your head and trust me! \\n Jake takes a tentative step forward. Lionel sees a BLOOD \\n STAIN on Jake's shirt and recoils.\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" LIONEL \\n I can't be here! \\n Jake cocks his gun, never taking his stare off Miles. \\n JAKE \\n Then go. \\n Lionel looks at the briefcases of bloodied money. \\n LIONEL \\n What about... The money? \\n JAKE \\n What about this situation makes you \\n think I can answer that question right \\n now? \\n Lionel again looks at the briefcases; then the shotgun\",\n \"CONTINUED: \\n Miles hangs up before Jake can answer. \\n CUT TO: \\n INT.- BIG AL'S- DAY \\n Jake stand's with Miles in the sparse living room. Big \\n AI's body sits reclining on a Lazy Boy chair, eyes bulging \\n open. An open carton of food rests in his lap. A feast \\n of take-out Chinese surrounds him. The TV blares an old \\n episode of \\\"The Little Rascals.\\\"\",\n \"A DEAD GUY lies face down on the floor in a pool of blood. \\n Jake grabs the Dead Guy's legs as Lionel watches in \\n disbelief. \\n JAKE \\n Come on. Grab his arms. \\n Lionel stands frozen. Jake, drops the dead guy's legs \\n with a THUD. \\n JAKE \\n Lionel... He's dead. Yeah, maybe you \\n didn't pull the trigger, but you were \\n standing right there and watched me do\",\n \"There's a singed, neat bullet hole in his forehead. \\n MILES \\n I was supposed to meet him for breakfast. \\n He likes that new IHOP they just opened, \\n you know... He likes to order that thing. \\n The Rutti-Tutti-Fresh and Fruity thing \\n they got. \\n JAKE \\n Miles... \\n MILES \\n Sorry. I'm just... Look what they did\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"who nods. Jake picks up the receiver and speaks, the gun \\n still in his mouth. \\n JAKE \\n Eww-Whoa? \\n CUT TO: \\n EXT.- JFK AIRPORT/PARKING LOT- SAME \\n Miles on a cell phone... \\n \\n \\n \\n (CONTINUED) \\n \\n 114. \\n CONTINUED: \\n MILES\",\n \" So why don't you take a deep breath, \\n Jake, and I'll count to ten. One. \\n Two. Three... \\n As Butch continues to count, Jake slowly turns his head \\n and looks at Lily. \\n Butch, still counting, smiles at Lily's obvious contempt \\n then slides the gun along the back of Jake's head. \\n JAKE \\n I do trust you, Lily. \\n Butch turns back to Lily to see her reaching into her \\n bag... \\n BUTCH\"\n ],\n [\n \" Wha- \\n Butch spins and aims at her. \\n Lily pulls out a gun and... BLAM!!! \\n CUT TO: \\n INT.- JFK AIRPORT/BATHROOM- SAME \\n Gordo stirs on the floor of the stall, slowly getting up. \\n Pieces of toilet paper are stuck to his face. \\n JAKE (V.O.) \\n Trust... \\n CUT TO: \\n INT.- CAR- SAME\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" happens sometimes. \\n In the distance, A POLICE SIREN WAILS, growing louder. \\n LIONEL \\n Oh Jesus! \\n JAKE \\n LISTEN to me! We don't have much time. \\n We can still get through this but you \\n have to keep your head and trust me! \\n Jake takes a tentative step forward. Lionel sees a BLOOD \\n STAIN on Jake's shirt and recoils.\",\n \" I think so. The airport's going to be \\n crawling with police. Traffic will be \\n a nightmare. Go down to the bar. If \\n they pull it off, great. Have someone \\n deal with Ashby. \\n BUTCH \\n We'll take care of it. \\n GILLETTE \\n And how much did you say you wanted for \\n this... What did you call it? A finder's \\n fee?\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \"and Gordo up front. \\n LILY \\n (innocently) \\n Oops. \\n She smiles that smile. \\n JAKE (V.O.) \\n Redheads... \\n Jake gets in and the car pulls away, followed seconds \\n later by two Police Cars SCREECHING to a stop in front of \\n the Euclid. \\n FADE TO BLACK: \\n THE END. \\n \\n\",\n \" Just go wherever it is you would go. \\n It's over. \\n Lily looks around the room. No one seems to be backing \\n her up. \\n LILY \\n What about... \\n JAKE \\n What about what? \\n LILY \\n What about the money? \\n Jake stops and levels a look at Lily. \\n JAKE \\n So there it is. You got that big itch \\n you need to scratch. It's all about\",\n \"SLAM!!!-- Blood splatters across the front page of the \\n Metro Section. The paper falls away revealing Jake, wide- \\n eyed, the gun hanging from his mouth. \\n Lupus lies in a heap at the floor. \\n \\n 115. \\n \\n \\n CONTINUED: \\n Jake lets the gun fall and Looks up to see Butch, standing \\n at the door, gun in hand. \\n Lily steps out from behind him. \\n JAKE (V.O.)\",\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\",\n \" to him. Right in the middle of his egg- \\n foo-young. \\n Big Al stares up at them with those bulging, vacant eyes, \\n his mouth hanging open. Jake reaches down and grabs the \\n remote control and turns the TV off. \\n JAKE (V.O.) \\n Big Al used to send money to his Father, \\n some Vietnam Vet slowly losing his mind \\n in a VA hospital in Cleveland. Al was \\n like that. That's why Al never played\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \"A DEAD GUY lies face down on the floor in a pool of blood. \\n Jake grabs the Dead Guy's legs as Lionel watches in \\n disbelief. \\n JAKE \\n Come on. Grab his arms. \\n Lionel stands frozen. Jake, drops the dead guy's legs \\n with a THUD. \\n JAKE \\n Lionel... He's dead. Yeah, maybe you \\n didn't pull the trigger, but you were \\n standing right there and watched me do\",\n \" So I'm dead... \\n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \\n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \\n all over the parking lot. \\n The King and Harlin are bent over the hood of the car, \\n cuffed. \\n One Federal Agent pulls the black suitcase out of the \\n car. \\n JAKE (V . O . ) \\n But maybe I can't blame Lily. Maybe I\",\n \" 121. \\n CONTINUED: \\n \\n \\n Jake emerges from .the back alley, his shirt ripped and \\n splattered with fake blood. \\n JAKE (V.O.) \\n No one's going to ask me: \\n A black car comes to a stop n front of him. The tinted \\n glass slides down and Jake leans in. \\n JAKE \\n Drop something? \\n Inside we see Moonan and Lily riding in the back, Miles\",\n \" Jesus Christ! Tell me before you do \\n something like that! \\n Jake lies face down in a puddle, the collected pool of \\n water growing red with blood. \\n POLICE SIRENS WAIL in the distance, growing closer. \\n BUTCH \\n You should leave. \\n Butch disappears down the dark alley. \\n Lily stands for a moment and takes a final look at Jake's \\n body. She then turns and runs back into the bar. \\n JAKE (V.O.)\",\n \"Rottovich and Sobozinski get in the front of a squad car. \\n In the back, Moonan sits reading the Travel section of \\n the NY Times. \\n MOONAN \\n Did he buy it? \\n ROTTOVICH \\n I think so. What'd he ever do to you \\n anyway? \\n MOONAN \\n Let's just say he burned me once. \\n Moonan calmly turns the page of the paper.\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"Harlin picks him up off the toilet and throws him into \\n the wall repeatedly before letting him fall face first \\n onto the dirty floor. \\n CUT TO: \\n INT.- JFK AIRPORT/TERMINAL- CONTINUOUS \\n Moonan watches the door to the Men's Room as Harlin comes \\n out, wheeling the black suitcase behind him. \\n MOONAN \\n (into mic) \\n They pulled a switch. Big guy. Blue\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \" the airport... \\n CUT TO: \\n \\n 119. \\n \\n \\n EXT.- JFK AIRPORT/PARKING LOT- NIGHT \\n POLICE OFFICERS and FEDERAL AGENTS in windbreakers swarm \\n around the King Pin's car. \\n JAKE (V.O.) \\n Then you give them the \\\"Blow-off\\\". You \\n get them off your back. Forever.\"\n ],\n [\n \"They all break out into LAUGHTER. \\n JAKE \\n So this is our boss, right? He chases \\n me and Miles out of his office and \\n he's yelling and screaming, \\\"You're \\n fired! Your whole team's fired!\\\" He \\n starts looking for Lily, Lupus, Gordo-- \\n MILES \\n But the best part was that he couldn't \\n find Gordo! He was in the bathroom.\",\n \"The same flood of people exit the bank... Jake, Lupus, \\n Lily, Miles and Gordo wait by the side of the building. \\n MILES \\n Alice Tanner. Finance Director. \\n Miles points out ALICE TANNER, a mousy looking woman in a \\n bad skirt. She gets to the intersection and waits for \\n the light to change, even as hordes of others jaywalk the \\n way New Yorkers do.\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \" I don't follow. \\n An uncomfortable silence falls. \\n GORDO \\n Jake... \\n LILY \\n It's alright. Grant's one of the good \\n guys. \\n She throws Ashby a flirty smile. \\n LUPUS \\n Yeah. He's our boy. \\n Lupus casually punches Ashby in the arm. It's meant to \\n be a friendly tap, but it's hard enough to jerk Ashby's\",\n \"around with a group of friends. \\n JAKE (V.O.) \\n She got one leg out from under him. \\n Now we had to lean. \\n \\n 73. \\n \\n \\n GORDO \\n So then Miles walks straight into the \\n Creative Director's office and says \\n \\\"The code's fine, the program's for \\n shit\\\" and throws down like a thousand \\n pages of code on the guy's desk!\",\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \" Come on... \\n ASHBY \\n No. \\n More LAUGHS. \\n JAKE \\n What do you do over at your bank, \\n Grant? \\n ASHBY \\n What do I do? I'm the VP of Finance. \\n The group exchanges Looks. \\n MILES \\n Wow. We haven't met with anyone your \\n level yet. VP? So that means there's \\n you, then the P.\",\n \" (re: the Dead Guy) \\n Nice. \\n DEAD GUY \\n What took so fucking long? \\n The Dead Guy stirs-- GORDO, late 20's, dressed in a blood \\n soaked suit stands up; wiping blood off his face. \\n DEAD GUY/GORDO \\n I've been lying in this shit like half \\n the night. \\n MILES \\n You guys were late. We had to go to a\",\n \"Lupus start to head off. \\n JAKE \\n Lupus! \\n Lupus turns and Jake moves closer. \\n JAKE (cont'd) \\n When this is all over, you're going to \\n tell me who the King put on Al. \\n LUPUS \\n You going to have the time? \\n JAKE \\n I'11 find the time. \\n Lupus nods and heads off. Jake watches them go.\",\n \"Gordo, Miles, Big A1 and Jake watch the race with \\n indifference, surrounded by excited SPECTATORS. \\n JAKE (V.O.) \\n Turns out this local goon was being \\n watched by the Feds, which means we \\n were being watched by the Feds. One in \\n particular. \\n Through the crowd, we catch a glimpse of Moonan, in \\n sunglasses, watching the guys. \\n JAKE (V.O.)\",\n \"Jake steps back and raises his arms. \\n JAKE \\n You the one that did it? You the one \\n that got Al? \\n HARLIN \\n Mr. King prefers to farm out for that \\n kind of work. \\n (gesturing to the \\n door) \\n Please, after you. \\n Harlin gives the Officers Sobozinski and Rottovich a slight \\n nod of acknowledgment. \\n CUT TO:\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \"A dive furnished with a few mismatched chairs and a bar. \\n A single overweight PATRON sits at a corner table with \\n face buried in his hands as he WHIMPERS. Jake and, Lionel \\n Dolby pass him as they emerge from a back hallway. \\n MILES, late 20's, wipes blood off the bar. Placed at the \\n edge of the bar are two briefcases, both open, both filled \\n with neat stacks of blood splattered money.\",\n \"buried in his pockets, a knapsack slung over his shoulder. \\n As he gets closer, we see that he's just a KID of about \\n ten or eleven. \\n Rottovich reaches over and pulls off the Kid's hood. \\n SOBOZINSKI \\n You know who we are? \\n KID \\n The heat. \\n \\n (CONTINUED) \\n \\n 26. \\n CONTINUED:\",\n \" you, I'm still running the show. That \\n means I get a little respect. So I \\n don't want to hear anymore of this \\n Scooter, Buddy, Junior, Skippy, Tiger, \\n bullshit. It's Jake. \\n (beat) \\n \\n \\n \\n (CONTINUED) \\n \\n 49. \\n CONTINUED: \\n JAKE \\n And I gotta tell you, for a guy who\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"Lupus sits quietly, taking it all in. \\n GORDO \\n So that's it... \\n JAKE \\n That's it. \\n \\n \\n (CONTINUED) \\n \\n 92. \\n CONTINUED: \\n LUPUS \\n King ain't gonna like this. \\n JAKE \\n Don't worry, I'll settle up with your\",\n \"The second middle aged cop, OFFICER RICHARD ROTTOVICH \\n comes calmly down the stairs behind Sobozinski. \\n ROTTOVICH \\n We're clear. \\n Rottovich closes the door and locks it behind him. \\n SOBOZINSKI \\n (still yelling) \\n Or I'll blow off every one of your \\n fucking heads! \\n Sobozinski lets out a bellowing LAUGH.\"\n ],\n [\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \"Gordo is escorted into the room by a BANK OFFICIAL. \\n BANK OFFICIAL \\n We'll let you have a moment. \\n On a small table are neat piles of bundled money, shrink \\n wrapped in plastic. Gordo seems in awe. \\n JAKE (V.O.) \\n We called them Green Twinkies. \\n The Bank Official and Security Guard exit. Gordo holds \\n up a Green Twinkie up to his nose and takes a deep breath.\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \" had an invoice number-- \\n Jake's smile dissolves as he grows a little anxious. \\n JAKE \\n I told you. My wallet was stolen. \\n Please... Check again. \\n Jake takes a nervous look over at Lily, who is drying on \\n earrings with another Salesperson. \\n MR. LEWIS \\n Good luck. Congratulations again. \\n He and Jake shake hands. \\n JAKE \\n Thank you, sir. You know, I hope this\",\n \"As Gillette and his crew disappear into the car, we PAN \\n up to see the front of the building which has a large \\n sign reading, \\\"City Bank of Manhattan; A Gillette Family \\n Company.\\\" \\n CUT TO: \\n INT.- THE EUCLID-- RESUMING \\n Jake looks over the crew, who are less than convinced. \\n GORDO \\n How much we going after? \\n JAKE \\n Two million. \\n Miles lets out a whistle. \\n \\n\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \" much like that idea. Then again, let's \\n suppose he actually gets through \\n Customs. Now, that'll be something. \\n We recover the money in cash and let \\n the insurance cover the corporate fraud. \\n We double our money. \\n \\n \\n (CONTINUED) \\n \\n 110. \\n CONTINUED: \\n BUTCH \\n So we go to the bar. \\n GILLETTE\",\n \" We have work. It pays a lot. Unless \\n you figure on getting rich lifting \\n wallets while old guys feel you up. \\n LILY \\n Oooh. Sassy. What do you care who \\n feels me up, Jake? Unless it kinda \\n gotcha going. Did it, Jake? Getcha \\n going? \\n Lily saunters to Jake with a seductive grin. \\n Jake may be aware that he's stopped breathing.\",\n \"Ashby leafs through the money in the envelope. \\n ASHBY \\n Let's just slow down for a second... \\n JAKE \\n You're worried about recouping the loan. \\n I already told you. \\n ASHBY \\n No, I understand that. What I mean... \\n What I'm trying to say... I was \\n actually wondering about... \\n Well, my cut.\",\n \"A dive furnished with a few mismatched chairs and a bar. \\n A single overweight PATRON sits at a corner table with \\n face buried in his hands as he WHIMPERS. Jake and, Lionel \\n Dolby pass him as they emerge from a back hallway. \\n MILES, late 20's, wipes blood off the bar. Placed at the \\n edge of the bar are two briefcases, both open, both filled \\n with neat stacks of blood splattered money.\",\n \" Just go wherever it is you would go. \\n It's over. \\n Lily looks around the room. No one seems to be backing \\n her up. \\n LILY \\n What about... \\n JAKE \\n What about what? \\n LILY \\n What about the money? \\n Jake stops and levels a look at Lily. \\n JAKE \\n So there it is. You got that big itch \\n you need to scratch. It's all about\",\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \" He'll find us. We go talk to him. \\n GORDO \\n Whoa. What? \\n MILES \\n We're going to give him the money back? \\n JAKE \\n You know what we're doing with the money. \\n GORDO \\n And what about Big Al? \\n JAKE \\n Leave him. Someone's going to find him \\n eventually. Then they'll start looking \\n for us, too.\",\n \" our office. Our Power Point. \\n Gordo and Miles start unloading the same neat stacks of \\n money from their pockets. It's not as much as Jake put \\n in. \\n JAKE \\n That's it? \\n \\n \\n MILES/GORDO \\n Bills.../Had that thing... \\n Shaking his head, Jake seals the Fed--Ex box, then hands \\n the form to Miles and. Picks up the phone.\",\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \" (CONTINUED) \\n \\n 31. \\n CONTINUED: \\n Dolby eyes the briefcases of money. \\n DOLBY \\n What about... The money? \\n JAKE \\n (turns back to CAMERA) \\n Then there it is again... That little \\n itch. There's a guy holding a smoking \\n gun, a guy bleeding all over the floor \\n and still, all you can think about is\",\n \" the fucking money. What do you want, \\n an apology? \\n LILY \\n No, I want my cut! \\n JAKE \\n I'm going to say this one last time for \\n You, so take a deep breath and count to \\n ten. There is no cut. \\n Lily levels a look of utter contempt at Jake. \\n LILY \\n You're an asshole. \\n With that, she grabs her coat and leaves.\",\n \" the money. You twisted fuck. So we \\n gotta give you the \\\"Blow-off\\\". We make \\n sure that you never, ever want to look \\n for us again. We get you off our backs. \\n Forever. \\n Jake stops for a second and listens... He points over his \\n shoulder and on cue A POLICE SIREN WAILS in the distance. \\n JAKE \\n And that's why you need the \\\"Fix\\\"... \\n Dolby bolts for the door without the money.\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\"\n ],\n [\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" KING PIN \\n Let me repeat-- Why not? \\n JAKE \\n Because you killed one of my crew. \\n KING PIN \\n Buddy, that was business. Besides, you \\n have more crew. Then there's you... \\n JAKE \\n I'll get the money back, plus interest. \\n I go on the grift for you. You get a \\n cat, I get a cut. And we get square. \\n KING PIN\",\n \" KING PIN \\n Grifters... Always working an angle. \\n Alright. I can see you got some vision. \\n But I give you the Mark. I tell you \\n the who and you give me the how. Lupus \\n go with him. \\n Lupus snaps to attention. \\n LUPUS \\n What? \\n KING PIN \\n Consider him part of your crew. \\n Consider him a part of me.\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \"The others exchange greetings with Suits who moves over \\n to Lupus and studies his loud sweatsuit. \\n JAKE (V.O.) \\n Back in the day, Suits made money \\n running fight stores and the wire with \\n a Fix so tight it was like a legit \\n business. I never understood what the \\n point was if grifting became like a \\n regular job. \\n JAKE \\n We need wardrobe.\",\n \" We have work. It pays a lot. Unless \\n you figure on getting rich lifting \\n wallets while old guys feel you up. \\n LILY \\n Oooh. Sassy. What do you care who \\n feels me up, Jake? Unless it kinda \\n gotcha going. Did it, Jake? Getcha \\n going? \\n Lily saunters to Jake with a seductive grin. \\n Jake may be aware that he's stopped breathing.\",\n \"As Gillette and his crew disappear into the car, we PAN \\n up to see the front of the building which has a large \\n sign reading, \\\"City Bank of Manhattan; A Gillette Family \\n Company.\\\" \\n CUT TO: \\n INT.- THE EUCLID-- RESUMING \\n Jake looks over the crew, who are less than convinced. \\n GORDO \\n How much we going after? \\n JAKE \\n Two million. \\n Miles lets out a whistle. \\n \\n\",\n \" Literally. It's not a bad deal, \\n gentleman. I get peace of mind. You \\n get Detective Sheilds. But this is the \\n best part, Walter... Walter, your \\n daughter will get to keep her braces \\n and have that winning smile. Capice? \\n Rottovich and Sobozinski remain silent. \\n MOONAN \\n Good. One more thing... You gotta give \\n up the booty. I can't have you guys\",\n \" Because that's who the King Fin wants \\n us to fleece. And Gillette's perfect... \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \\n A circle of BUSINESS MEN sitting at a conference table. \\n JAKE (V.O.) \\n His grandfather used to run liquor \\n during prohibition and his father made \\n a bundle in illegal importing and \\n exporting. That makes him a third\",\n \" You guy's are not working with me here. \\n I just got off the phone with my boss. \\n After he got done ripping me a new \\n Lincoln Tunnel size asshole, he let me \\n know exactly how little I'm welcome \\n back if we come up short. And now here \\n you guys are, WASTING MY FUCKING TIME! \\n Moonan kicks a chair across the floor. \\n ROTTOVICH \\n Like we told you before, we think he's\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \"EXT. - CITY BANK OF NEW YORK DAY \\n A flood of people exit the bank at the end of the day. \\n Jake, Lupus, Lily, Miles and Gordo wait by the side of \\n the building. Miles reads off a piece of paper. \\n JAKE (V.O.) \\n What you're looking for in a mark is \\n someone who's weakness you can exploit. \\n MILES \\n Michelle Strigo. Loan officer.\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\"\n ],\n [\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" Have a little faith in him, honey. \\n Butch, see if you can get him to tell \\n you how he did it. Or almost did it. \\n Sounds like a good story. \\n BUTCH \\n I' ll ask. \\n Gillette picks up an APPLE from a bowl in his desk... The \\n oldest con. \\n GILLETTE \\n Apple? \\n CUT TO: \\n \\n 111. \\n \\n\",\n \" LUPUS \\n I'm the King's eyes and ears. Just in \\n case you decide to get cute. \\n MILES \\n So we gotta short con our way out of a \\n hundred and fifty grand? That could \\n only take like, a year. \\n JAKE \\n No. Big con. One rag. One rag and we \\n get out from under all this. But we \\n need another Shill. \\n MILES\",\n \" (turns 'to face CAMERA) \\n Frankie Suits always said, that what \\n you have to understand about any \\n confidence game, is that it's like \\n putting on a play where everyone knows \\n their part... The Roper, the \\n Insideman, the Shills... Everyone \\n except for the Mark. \\n Gordo lying in a pool of blood... \\n GORDO \\n (while playing dead) \\n I've been shot. Oh. The humanity.\",\n \" just should have just trusted her to \\n play her part. Because playing the big \\n con is like putting on a play. A play \\n where everyone knows their part except \\n for the Mark... \\n CUT TO: \\n (FLASHBACK) INT.- DINER \\n Jake sits with Lily, Miles and Gordo crammed into a \\n booth. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 118.\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"EXT. - CITY BANK OF NEW YORK DAY \\n A flood of people exit the bank at the end of the day. \\n Jake, Lupus, Lily, Miles and Gordo wait by the side of \\n the building. Miles reads off a piece of paper. \\n JAKE (V.O.) \\n What you're looking for in a mark is \\n someone who's weakness you can exploit. \\n MILES \\n Michelle Strigo. Loan officer.\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"Miles points out a woman crisply dressed in a suit, \\n MICHELLE STRIGO. They follow her down the street. \\n JAKE (V.O.) \\n Guy like me, with people like that... \\n I'll tell you what you're looking for \\n without even meeting you. It's like a \\n personal ad you wear over your head. \\n Jake watches as she hails a cab. A MAN, also hailing a \\n cab goes for the same one. Michelle gets into a screaming\",\n \" Haven't you ever had someone say they \\n had a good feeling about you before? \\n Lily studies Jake's face for any hint of sarcasm. None. \\n LILY \\n No. \\n (beat) \\n What's my cut? \\n JAKE \\n You get an equal cut. \\n LILY \\n What do I have to do? \\n JAKE \\n Just play a part. A little acting.\",\n \"black revolver with bullets. \\n JAKE \\n Doesn't matter what the con is. \\n Insider trading, a line we got on a \\n bookie club, insurance scam, \\n whatever... You saw the money and you \\n want it. More of it. Who cares if you \\n have to bend the rules a little? As \\n long as no one gets hurt. \\n Jake spins the gun cylinder then SLAPS it closed, pointing\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \" your wife and daughter at the same time. \\n It's too late for you... \\n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \\n the nervous mark from the earlier con. \\n JAKE (V.O.) \\n I have your confidence. \\n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \\n Jake smiles back. He puts his drink down, then takes the\",\n \" Because that's who the King Fin wants \\n us to fleece. And Gillette's perfect... \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \\n A circle of BUSINESS MEN sitting at a conference table. \\n JAKE (V.O.) \\n His grandfather used to run liquor \\n during prohibition and his father made \\n a bundle in illegal importing and \\n exporting. That makes him a third\",\n \" JAKE (V.O.) \\n Same thing with playing a con. You \\n have to be able to see that deep. \\n ASHBY \\n Jake? Right. Uh-huh... Uh-huh... Yeah, \\n it's going through-- \\n INSERT SHOT- ECU of Ashby's finger on the \\\"Enter\\\" key. \\n ASHBY (coat' d) \\n Now. \\n Ashby hangs up and checks over his shoulder.\"\n ],\n [\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \"Lily rumages in the closet and a baseball bat. She hefts \\n the bat and takes a stance in front of the door. \\n More KNOCKING. \\n LILY \\n HOLD ON! \\n Another KNOCK. Lily slowly reaches for the doorknob. \\n Then the door flies open with a CRASH. Harlin fills the \\n doorway. \\n HARLIN \\n The King would like to have a word \\n with you.\",\n \" and start rubbing me down or anything, \\n are you? \\n The King smiles and begins to take off his shirt. Harlin \\n and Lupus share an uncomfortable glance. \\n The King strips down to the waist and reveals an incredibly \\n large, incredibly round stomach which he SLAPS loudly. \\n KING PIN \\n Come here. Feel this. \\n JAKE \\n No thanks. I'm good. \\n KING PIN \\n Come here!\",\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \"Lupus start to head off. \\n JAKE \\n Lupus! \\n Lupus turns and Jake moves closer. \\n JAKE (cont'd) \\n When this is all over, you're going to \\n tell me who the King put on Al. \\n LUPUS \\n You going to have the time? \\n JAKE \\n I'11 find the time. \\n Lupus nods and heads off. Jake watches them go.\",\n \"The King grabs Jake's hand and puts it on his stomach. \\n It just got weirder. \\n Now the whole gym has stopped, everyone focused on Jake \\n and the King Pin. \\n \\n (CONTINUED) \\n \\n 50. \\n CONTINUED: \\n LILY \\n You guys are freaking me out. \\n KING PIN \\n Shut up. Feel that? That's solid\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \"black suit. Behind him is LUPUS (late-20's), dressed in \\n a sweatsuit a pilot could spot from 20,000ft. \\n LUPUS \\n Mr. Dolby. King would like a word with \\n you. \\n LIONEL \\n R-r-right now? \\n LUPUS \\n Please. We have a car waiting. I \\n apologize for the door. \\n CUT T0:\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \"robe is THE KING PIN. His large body is less fat than \\n just big, constructed of circles and topped off with the \\n baldest head you've ever seen. \\n A MANICURIST sits next to the King Pin working on his \\n nails. \\n \\n \\n \\n (CONTINUED) \\n \\n 20. \\n CONTINUED: \\n KING PIN \\n Ow! Watch the pinkie!\",\n \"Lily's hand moves down Jake's arm until it finds his hand. \\n LILY \\n You have really soft hands. Like a \\n baby's. \\n JAKE \\n (remembering the King) \\n Don't ruin this for me. \\n They roll off the bed onto the floor, a naked tangle of \\n arms and legs, their hands still entwined. \\n CUT TO: \\n EXT. - BACK ALLEY NIGHT (PRESENT)\",\n \"A police car comes to a stop in front. Rottovich and \\n Sobozinski in the front seats. Jake gets out of the back. \\n SOBOZINSKI \\n The King, huh? Nice going. \\n JAKE \\n I try. \\n ROTTOVICH \\n Don't dick around too long. And if he \\n stabs you or shoots you or causes any \\n other form of profuse bleeding, call a \\n cab because you are not getting back in\",\n \" muscle. Not an ounce of fat. Go ahead. \\n Punch it. \\n JAKE \\n I am not going-- \\n The King starts to get that look again. \\n Jake winds up and punches the King in the stomach. He \\n shakes his fist in pain. \\n KING PIN \\n Come on. Harder. \\n JAKE \\n I think I just broke my hand. \\n KING PIN\",\n \"Lupus sits quietly, taking it all in. \\n GORDO \\n So that's it... \\n JAKE \\n That's it. \\n \\n \\n (CONTINUED) \\n \\n 92. \\n CONTINUED: \\n LUPUS \\n King ain't gonna like this. \\n JAKE \\n Don't worry, I'll settle up with your\",\n \" chicken delivered to the King with a \\n nice kiss my ass card attached to it. \\n Then we woulda moved on `til the next \\n local putz caught on. \\n JAKE \\n We're getting a little old for \\n running. \\n MILES \\n Yeah, well we're still a little young \\n for Albany State Prison. Are you pissed \\n about Al? I'm pissed too, but I' m not\",\n \"Lupus watches quietly, taking it all in... \\n CUT TO: \\n (FLASHBACK) INT.- THE EUCLID/BATHROOM \\n Lupus on the cellphone to the King... \\n JAKE (V.O.) \\n And like in a game of chess, you've \\n played every possible move in your \\n head... \\n LUPUS \\n You were right. He's trying to fuck \\n you. You want it, you gotta get it at\",\n \" Do you think we can do it? \\n Jake resumes kissing Lily's neck, trying to rekindle some \\n of last night's magic. \\n JAKE \\n Maybe. Even if we don't, you'll be \\n alright. You're not in the hole with \\n the King. \\n Lily rolls away from Jake. Undaunted, Jake starts kissing \\n her back. \\n LILY \\n Who says you have to know the King to\",\n \" Harder. Remember, I killed your buddy. \\n Jake's demeanor changes as he winds up and hits the King \\n as hard as he can. The King just smiles. \\n KING PIN (cont'd) \\n All muscle. \\n The King then hits Jake back in the gut with surprising \\n speed. Jake falls to his knees, but the King's right \\n there. With one arm he pulls Jake up and starts to pummel \\n him in the stomach with an unbridled visciousness.\",\n \" LUPUS \\n I'm the King's eyes and ears. Just in \\n case you decide to get cute. \\n MILES \\n So we gotta short con our way out of a \\n hundred and fifty grand? That could \\n only take like, a year. \\n JAKE \\n No. Big con. One rag. One rag and we \\n get out from under all this. But we \\n need another Shill. \\n MILES\"\n ],\n [\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \" Then I gotta say, in my opinion, you \\n can't get what you want. \\n Jake considers those words for a moment. \\n JAKE \\n Yes I can. \\n Suits guages the seriousness in Jake's face and nods. \\n The he gently rests his hands on the papers. \\n \\n \\n \\n (CONTINUED) \\n \\n 57. \\n CONTINUED: \\n SUITS \\n Still time.\",\n \" your wife and daughter at the same time. \\n It's too late for you... \\n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \\n the nervous mark from the earlier con. \\n JAKE (V.O.) \\n I have your confidence. \\n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \\n Jake smiles back. He puts his drink down, then takes the\",\n \" BULLSHIT! You were scared, Jake! You - \\n Lost your nerve! You lost your \\n confidence! You weren't being noble. \\n You weren't trying to save anybody but \\n yourself! Admit it. \\n JAKE \\n It's not true. \\n BUTCH \\n Yes it is Jake! Yes it is! They were \\n right there for you. She was right \\n there for you! Look at her!\",\n \"A change comes over Jake. It's subtle-- Posture, facial \\n expressions, a slight tug of an accent-- but it's there. \\n JAKE \\n Mr. Lewis? \\n Mr. Lewis turns and looks at Jake. There's no real hint \\n of recognition, but Jake's smiling up at him like an old \\n friend. \\n JAKE \\n It is you. Hello! \\n Jake extends his hand. \\n MR. LEWIS \\n Sorry, I--\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \" JAKE (V.O.) \\n Then we disappear. \\n As he walks away, WE SEE some PEOPLE MATERIALIZE carrying \\n luggage... Then a FEW CARS... Then an AIRLINE REP... \\n Gradually more and more people and cars, each MATERIALIZING \\n into a normal scene at the airport until we lose Jake in \\n the crowd. \\n CUT TO: \\n INT.- THE EUCLID- RESUMING\",\n \" guy was, but he was so pissed off at \\n him, he gets him drilled. It ain't \\n personal. It's business. \\n JAKE \\n Point, Lupus. Give us a point. \\n LUPUS \\n Point is, you don't go through with \\n this, he's going to go after you next. \\n And he don't even like you, Jake. \\n Lupus stares blankly at Jake.\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" JAKE (V.O.) \\n Same thing with playing a con. You \\n have to be able to see that deep. \\n ASHBY \\n Jake? Right. Uh-huh... Uh-huh... Yeah, \\n it's going through-- \\n INSERT SHOT- ECU of Ashby's finger on the \\\"Enter\\\" key. \\n ASHBY (coat' d) \\n Now. \\n Ashby hangs up and checks over his shoulder.\",\n \"Jake sits with Miles and Lupus at a table in the otherwise \\n empty bar. \\n MILES \\n He should be landing in the Caymens \\n about now. The Custom's guy is ready \\n right? \\n Jake stares off into space, absentmindedly flipping a \\n penny in his hand. \\n JAKE \\n Feeling lucky today, Miles. Found a \\n penny-- Heads up. There was an empty \\n cab right outside my building. We hit\",\n \" 121. \\n CONTINUED: \\n \\n \\n Jake emerges from .the back alley, his shirt ripped and \\n splattered with fake blood. \\n JAKE (V.O.) \\n No one's going to ask me: \\n A black car comes to a stop n front of him. The tinted \\n glass slides down and Jake leans in. \\n JAKE \\n Drop something? \\n Inside we see Moonan and Lily riding in the back, Miles\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \"black revolver with bullets. \\n JAKE \\n Doesn't matter what the con is. \\n Insider trading, a line we got on a \\n bookie club, insurance scam, \\n whatever... You saw the money and you \\n want it. More of it. Who cares if you \\n have to bend the rules a little? As \\n long as no one gets hurt. \\n Jake spins the gun cylinder then SLAPS it closed, pointing\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \" I gotta tell you, I was pretty \\n convinced that the whole thing before \\n was blowing her off for her cut. You \\n know how it is, get her to do some \\n shit for you, throw her a bang to keep \\n her happy. But, if you're into her... \\n That's cool. \\n JAKE \\n That's what I like about you, Lupus. \\n You're a free thinker. Don't let the \\n King tell you different.\"\n ],\n [\n \"ANGLE ON the teller window-- A check is pushed to Gordo. \\n JAKE (V.O.) \\n ...They stick. \\n Gordo shakes the Loan Officer's hand and calmly walks \\n towards the door. \\n CUT TO: \\n EXT.- LAYMEN ISLANDS/STREET DAY \\n Gordo walks across the street with the suitcase and pulls \\n a cell phone from his pocket. \\n GORDO \\n First and ten.\",\n \" (CONTINUED) \\n \\n 101. \\n CONTINUED: \\n Gordo hangs up without another word. He approaches a \\n building with the words \\\"BANK OF THE CAYMENS\\\" engraved \\n over the brass handled doors. \\n CUT TO: \\n INT.- BANK OF THE CAYMENS- DAY \\n Gordo approaches the teller window with the check in hand. \\n JAKE (V.O.)\",\n \" CUT TO: \\n EXT.- CAYMEN ISLANDS/STREET- DAY \\n The Security Guard holds open the door as Gordo exits, \\n suitcase in tow. Gordo takes his cell phone out as he \\n moves across the street. \\n GORDO \\n We got Twinkies. \\n Gordo pockets the phone and disappears into the crowd. \\n CUT TO: \\n INT.-- THE EUCLID- SAME\",\n \" Gordo was making the withdrawal from \\n the Grand Laymen's Bank. \\n Gordo stands in front of a Teller. She reads off a paper \\n then does a double take at Gordo, who smiles back. \\n JAKE (V. O. ) \\n They check the papers... \\n Gordo slides a folder of corporate papers along with his \\n photo ID towards the Teller. \\n We follow the teller as she hands the papers to the \\n OFFICIOUS LOAN OFFICER.\",\n \"he gets up, wheeling a nondescript BLACK SUITCASE. \\n Across the street sits the Grand Caymen's Bank in all \\n it's pastel and brass glory. \\n CUT TO: \\n INT.-- GRAND LAYMEN'S BANK- DAY \\n Gordo moves across the lobby of the bank to the back of a \\n line at the Teller windows wheeling the black suitcase. \\n JAKE (V.O.)\",\n \"Gordo is escorted into the room by a BANK OFFICIAL. \\n BANK OFFICIAL \\n We'll let you have a moment. \\n On a small table are neat piles of bundled money, shrink \\n wrapped in plastic. Gordo seems in awe. \\n JAKE (V.O.) \\n We called them Green Twinkies. \\n The Bank Official and Security Guard exit. Gordo holds \\n up a Green Twinkie up to his nose and takes a deep breath.\",\n \"Gordo lays the suitcase on the desk: The Customs Officer \\n looks nervously in both directions before waving Gordo \\n through. \\n Moonan follows at a safe distance as Gordo clears \\n Customs. \\n CUT TO: \\n INT.- CAR- SAME \\n Rottovich and Sobozinski check their guns. \\n MOONAN (O.S.) \\n He's headed towards the eastern most \\n exit. Do not, under any circumstances\",\n \" Then he had to bang it out across the \\n street at the Bank of the Caymens... \\n GORDO \\n I'd like this cashed, please. \\n ANOTHER TELLER looks at the check then back up at Gordo. \\n GORDO (cont'd ) \\n I also need to deduct a certain amount \\n and deposit it into this account number. \\n Gordo takes another piece of paper and slides it to the \\n Teller.\",\n \"An envelope stuffed with cash MATERIALIZES on the desk \\n next to Ashby. \\n CUT TO: \\n EXT . -- CAYMEN ISLANDS--DAY \\n Crystal clear water gently rolls onto a white beach. \\n JAKE (V.O.) \\n Our guy gets us approved for the start \\n up capital. But, the money can't be \\n transferred to any one person. On the \\n given day, the money's wired into a\",\n \" our office. Our Power Point. \\n Gordo and Miles start unloading the same neat stacks of \\n money from their pockets. It's not as much as Jake put \\n in. \\n JAKE \\n That's it? \\n \\n \\n MILES/GORDO \\n Bills.../Had that thing... \\n Shaking his head, Jake seals the Fed--Ex box, then hands \\n the form to Miles and. Picks up the phone.\",\n \" more of a liability than a commodity. \\n Especially to us. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 100. \\n CONTINUED: \\n JAKE \\n (into phone) \\n Go. \\n CUT TO: \\n EXT.- CAYMEN ISLANDS/CAFE- SAME \\n Gordo listens into a cell phone: Without saying a word,\",\n \" He'll find us. We go talk to him. \\n GORDO \\n Whoa. What? \\n MILES \\n We're going to give him the money back? \\n JAKE \\n You know what we're doing with the money. \\n GORDO \\n And what about Big Al? \\n JAKE \\n Leave him. Someone's going to find him \\n eventually. Then they'll start looking \\n for us, too.\",\n \"hands the envelope back to Gordo. \\n JAKE (V.O. ) \\n That`s when I put you on the \\\"Send.\\\" \\n You put in -a little, you got a little. \\n Put in a lot... I \\\"send\\\" you out for \\n mare. As much as you can get. \\n CUT TO: \\n INT. - JAKE'S APARTMENT- NIGHT \\n Jake stands TALKING DIRECTLY TO CAMERA, loading a big,\",\n \" of money. You get it? It's over. We \\n walk. \\n GORDO \\n Jake-- \\n JAKE \\n What do I always tell you guys? Don't \\n spend it all. Sooner or later we're \\n going to run into some bad luck. Save \\n some. Put it away, so when shit like \\n this happens, you're not desperate. \\n That's it. The gig's up. \\n LILY\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \"INT.- AIRPORT/TERMINAL HALLWAY- NIGHT \\n We follow Gordo as he wheels the black suitcase down the \\n long corridor towards the Customs Desk. \\n Moonan spots Gordo and speaks into his wrist. \\n MOONAN \\n I got him. \\n ANGLE ON THE CUSTOMS DESK \\n A few TRAVELERS quickly move past the desk. Gordo \\n approaches a CUSTOMS OFFICER.\",\n \" 14. \\n CONTINUED: \\n GORDO \\n It gets worse. Now I know why he was \\n such a good rope. X mean, cash.... \\n That much and we never had to put him \\n on the \\\"Send?\\\" Turns out this ducking \\n Moe was an accountant for the King Pin. \\n Gordo throws Jake a hard look, letting the news sink in. \\n Jake can only slump back into the booth.\",\n \" (CONTINUED) \\n \\n 15. \\n CONTINUED: \\n GORDO (cont'd) \\n Does he tell him that he cashed in a \\n fucking Bar Mitzvah bond? Does he tell \\n him he's been giving head out back for \\n twenty bucks a pop? No... He starts \\n going on about this job he just pulled \\n and how he fleeced some Wall Street\",\n \"CONTINUED: \\n Lupus nods, satisfied. \\n CUT TO: \\n (FLASHBACK) INT.- CUSTOMS DESK \\n Gordo hoists the suitcase onto the desk. The Customs \\n Officer looks around nervously. We see he's looking at \\n Moonan in the B.G., who gives him a nod. \\n JAKE (V.O.) \\n Like Suits said, sooner or later \\n someone's going to start asking the\",\n \"Moonan sits a safe distance away from an area marked \\n \\\"Customs\\\". Behind a large table, a few CUSTOMS OFFICERS \\n in white shirts mill around. \\n Moonan speaks into a mic hidden in his sleeve. \\n MOONAN \\n Stay sharp. \\n Moonan keeps his eyes on the Customs desk. \\n CUT TO: \\n INT . - JET- NIGHT \\n Gordo sits squashed in the window seat, next to a VERY \\n HEAVYSET COUPLE.\"\n ],\n [\n \"head, sending him to the ground. Jake straddles Lupus \\n and raises the phone for the last whack. \\n We HEAR A LOUD CLICK. \\n Jake stops and the two slowly get up. As they stand, we \\n can see that Lupus has the barrel of a small gun in \\n Jake's mouth. \\n Jake shuts his eyes tight, still holding the phone. Which \\n just then, RINGS. \\n Jake opens his eyes and looks at the phone. Then to Lupus,\",\n \" I'll shoot your dog... All the usual. \\n Then he said good luck. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 95. \\n CONTINUED: \\n A FLAPPING SOUND catches Jake and Lupus's attention. A \\n WHITE PIGEON sits on the frame of an open window. \\n JAKE \\n Aww, shit! \\n CUT TO:\",\n \"Lupus sits quietly, taking it all in. \\n GORDO \\n So that's it... \\n JAKE \\n That's it. \\n \\n \\n (CONTINUED) \\n \\n 92. \\n CONTINUED: \\n LUPUS \\n King ain't gonna like this. \\n JAKE \\n Don't worry, I'll settle up with your\",\n \"Lupus watches quietly, taking it all in... \\n CUT TO: \\n (FLASHBACK) INT.- THE EUCLID/BATHROOM \\n Lupus on the cellphone to the King... \\n JAKE (V.O.) \\n And like in a game of chess, you've \\n played every possible move in your \\n head... \\n LUPUS \\n You were right. He's trying to fuck \\n you. You want it, you gotta get it at\",\n \"Lupus start to head off. \\n JAKE \\n Lupus! \\n Lupus turns and Jake moves closer. \\n JAKE (cont'd) \\n When this is all over, you're going to \\n tell me who the King put on Al. \\n LUPUS \\n You going to have the time? \\n JAKE \\n I'11 find the time. \\n Lupus nods and heads off. Jake watches them go.\",\n \"Jake seems to be reeling with the information. \\n JAKE \\n Egg Foo Young. \\n (standing) \\n Stand up. \\n LUPUS \\n What? \\n JAKE \\n Stand up. \\n LUPUS \\n (laughing) \\n No offense, but I've seen you fight. \\n You gotta be kidding m- \\n Jake's sends a fist flying right into Lupus' mouth, \\n knocking him over.\",\n \"SLAM!!!-- Blood splatters across the front page of the \\n Metro Section. The paper falls away revealing Jake, wide- \\n eyed, the gun hanging from his mouth. \\n Lupus lies in a heap at the floor. \\n \\n 115. \\n \\n \\n CONTINUED: \\n Jake lets the gun fall and Looks up to see Butch, standing \\n at the door, gun in hand. \\n Lily steps out from behind him. \\n JAKE (V.O.)\",\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \"A LOUD THUMPING NOISE... Jake has Lupus by the hair as he \\n rams his head repeatedly into the bar. Jake then gets \\n him into a headlock. \\n Lupus snaps his head back and butts Jake in the nose, \\n sending him staggering back. \\n CUT TO: \\n \\n \\n (CONTINUED) \\n \\n 113. \\n CONTINUED:\",\n \" guy was, but he was so pissed off at \\n him, he gets him drilled. It ain't \\n personal. It's business. \\n JAKE \\n Point, Lupus. Give us a point. \\n LUPUS \\n Point is, you don't go through with \\n this, he's going to go after you next. \\n And he don't even like you, Jake. \\n Lupus stares blankly at Jake.\",\n \" HE GOT CAUGHT! Your boss tried to pull \\n a switch and he got us all fucking \\n pinched! \\n Lupus picks up the phone and dials another number... No \\n answer. \\n LUPUS \\n Shit. \\n Lupus cocks the gun and crams it back into Jake's mouth. \\n JAKE \\n Aaaaiiit!!! Ooopusss!! \\n Lupus takes a newspaper off the bar and covers Jake's \\n face with it.\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \"black suit. Behind him is LUPUS (late-20's), dressed in \\n a sweatsuit a pilot could spot from 20,000ft. \\n LUPUS \\n Mr. Dolby. King would like a word with \\n you. \\n LIONEL \\n R-r-right now? \\n LUPUS \\n Please. We have a car waiting. I \\n apologize for the door. \\n CUT T0:\",\n \" CUT TO: \\n INT. - THE EUCLID BAR- SAME \\n Jake drops the phone and looks at Lupus. \\n LUPUS \\n What happened? \\n JAKE \\n (w/ the gun still in \\n his mouth) \\n Eee Oott Auught! \\n LUPUS \\n (pulling the gun out) \\n Sorry. What? \\n JAKE\",\n \"lurch forward-- \\n SOBOZINSKI \\n (pulling his gun) \\n Back up. \\n LUPUS \\n You want I should hold him down? \\n \\n \\n \\n (CONTINUED) \\n \\n 86. \\n CONTINUED: \\n Gordo throws Lupus a look. \\n ROTTOVICH \\n Special Agent Gunther Moonan. Ring a \\n bell?\",\n \" I gotta tell you, I was pretty \\n convinced that the whole thing before \\n was blowing her off for her cut. You \\n know how it is, get her to do some \\n shit for you, throw her a bang to keep \\n her happy. But, if you're into her... \\n That's cool. \\n JAKE \\n That's what I like about you, Lupus. \\n You're a free thinker. Don't let the \\n King tell you different.\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \"Lupus nods, satisfied. \\n GORDO \\n Moonan. Here. Shit... \\n LILY \\n So what? We just stay clear of him. \\n Jake gets up, hard enough to knock the chair over. \\n LILY \\n Jesus... Take it easy. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 90. \\n CONTINUED: \\n JAKE\",\n \"Jake hangs up... \\n JAKE \\n He's wheeling around two million dollars \\n in cash and he wants to stop to use the \\n bathroom. You believe this? \\n LUPUS \\n Maybe he's got it right. Maybe we're \\n all just looking for a safe place to \\n shit. \\n JAKE \\n That was fucking deep. \\n Lupus gets up and heads for the bathroom again. \\n CUT TO:\",\n \" Y-y-you fucking shot him! That's what \\n happened! \\n JAKE \\n I had to! That motherfucker was about \\n to welch! You saw what he was doing, \\n right? You heard him! \\n Lionel starts shaking his head spastically. \\n LIONEL \\n I can't be here! You understand? I \\n can' t-- \\n JAKE \\n Listen to me! It went to shit. It\"\n ],\n [\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" just should have just trusted her to \\n play her part. Because playing the big \\n con is like putting on a play. A play \\n where everyone knows their part except \\n for the Mark... \\n CUT TO: \\n (FLASHBACK) INT.- DINER \\n Jake sits with Lily, Miles and Gordo crammed into a \\n booth. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 118.\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" (turns 'to face CAMERA) \\n Frankie Suits always said, that what \\n you have to understand about any \\n confidence game, is that it's like \\n putting on a play where everyone knows \\n their part... The Roper, the \\n Insideman, the Shills... Everyone \\n except for the Mark. \\n Gordo lying in a pool of blood... \\n GORDO \\n (while playing dead) \\n I've been shot. Oh. The humanity.\",\n \" Have a little faith in him, honey. \\n Butch, see if you can get him to tell \\n you how he did it. Or almost did it. \\n Sounds like a good story. \\n BUTCH \\n I' ll ask. \\n Gillette picks up an APPLE from a bowl in his desk... The \\n oldest con. \\n GILLETTE \\n Apple? \\n CUT TO: \\n \\n 111. \\n \\n\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \" your wife and daughter at the same time. \\n It's too late for you... \\n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \\n the nervous mark from the earlier con. \\n JAKE (V.O.) \\n I have your confidence. \\n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \\n Jake smiles back. He puts his drink down, then takes the\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" Literally. It's not a bad deal, \\n gentleman. I get peace of mind. You \\n get Detective Sheilds. But this is the \\n best part, Walter... Walter, your \\n daughter will get to keep her braces \\n and have that winning smile. Capice? \\n Rottovich and Sobozinski remain silent. \\n MOONAN \\n Good. One more thing... You gotta give \\n up the booty. I can't have you guys\",\n \" LUPUS \\n I'm the King's eyes and ears. Just in \\n case you decide to get cute. \\n MILES \\n So we gotta short con our way out of a \\n hundred and fifty grand? That could \\n only take like, a year. \\n JAKE \\n No. Big con. One rag. One rag and we \\n get out from under all this. But we \\n need another Shill. \\n MILES\",\n \" 121. \\n CONTINUED: \\n \\n \\n Jake emerges from .the back alley, his shirt ripped and \\n splattered with fake blood. \\n JAKE (V.O.) \\n No one's going to ask me: \\n A black car comes to a stop n front of him. The tinted \\n glass slides down and Jake leans in. \\n JAKE \\n Drop something? \\n Inside we see Moonan and Lily riding in the back, Miles\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \" HE GOT CAUGHT! Your boss tried to pull \\n a switch and he got us all fucking \\n pinched! \\n Lupus picks up the phone and dials another number... No \\n answer. \\n LUPUS \\n Shit. \\n Lupus cocks the gun and crams it back into Jake's mouth. \\n JAKE \\n Aaaaiiit!!! Ooopusss!! \\n Lupus takes a newspaper off the bar and covers Jake's \\n face with it.\",\n \"CONTINUED: \\n Lupus nods, satisfied. \\n CUT TO: \\n (FLASHBACK) INT.- CUSTOMS DESK \\n Gordo hoists the suitcase onto the desk. The Customs \\n Officer looks around nervously. We see he's looking at \\n Moonan in the B.G., who gives him a nod. \\n JAKE (V.O.) \\n Like Suits said, sooner or later \\n someone's going to start asking the\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \" If we find out you're keeping us out, I \\n may suddenly develope a conscious and \\n give you up to Moonan myself. Say \\n something stupid if we got a deal, \\n Jake. \\n JAKE \\n (gasping for breath) \\n Something stupid. \\n ROTTOVICH \\n Good boy. \\n SOBOZINSKI \\n And don't leave town! \\n (to Rottovich)\",\n \" much like that idea. Then again, let's \\n suppose he actually gets through \\n Customs. Now, that'll be something. \\n We recover the money in cash and let \\n the insurance cover the corporate fraud. \\n We double our money. \\n \\n \\n (CONTINUED) \\n \\n 110. \\n CONTINUED: \\n BUTCH \\n So we go to the bar. \\n GILLETTE\",\n \"Gordo, Miles, Big A1 and Jake watch the race with \\n indifference, surrounded by excited SPECTATORS. \\n JAKE (V.O.) \\n Turns out this local goon was being \\n watched by the Feds, which means we \\n were being watched by the Feds. One in \\n particular. \\n Through the crowd, we catch a glimpse of Moonan, in \\n sunglasses, watching the guys. \\n JAKE (V.O.)\"\n ],\n [\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"A change comes over Jake. It's subtle-- Posture, facial \\n expressions, a slight tug of an accent-- but it's there. \\n JAKE \\n Mr. Lewis? \\n Mr. Lewis turns and looks at Jake. There's no real hint \\n of recognition, but Jake's smiling up at him like an old \\n friend. \\n JAKE \\n It is you. Hello! \\n Jake extends his hand. \\n MR. LEWIS \\n Sorry, I--\",\n \" your wife and daughter at the same time. \\n It's too late for you... \\n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \\n the nervous mark from the earlier con. \\n JAKE (V.O.) \\n I have your confidence. \\n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \\n Jake smiles back. He puts his drink down, then takes the\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"She throws Jake a smile he can't but help return. They \\n stand for a second facing each other before she's whisked \\n away by an OLDER MAN, dressed in an expensive suit. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 11. \\n CONTINUED: \\n Jake's smile fades as he watches her saunter into the \\n bar, but not before she throws him another glance over \\n her shoulder. Jake continues on into...\",\n \"Lupus start to head off. \\n JAKE \\n Lupus! \\n Lupus turns and Jake moves closer. \\n JAKE (cont'd) \\n When this is all over, you're going to \\n tell me who the King put on Al. \\n LUPUS \\n You going to have the time? \\n JAKE \\n I'11 find the time. \\n Lupus nods and heads off. Jake watches them go.\",\n \"Jake sits with Miles and Lupus at a table in the otherwise \\n empty bar. \\n MILES \\n He should be landing in the Caymens \\n about now. The Custom's guy is ready \\n right? \\n Jake stares off into space, absentmindedly flipping a \\n penny in his hand. \\n JAKE \\n Feeling lucky today, Miles. Found a \\n penny-- Heads up. There was an empty \\n cab right outside my building. We hit\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \"Miles pulls up in an old Cadillac, picking up Jake at the \\n entrance. They pick up Gordo and Big Al from a side door \\n and drive off as Moonan limps out of the restaurant, still \\n holding his crotch. \\n CUT TO: \\n INT.- THE EUCLID- DAY (RESUMING) \\n Jake finishes the story to Lupus. \\n JAKE \\n And that's how Special Agent Gunther \\n Moonan and I became friends.\",\n \" JAKE \\n Jake. Jake Pearson. I go to lawschool \\n with your daughter. Carolyn. We met \\n once or twice. \\n Mr. Lewis seems to search for second, then extends his \\n hand more in an effort not to appear rude. \\n MR. LEWIS \\n Of course. Jake. Nice to see you. \\n JAKE \\n Well, it certainly is a coincidence. \\n Here of all places! How is Mrs. Lewis?\",\n \" JAKE \\n I said stand up. \\n CUT TO: \\n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \\n MORGAN GILLETTE sits behind a desk in an ultra modern \\n office, his reptilian like face fixed straight ahead. \\n Butch leans against the wall behind him. \\n JAKE (V.O.) \\n This is probably about where you came \\n in. \\n GILLETTE\",\n \"Gordo, Miles, Big A1 and Jake watch the race with \\n indifference, surrounded by excited SPECTATORS. \\n JAKE (V.O.) \\n Turns out this local goon was being \\n watched by the Feds, which means we \\n were being watched by the Feds. One in \\n particular. \\n Through the crowd, we catch a glimpse of Moonan, in \\n sunglasses, watching the guys. \\n JAKE (V.O.)\",\n \" (CONTINUED) \\n \\n 85. \\n CONTINUED: \\n GORDO \\n You'll be there? \\n JAKE \\n Eight A.M. flight. \\n GORDO \\n Calls? \\n JAKE \\n We'll use the Euc. \\n They pass the glass partitioned conference room. Jake \\n looks inside to see Morgan Gillette holding court with a\",\n \" BULLSHIT! You were scared, Jake! You - \\n Lost your nerve! You lost your \\n confidence! You weren't being noble. \\n You weren't trying to save anybody but \\n yourself! Admit it. \\n JAKE \\n It's not true. \\n BUTCH \\n Yes it is Jake! Yes it is! They were \\n right there for you. She was right \\n there for you! Look at her!\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"A nicer apartment than Jake's. Lionel Dolby, the Mark \\n from the Euclid rushes around, haphazardly throwing \\n things into a suitcase. There's a KNOCK on the door that \\n stops Lionel dead in his tracks. \\n Another KNOCK. Lionel still frozen. \\n The door flies open with a BOOM. In the doorway, we see \\n HARLIN, an older mountain of a man dressed in a plain\",\n \" some time now. Problem is, the guy's \\n the invisible man. A spook, a spectre, \\n a ghost. Then, like a gift, Jake's \\n good buddy and member of his crew, \\n Alfonse Moorely, is found the other day \\n with a hole in his head. \\n \\n (CONTINUED) \\n \\n 44. \\n CONTINUED: \\n Moonan holds up crime scene photos of Big Al's body.\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \" 121. \\n CONTINUED: \\n \\n \\n Jake emerges from .the back alley, his shirt ripped and \\n splattered with fake blood. \\n JAKE (V.O.) \\n No one's going to ask me: \\n A black car comes to a stop n front of him. The tinted \\n glass slides down and Jake leans in. \\n JAKE \\n Drop something? \\n Inside we see Moonan and Lily riding in the back, Miles\"\n ],\n [\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \" the Underworld. A grifter had to survive \\n on his wits, his instincts... I like \\n that. I like the idea of that. \\n These days, things being what they are, \\n guys like me gotta stay low. \\n (MORE) \\n \\n \\n \\n (CONTINUED) \\n \\n 21. \\n CONTINUED: \\n KING PIN (cont' d)\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \" KING PIN \\n Grifters... Always working an angle. \\n Alright. I can see you got some vision. \\n But I give you the Mark. I tell you \\n the who and you give me the how. Lupus \\n go with him. \\n Lupus snaps to attention. \\n LUPUS \\n What? \\n KING PIN \\n Consider him part of your crew. \\n Consider him a part of me.\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"This isn't so bad. Jake almost has to stifle a laugh. \\n KING PIN (cont'd) \\n Every time, you get the pinkie and I \\n get a hang nail. \\n ( to Jake) \\n You Jake? \\n Jake nods and the King motions for the manicurist to \\n leave. \\n KING PIN \\n Grifter huh? Where have you been on \\n the grift? Couldn't been here long\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \"The others exchange greetings with Suits who moves over \\n to Lupus and studies his loud sweatsuit. \\n JAKE (V.O.) \\n Back in the day, Suits made money \\n running fight stores and the wire with \\n a Fix so tight it was like a legit \\n business. I never understood what the \\n point was if grifting became like a \\n regular job. \\n JAKE \\n We need wardrobe.\",\n \" KING PIN \\n Let me repeat-- Why not? \\n JAKE \\n Because you killed one of my crew. \\n KING PIN \\n Buddy, that was business. Besides, you \\n have more crew. Then there's you... \\n JAKE \\n I'll get the money back, plus interest. \\n I go on the grift for you. You get a \\n cat, I get a cut. And we get square. \\n KING PIN\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \" (turns 'to face CAMERA) \\n Frankie Suits always said, that what \\n you have to understand about any \\n confidence game, is that it's like \\n putting on a play where everyone knows \\n their part... The Roper, the \\n Insideman, the Shills... Everyone \\n except for the Mark. \\n Gordo lying in a pool of blood... \\n GORDO \\n (while playing dead) \\n I've been shot. Oh. The humanity.\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \" We have work. It pays a lot. Unless \\n you figure on getting rich lifting \\n wallets while old guys feel you up. \\n LILY \\n Oooh. Sassy. What do you care who \\n feels me up, Jake? Unless it kinda \\n gotcha going. Did it, Jake? Getcha \\n going? \\n Lily saunters to Jake with a seductive grin. \\n Jake may be aware that he's stopped breathing.\",\n \"place between buildings that a reasonable person avoids. \\n We see JAKE VIG, a guy in his late 20's whose fashionable \\n suit and good looks are in obvious contrast to the \\n surroundings-- At first glance, you'd think he could run \\n for Congress some day. At first glance. \\n Jake faces a garbage dumpster on his knees, execution \\n style. His face gives away nothing-- He could be kneeling \\n in a strawberry field. \\n JAKE (V.O.)\",\n \"the crowd, taking a seat alone at the bar. \\n FREEZE FRAME ON ASHBY-- A CGI SIGN appears over his head: \\n \\\"SINGLE MALE seeks end to safety of tedious and solitary \\n lifestyle. Moral and ethical constitution flexible.\\\" \\n JAKE (V.O.) \\n What you're looking for in a mark is \\n someone who's got nothing to lose. No \\n friends, no family, no life. You're\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\"\n ],\n [\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \" the Underworld. A grifter had to survive \\n on his wits, his instincts... I like \\n that. I like the idea of that. \\n These days, things being what they are, \\n guys like me gotta stay low. \\n (MORE) \\n \\n \\n \\n (CONTINUED) \\n \\n 21. \\n CONTINUED: \\n KING PIN (cont' d)\",\n \" KING PIN \\n Grifters... Always working an angle. \\n Alright. I can see you got some vision. \\n But I give you the Mark. I tell you \\n the who and you give me the how. Lupus \\n go with him. \\n Lupus snaps to attention. \\n LUPUS \\n What? \\n KING PIN \\n Consider him part of your crew. \\n Consider him a part of me.\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"This isn't so bad. Jake almost has to stifle a laugh. \\n KING PIN (cont'd) \\n Every time, you get the pinkie and I \\n get a hang nail. \\n ( to Jake) \\n You Jake? \\n Jake nods and the King motions for the manicurist to \\n leave. \\n KING PIN \\n Grifter huh? Where have you been on \\n the grift? Couldn't been here long\",\n \" CUT TO: \\n EXT.- DOG RACETRACK- DAY \\n A BELL... A mechanical rabbit springs forward. Greyhounds \\n bolt out of the gate. \\n JAKE (V.O.) \\n About four years ago, we were working \\n in Miami, turf fixing for some local \\n goon. \\n CUT TO: \\n \\n 88. \\n \\n \\n INT.-- RACETRACK- DAY\",\n \"The others exchange greetings with Suits who moves over \\n to Lupus and studies his loud sweatsuit. \\n JAKE (V.O.) \\n Back in the day, Suits made money \\n running fight stores and the wire with \\n a Fix so tight it was like a legit \\n business. I never understood what the \\n point was if grifting became like a \\n regular job. \\n JAKE \\n We need wardrobe.\",\n \" Have a little faith in him, honey. \\n Butch, see if you can get him to tell \\n you how he did it. Or almost did it. \\n Sounds like a good story. \\n BUTCH \\n I' ll ask. \\n Gillette picks up an APPLE from a bowl in his desk... The \\n oldest con. \\n GILLETTE \\n Apple? \\n CUT TO: \\n \\n 111. \\n \\n\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"buried in his pockets, a knapsack slung over his shoulder. \\n As he gets closer, we see that he's just a KID of about \\n ten or eleven. \\n Rottovich reaches over and pulls off the Kid's hood. \\n SOBOZINSKI \\n You know who we are? \\n KID \\n The heat. \\n \\n (CONTINUED) \\n \\n 26. \\n CONTINUED:\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \" (turns 'to face CAMERA) \\n Frankie Suits always said, that what \\n you have to understand about any \\n confidence game, is that it's like \\n putting on a play where everyone knows \\n their part... The Roper, the \\n Insideman, the Shills... Everyone \\n except for the Mark. \\n Gordo lying in a pool of blood... \\n GORDO \\n (while playing dead) \\n I've been shot. Oh. The humanity.\"\n ],\n [\n \"around with a group of friends. \\n JAKE (V.O.) \\n She got one leg out from under him. \\n Now we had to lean. \\n \\n 73. \\n \\n \\n GORDO \\n So then Miles walks straight into the \\n Creative Director's office and says \\n \\\"The code's fine, the program's for \\n shit\\\" and throws down like a thousand \\n pages of code on the guy's desk!\",\n \" JAKE \\n She's up for it. \\n ANGLE ON ASHBY AT THE BAR \\n Ashby sits finishing a drink. Snippets of CONVERSATION \\n and LAUGHTER from the cliques around him catch his \\n attention, but he remains alone. \\n BLONDE (O.S.) \\n Is this seat taken? \\n Ashby turns to see an ATTRACTIVE BLONDE pointing to the \\n empty seat next to him. \\n ASHBY\",\n \"Gordo and Miles exchange a look, unsure of how to \\n respond. \\n \\n (CONTINUED) \\n \\n 16. \\n CONTINUED: \\n JAKE (cont'd) \\n It's bad luck. \\n MILES \\n Just an idea, but let's just fucking \\n split. We'll meet up anywhere. Akron \\n or Austin or Atlanta. Anywhere... \\n JAKE\",\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \" JAKE \\n Tonight. Just me. \\n MILES \\n Fuck that. We're going too. \\n GORDO \\n Alright, let's all put our dicks back \\n in our pants for a second. Is this the \\n best thing to do? \\n Jake levels a stare at Gordo for a second. \\n \\n (CONTINUED) \\n \\n 18. \\n CONTINUED:\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" her, pieces of your whole crew. Can't \\n be any mare honest than that. I'll \\n stake you, but that's three hundred \\n fifty you're in the hole and consider \\n the juice running. Now go make me proud. \\n Harlin and Lupus lift Jake up. Lily looks at Jake with a \\n pained expression. \\n \\n \\n \\n (CONTINUED) \\n \\n 51. \\n CONTINUED:\",\n \" I always wanted to say that... \\n As the cops exit, Lily, Miles and Gordo rush to Jake. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 87. \\n CONTINUED: \\n LILY \\n People don't like you much, do they? \\n Jake lets out a pained GROAN as they help him up. \\n CUT TO: \\n INT.- CAR- DAY\",\n \"to Jake's head. \\n BUTCH \\n Hurry up. \\n CUT TO: \\n INT.- ASHBY'S OFFICE- DAY \\n Ashby sits behind a desk in front of the crew. In front \\n of him are the corporate papers. \\n JAKE (V.O.) \\n We had to finalize the deal. \\n ASHBY \\n Everything looks in order. \\n JAKE \\n This has to happen fast.\",\n \" JAKE \\n Now we gotta give him a strong finish. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 64. \\n CONTINUED: \\n Jake pulls Lily closer and looks into her eyes. She leans \\n in and they kiss-- A deep, slow kiss that makes people \\n have to walk around them. \\n Mr. Lewis sees them and smiles to himself as he gets into \\n a cab. \\n Jake and Lily are still kissing as the cab pulls away.\",\n \" guy was, but he was so pissed off at \\n him, he gets him drilled. It ain't \\n personal. It's business. \\n JAKE \\n Point, Lupus. Give us a point. \\n LUPUS \\n Point is, you don't go through with \\n this, he's going to go after you next. \\n And he don't even like you, Jake. \\n Lupus stares blankly at Jake.\",\n \" Shop guy over in Brooklyn. Anybody \\n want in? \\n LILY \\n I' m going home \\n GORDO \\n Let's go, Jake? \\n JAKE \\n Uh... No thanks. I'm not going all the \\n way to Brooklyn for a hundred dollar \\n pay-off. \\n GORDO \\n You sure? \\n Jake looks over at. Lily then nods. Gordo, Miles and\",\n \"Jake stops and gauges the crew for their reactions, which \\n are the same all the way around-- Slack jawed disbelief. \\n MILES \\n (breaking the silence) \\n This might just be me, but that is hands \\n down, the dumbest fucking idea I've \\n ever heard. \\n GORDO \\n People have tried this before, Jake. \\n It's never worked. Teddy Fraiser and \\n his crew went on vacation in Chicago\",\n \" 121. \\n CONTINUED: \\n \\n \\n Jake emerges from .the back alley, his shirt ripped and \\n splattered with fake blood. \\n JAKE (V.O.) \\n No one's going to ask me: \\n A black car comes to a stop n front of him. The tinted \\n glass slides down and Jake leans in. \\n JAKE \\n Drop something? \\n Inside we see Moonan and Lily riding in the back, Miles\",\n \" JAKE \\n Probably some investment banker or \\n convertible-bonds-broker-dickhead. Did \\n you see how fast he ran out of here? \\n It's done. He's not coming back. \\n GORDO \\n I guess. I gotta drop a dime. Did \\n anybody mess up the hoop? \\n MILES \\n It's clean. \\n Gordo disappears dawn the back hallway. \\n \\n \\n\",\n \"CONTINUED: \\n Miles hangs up before Jake can answer. \\n CUT TO: \\n INT.- BIG AL'S- DAY \\n Jake stand's with Miles in the sparse living room. Big \\n AI's body sits reclining on a Lazy Boy chair, eyes bulging \\n open. An open carton of food rests in his lap. A feast \\n of take-out Chinese surrounds him. The TV blares an old \\n episode of \\\"The Little Rascals.\\\"\",\n \"CONTINUED: \\n SALESGIRL \\n (sympathetic) \\n I'm sorry. \\n JAKE \\n (clearing his throat) \\n This is embarrassing. \\n MR. LEWIS \\n Jake? \\n Jake looks up and rips the check out from his book. \\n JAKE \\n I'm sorry, sir. Thank you very much \\n for doing this. And please tell Carolyn \\n hello for me.\",\n \" I'm in. \\n Her eyes stay on Jake as a smile grows across her face. \\n CUT TO: \\n EXT.- PAY PHONE- DAY \\n Jake dials a number... \\n JAKE (V.O.) \\n I agreed with Miles. It was, hands down, \\n a dumb fucking idea. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 43. \\n CONTINUED:\",\n \" JAKE (V.O.) \\n Then we disappear. \\n As he walks away, WE SEE some PEOPLE MATERIALIZE carrying \\n luggage... Then a FEW CARS... Then an AIRLINE REP... \\n Gradually more and more people and cars, each MATERIALIZING \\n into a normal scene at the airport until we lose Jake in \\n the crowd. \\n CUT TO: \\n INT.- THE EUCLID- RESUMING\"\n ],\n [\n \" LIONEL \\n Not for nothing, Jake, but the guy who \\n whacked your buddy? It was me. The \\n King usually farms out for that kind of \\n stuff, but I tell ya, he was so pissed \\n off he couldn't wait for the regular \\n guy. Fucker didn't even put down his \\n Kung Pao Chicken. \\n \\n \\n (CONTINUED) \\n \\n 109. \\n CONTINUED:\",\n \"black suit. Behind him is LUPUS (late-20's), dressed in \\n a sweatsuit a pilot could spot from 20,000ft. \\n LUPUS \\n Mr. Dolby. King would like a word with \\n you. \\n LIONEL \\n R-r-right now? \\n LUPUS \\n Please. We have a car waiting. I \\n apologize for the door. \\n CUT T0:\",\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \" to him. Right in the middle of his egg- \\n foo-young. \\n Big Al stares up at them with those bulging, vacant eyes, \\n his mouth hanging open. Jake reaches down and grabs the \\n remote control and turns the TV off. \\n JAKE (V.O.) \\n Big Al used to send money to his Father, \\n some Vietnam Vet slowly losing his mind \\n in a VA hospital in Cleveland. Al was \\n like that. That's why Al never played\",\n \"Lily rumages in the closet and a baseball bat. She hefts \\n the bat and takes a stance in front of the door. \\n More KNOCKING. \\n LILY \\n HOLD ON! \\n Another KNOCK. Lily slowly reaches for the doorknob. \\n Then the door flies open with a CRASH. Harlin fills the \\n doorway. \\n HARLIN \\n The King would like to have a word \\n with you.\",\n \" and start rubbing me down or anything, \\n are you? \\n The King smiles and begins to take off his shirt. Harlin \\n and Lupus share an uncomfortable glance. \\n The King strips down to the waist and reveals an incredibly \\n large, incredibly round stomach which he SLAPS loudly. \\n KING PIN \\n Come here. Feel this. \\n JAKE \\n No thanks. I'm good. \\n KING PIN \\n Come here!\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \"The King grabs Jake's hand and puts it on his stomach. \\n It just got weirder. \\n Now the whole gym has stopped, everyone focused on Jake \\n and the King Pin. \\n \\n (CONTINUED) \\n \\n 50. \\n CONTINUED: \\n LILY \\n You guys are freaking me out. \\n KING PIN \\n Shut up. Feel that? That's solid\",\n \"Lily's hand moves down Jake's arm until it finds his hand. \\n LILY \\n You have really soft hands. Like a \\n baby's. \\n JAKE \\n (remembering the King) \\n Don't ruin this for me. \\n They roll off the bed onto the floor, a naked tangle of \\n arms and legs, their hands still entwined. \\n CUT TO: \\n EXT. - BACK ALLEY NIGHT (PRESENT)\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \"robe is THE KING PIN. His large body is less fat than \\n just big, constructed of circles and topped off with the \\n baldest head you've ever seen. \\n A MANICURIST sits next to the King Pin working on his \\n nails. \\n \\n \\n \\n (CONTINUED) \\n \\n 20. \\n CONTINUED: \\n KING PIN \\n Ow! Watch the pinkie!\",\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \" file) \\n Let me see `em. \\n Jake turns to find Lupus and Harlin on either side of \\n him. They take him by the wrists and hold his hands up \\n for the King. \\n KING PIN (cont' d) \\n I don't like to ask things more than \\n once, Junior. I want you to know how \\n much that irks me. \\n The King begins to gently trace between Jake's fingers \\n with the nail file.\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \" Harder. Remember, I killed your buddy. \\n Jake's demeanor changes as he winds up and hits the King \\n as hard as he can. The King just smiles. \\n KING PIN (cont'd) \\n All muscle. \\n The King then hits Jake back in the gut with surprising \\n speed. Jake falls to his knees, but the King's right \\n there. With one arm he pulls Jake up and starts to pummel \\n him in the stomach with an unbridled visciousness.\",\n \" I got it figured out... He's got this \\n thing with bathrooms. If he makes it \\n through Customs, he'll be heading for \\n the john. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 108. \\n CONTINUED: \\n KING PIN \\n Good. Good. Do not let Vig out of \\n your sight.\",\n \"Lupus watches quietly, taking it all in... \\n CUT TO: \\n (FLASHBACK) INT.- THE EUCLID/BATHROOM \\n Lupus on the cellphone to the King... \\n JAKE (V.O.) \\n And like in a game of chess, you've \\n played every possible move in your \\n head... \\n LUPUS \\n You were right. He's trying to fuck \\n you. You want it, you gotta get it at\",\n \" chicken delivered to the King with a \\n nice kiss my ass card attached to it. \\n Then we woulda moved on `til the next \\n local putz caught on. \\n JAKE \\n We're getting a little old for \\n running. \\n MILES \\n Yeah, well we're still a little young \\n for Albany State Prison. Are you pissed \\n about Al? I'm pissed too, but I' m not\",\n \"INT.- TOWN CAR- SAME \\n A CELL PHONE RINGS with a digitized version of \\\"Ode to \\n Joy\\\". The King answers it. \\n KING PIN \\n Speak. \\n LUPUS (O.S.) \\n He's landing. He's got a suitcase on \\n wheels. \\n KING PIN \\n So do half the other people in this \\n place. How do I know which one? \\n LUPUS (O.S.)\",\n \" muscle. Not an ounce of fat. Go ahead. \\n Punch it. \\n JAKE \\n I am not going-- \\n The King starts to get that look again. \\n Jake winds up and punches the King in the stomach. He \\n shakes his fist in pain. \\n KING PIN \\n Come on. Harder. \\n JAKE \\n I think I just broke my hand. \\n KING PIN\"\n ],\n [\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" 'you' re the suspicious type . So I \\n give you the \\\"Convincer.\\\" We both put \\n up a little and we get a little back. \\n Just a taste. \\n Gordo pulls an envelope out of his coat and gives it to \\n Dolby. \\n JAKE (V.O.) \\n Just enough that when I tell you we can \\n make more off of it, you agree. \\n Jake speaks quickly to Dolby who nods emphatically. He\",\n \" Fix... \\n Jake nonchalantly slides a fat envelope over to Moonan. \\n Moonan picks it up and finds a wad of cash. \\n JAKE (V.O.) \\n It was probably a stupid idea. There I \\n am, Armani and Rolex. There he is, JC \\n Penny and Timex... \\n \\n \\n \\n (CONTINUED) \\n \\n 89. \\n CONTINUED:\",\n \" (CONTINUED) \\n \\n 8. \\n CONTINUED: \\n Jake rubber bands two small wads of cash and hands them \\n to Rottovich and Sobozinski. \\n JAKE \\n Ten percent. \\n SOBOZINSKI \\n You guys got sack, I'll give you that \\n much. \\n JAKE \\n Confidence. It's just confidence.\",\n \"Jake staggers back and Sobozinski pushes him into an \\n alley. \\n JAKE \\n That tip not work-out for you fellas? \\n ROTTOVICH \\n Tip was fine, Jake. We were a little \\n more curious about the Fed. \\n JAKE \\n Hey, listen... If you guys don't pay \\n your taxes, that's your business. \\n Sobozinski punches Jake in the stomach. Miles and Gordo\",\n \" trouble with the Feds down there. You \\n guy's pretty good? \\n JAKE \\n I have a good crew. \\n KING PIN \\n Minus one. \\n Jake visibly bristles... \\n JAKE \\n Minus one. \\n KING PIN \\n You know, back in the day, grafting was \\n considered a gentleman's racket. Good \\n suits, good food... The Underworld of\",\n \"Jake steps back and raises his arms. \\n JAKE \\n You the one that did it? You the one \\n that got Al? \\n HARLIN \\n Mr. King prefers to farm out for that \\n kind of work. \\n (gesturing to the \\n door) \\n Please, after you. \\n Harlin gives the Officers Sobozinski and Rottovich a slight \\n nod of acknowledgment. \\n CUT TO:\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"Moonan smiles and slides the envelope back over to Jake \\n with a disappointed shake of his head. \\n JAKE (V.O.) \\n So I took a shot. But now he had me on \\n attempted bribery of a Federal Agent. \\n As Moonan stands, we see Big Al get up from the next table. \\n A1 \\\"bumps\\\" into Gordo, dressed in a waiter's white jacket. \\n Gordo \\\"trips;\\\" spilling scalding hot coffee into Moonan's \\n lap.\",\n \"black revolver with bullets. \\n JAKE \\n Doesn't matter what the con is. \\n Insider trading, a line we got on a \\n bookie club, insurance scam, \\n whatever... You saw the money and you \\n want it. More of it. Who cares if you \\n have to bend the rules a little? As \\n long as no one gets hurt. \\n Jake spins the gun cylinder then SLAPS it closed, pointing\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \"CONTINUED: \\n JAKE \\n I think two million. \\n KING PIN \\n What do you need from me? Permission? \\n Go! If you can fleece him for two \\n million, then do it, Kid. \\n JAKE \\n I need you to stake me. \\n KING PIN \\n Stake you? \\n JAKE \\n I need you to stake me. I can't do it\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"Jake hangs up the phone and dials another number. He \\n nods at Lupus. \\n JAKE (V.O.) \\n Miles was on his way to the airport to \\n wait for Gordo to land. I made the \\n call. \\n JAKE \\n Yeah, it's me. I need an escort. Not \\n a ride, just an escort. You wanted in, \\n this is in. \\n CUT TO:\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \" JAKE \\n I said stand up. \\n CUT TO: \\n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \\n MORGAN GILLETTE sits behind a desk in an ultra modern \\n office, his reptilian like face fixed straight ahead. \\n Butch leans against the wall behind him. \\n JAKE (V.O.) \\n This is probably about where you came \\n in. \\n GILLETTE\",\n \" JAKE (V.O.) \\n Same thing with playing a con. You \\n have to be able to see that deep. \\n ASHBY \\n Jake? Right. Uh-huh... Uh-huh... Yeah, \\n it's going through-- \\n INSERT SHOT- ECU of Ashby's finger on the \\\"Enter\\\" key. \\n ASHBY (coat' d) \\n Now. \\n Ashby hangs up and checks over his shoulder.\",\n \"to Jake's head. \\n BUTCH \\n Hurry up. \\n CUT TO: \\n INT.- ASHBY'S OFFICE- DAY \\n Ashby sits behind a desk in front of the crew. In front \\n of him are the corporate papers. \\n JAKE (V.O.) \\n We had to finalize the deal. \\n ASHBY \\n Everything looks in order. \\n JAKE \\n This has to happen fast.\"\n ],\n [\n \" boss. We haven't skipped town yet. \\n LUPUS \\n What I'm saying is, is that the King \\n ain't gonna care. See he had a real \\n thing with getting this Gillette guy, \\n If you ask me I think he's jealous. \\n JAKE \\n Of what? They're both crooks. \\n LUPUS \\n Exactly. `Cept this Gillette guy. He \\n gets to walk around in three piece\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \" Because that's who the King Fin wants \\n us to fleece. And Gillette's perfect... \\n CUT TO: \\n INT.- CITY BANK OF MANHATTAN/BOARDROOM--DAY \\n A circle of BUSINESS MEN sitting at a conference table. \\n JAKE (V.O.) \\n His grandfather used to run liquor \\n during prohibition and his father made \\n a bundle in illegal importing and \\n exporting. That makes him a third\",\n \" LIONEL \\n Not for nothing, Jake, but the guy who \\n whacked your buddy? It was me. The \\n King usually farms out for that kind of \\n stuff, but I tell ya, he was so pissed \\n off he couldn't wait for the regular \\n guy. Fucker didn't even put down his \\n Kung Pao Chicken. \\n \\n \\n (CONTINUED) \\n \\n 109. \\n CONTINUED:\",\n \" suits, hob knob with the Mayor, own a \\n bank, that kinda shit. Meanwhile, the \\n King sits holed up in the steam, afraid \\n to even take a leak without me or Harlin \\n watching the door. \\n JAKE \\n My fucking heart bleeds. \\n LUPUS \\n Your buddy. That fat guy. The King \\n couldn't wait to have that guy \\n whacked. He didn't even know who the\",\n \" trouble with the Feds down there. You \\n guy's pretty good? \\n JAKE \\n I have a good crew. \\n KING PIN \\n Minus one. \\n Jake visibly bristles... \\n JAKE \\n Minus one. \\n KING PIN \\n You know, back in the day, grafting was \\n considered a gentleman's racket. Good \\n suits, good food... The Underworld of\",\n \"him, punching the King's stomach hard enough that he's \\n sweating. The King seems to hardly notice. \\n LUPUS (O.S.) \\n Coupla things. They got this Fed , loo \\n king around and the girl just split. \\n KING PIN \\n A Fed? Is he close? \\n LUPUS (O.S.) \\n I don't think so. Their Fix gave us \\n the heads up and Jake's got a plan\",\n \"robe is THE KING PIN. His large body is less fat than \\n just big, constructed of circles and topped off with the \\n baldest head you've ever seen. \\n A MANICURIST sits next to the King Pin working on his \\n nails. \\n \\n \\n \\n (CONTINUED) \\n \\n 20. \\n CONTINUED: \\n KING PIN \\n Ow! Watch the pinkie!\",\n \"INT.- TOWN CAR- SAME \\n A CELL PHONE RINGS with a digitized version of \\\"Ode to \\n Joy\\\". The King answers it. \\n KING PIN \\n Speak. \\n LUPUS (O.S.) \\n He's landing. He's got a suitcase on \\n wheels. \\n KING PIN \\n So do half the other people in this \\n place. How do I know which one? \\n LUPUS (O.S.)\",\n \" Jake! I don't know what's going on! \\n The King Pin... He's here and he just \\n got pinched. I think with the \\n twinkies! It looks like half the \\n police department's down here! \\n In the BACKGROUND, a whirlwind of activity-- Red and blue \\n flashing lights, half of the police department, Federal \\n Agents in blue windbreakers... The King and Harlin slumped \\n over the hood of the car, cuffed.\",\n \" 14. \\n CONTINUED: \\n GORDO \\n It gets worse. Now I know why he was \\n such a good rope. X mean, cash.... \\n That much and we never had to put him \\n on the \\\"Send?\\\" Turns out this ducking \\n Moe was an accountant for the King Pin. \\n Gordo throws Jake a hard look, letting the news sink in. \\n Jake can only slump back into the booth.\",\n \"A dive furnished with a few mismatched chairs and a bar. \\n A single overweight PATRON sits at a corner table with \\n face buried in his hands as he WHIMPERS. Jake and, Lionel \\n Dolby pass him as they emerge from a back hallway. \\n MILES, late 20's, wipes blood off the bar. Placed at the \\n edge of the bar are two briefcases, both open, both filled \\n with neat stacks of blood splattered money.\",\n \" file) \\n Let me see `em. \\n Jake turns to find Lupus and Harlin on either side of \\n him. They take him by the wrists and hold his hands up \\n for the King. \\n KING PIN (cont' d) \\n I don't like to ask things more than \\n once, Junior. I want you to know how \\n much that irks me. \\n The King begins to gently trace between Jake's fingers \\n with the nail file.\",\n \"The King Pin and Harlin are bent over the hood handcuffed. \\n Rottovich and Sobozinski lie on the ground, face down, \\n their hands behind their heads. \\n ROTTOVICH \\n We're on the job! We're active in the \\n one-six. \\n Next to them, a Federal Agent opens the suitcase. Coffee \\n beans spill out on the asphalt, followed by the two bricks \\n of heroin.\",\n \" generation crook. \\n \\n (CONTINUED) \\n \\n 37. \\n CONTINUED: \\n JAKE (cont' d) \\n He's been tied into pretty much \\n everything; drugs, mob, money \\n rinsing... \\n We PAN AROUND THE TABLE OF BUSINESS MEN and settle on \\n MORGAN GILLETTE, a man in his early fifties with the\",\n \" chicken delivered to the King with a \\n nice kiss my ass card attached to it. \\n Then we woulda moved on `til the next \\n local putz caught on. \\n JAKE \\n We're getting a little old for \\n running. \\n MILES \\n Yeah, well we're still a little young \\n for Albany State Prison. Are you pissed \\n about Al? I'm pissed too, but I' m not\",\n \" City Bank of Manhattan. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 74. \\n CONTINUED: \\n GORDO \\n That's that Gillette guy, right? \\n (off Ashby's nod) \\n You Like him? As a boss, I mean. \\n ASHBY \\n He's . . . He's okay. \\n GORDO \\n (goading)\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \" JAKE \\n I said stand up. \\n CUT TO: \\n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \\n MORGAN GILLETTE sits behind a desk in an ultra modern \\n office, his reptilian like face fixed straight ahead. \\n Butch leans against the wall behind him. \\n JAKE (V.O.) \\n This is probably about where you came \\n in. \\n GILLETTE\",\n \" KING PIN \\n He's got pigs for an escort. You \\n believe this guy? \\n HARLIN \\n I'll get the car. \\n KING PIN \\n Always something. \\n The King struggles into a pair of pants, then turns \\n around. \\n KING PIN (cont' d) \\n My ass look big in this? \\n Harlin deliberately looks away. \\n HARLIN \\n Looks fine, Boss.\"\n ],\n [\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \" CUT TO: \\n EXT - BACK ALLEY- NIGHT (PRESENT) \\n Butch eases the gun off Jake's head. \\n BUTCH \\n So how'd you get caught? \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 32. \\n CONTINUED: \\n JAKE \\n Suits used to say that in any con, \\n sooner or later someone's going to\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \" Have a little faith in him, honey. \\n Butch, see if you can get him to tell \\n you how he did it. Or almost did it. \\n Sounds like a good story. \\n BUTCH \\n I' ll ask. \\n Gillette picks up an APPLE from a bowl in his desk... The \\n oldest con. \\n GILLETTE \\n Apple? \\n CUT TO: \\n \\n 111. \\n \\n\",\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \" JAKE \\n So you want to know how to play the Big \\n Con. \\n BUTCH \\n In this case, you might say I want to \\n know how not to play the Big Con. \\n Butch shoves the gun a little harder into Jake's head. \\n CUT TO: \\n INT.- BAR- NIGHT \\n A trendy bar, dimly lit and packed. We PAN along the hip \\n crowd and STOP on Jake speaking with a SLICK GUY dressed\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"Gordo is escorted into the room by a BANK OFFICIAL. \\n BANK OFFICIAL \\n We'll let you have a moment. \\n On a small table are neat piles of bundled money, shrink \\n wrapped in plastic. Gordo seems in awe. \\n JAKE (V.O.) \\n We called them Green Twinkies. \\n The Bank Official and Security Guard exit. Gordo holds \\n up a Green Twinkie up to his nose and takes a deep breath.\",\n \" Wow. Now that's an exciting story. \\n Butch, has anyone ever tried something \\n like this before? \\n BUTCH \\n Not that I recall. What do you want us \\n to do about it? \\n GILLETTE \\n Let's see... Let's suppose he gets to \\n Customs and he gets caught. We get our \\n money back, but then we have to deal \\n with a criminal investigation. I don't\",\n \" Alright... Turn around. She doesn't \\n get shit, unless I get that money. \\n Where is it? \\n JAKE \\n Probably safe in the hands of the Federal \\n Government. \\n Butch buttons his coat. \\n BUTCH \\n Oh, Jake. You disappoint me. And you \\n just let Lily here down again. \\n (MORE) \\n \\n (CONTINUED) \\n \\n 116.\",\n \" much like that idea. Then again, let's \\n suppose he actually gets through \\n Customs. Now, that'll be something. \\n We recover the money in cash and let \\n the insurance cover the corporate fraud. \\n We double our money. \\n \\n \\n (CONTINUED) \\n \\n 110. \\n CONTINUED: \\n BUTCH \\n So we go to the bar. \\n GILLETTE\",\n \" MILES \\n Who's that? \\n GORDO \\n The cash we fleeced off of him was \\n collection money. He was supposed to \\n take that money and give it to the \\n King earlier yesterday like he does \\n every Thursday. `Cept this time, he \\n figured he could make a little \\n something for himself off us and still \\n get the King's money back before any \\n body says \\\"boo.\\\" \\n MILES\",\n \" ass. You're just any other lowlife \\n stammer-- Looking out for number one. \\n Jake shuts his eyes, maybe because Butch is right. \\n CUT TO: \\n INT . - JAKE'S APARTMENT-- NIGHT \\n Lupus and Jake sit at the table. Lupus on the phone. \\n LUPUS \\n Hey, boss. It's me. The bank's in. \\n It's happening tomorrow... Jake?\",\n \"sharp, angular features of a reptile. We STAY with \\n Morgan as the meeting breaks and everyone heads for the \\n door and into... \\n CUT TO: \\n INT. - CITY BANK OF MANHATTAN/HALLWAY-DAY \\n Gillette is greeted by a handful of SUITS. Butch is with \\n them, staying in the periphery. \\n JAKE (V.O.) \\n There's a story going around that he \\n helped fund the Contras back in the\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"A serious look comes across Jake's face-- Hate. Butch \\n eases back with the gun for a second. \\n JAKE \\n He's just as crooked as the next guy. \\n You'd think he'd have more important \\n things to do with tax payer dollars. \\n BUTCH \\n Cue the fucking violins. Come on... \\n It's getting cold. \\n CUT TO:\",\n \"to Jake's head. \\n BUTCH \\n Hurry up. \\n CUT TO: \\n INT.- ASHBY'S OFFICE- DAY \\n Ashby sits behind a desk in front of the crew. In front \\n of him are the corporate papers. \\n JAKE (V.O.) \\n We had to finalize the deal. \\n ASHBY \\n Everything looks in order. \\n JAKE \\n This has to happen fast.\",\n \" JAKE \\n I said stand up. \\n CUT TO: \\n INT.- MORGAN GILLETTE'S OFFICE- NIGHT \\n MORGAN GILLETTE sits behind a desk in an ultra modern \\n office, his reptilian like face fixed straight ahead. \\n Butch leans against the wall behind him. \\n JAKE (V.O.) \\n This is probably about where you came \\n in. \\n GILLETTE\",\n \" (CONTINUED) \\n \\n 8. \\n CONTINUED: \\n Jake rubber bands two small wads of cash and hands them \\n to Rottovich and Sobozinski. \\n JAKE \\n Ten percent. \\n SOBOZINSKI \\n You guys got sack, I'll give you that \\n much. \\n JAKE \\n Confidence. It's just confidence.\",\n \" I think so. The airport's going to be \\n crawling with police. Traffic will be \\n a nightmare. Go down to the bar. If \\n they pull it off, great. Have someone \\n deal with Ashby. \\n BUTCH \\n We'll take care of it. \\n GILLETTE \\n And how much did you say you wanted for \\n this... What did you call it? A finder's \\n fee?\"\n ],\n [\n \"Jake doesn't move. Butch grabs him by the hair and turns \\n him towards Lily. \\n BUTCH (cont'd) \\n She trusted you and you sold her out! \\n Be honest! Be a man! Tell her, Jake! \\n Tell her that you loved her but the \\n money meant more to you! \\n Butch kicks Jake in the gut. \\n BUTCH (cont'd) \\n Grifters... Gentleman's racket... My\",\n \"They're greeted by FRANKIE SUITS, an ancient rake-thin \\n man, perfectly coiffed and exceptionally dressed. \\n JAKE (V.O.) \\n Frankie Suits was a legend in certain \\n circles. He. Was on the grift since \\n he was ten. \\n FRANKIE \\n Last of the red hot grifters. \\n Suits grabs Jake with a hug. It's a heartfelt one.\",\n \"Jake takes a deep breath, Butch and Lily behind him. \\n BUTCH \\n Is that what it was, Jake? Was it \\n love? \\n JAKE \\n You know when the first con was ever \\n played? It was when Adam fell for Eve \\n in the Garden of Eden. \\n Lily looks away, her face softening for a moment. \\n JAKE \\n Then she fucked him over with an apple. \\n (with a dry laugh) \\n Redheads...\",\n \"This isn't so bad. Jake almost has to stifle a laugh. \\n KING PIN (cont'd) \\n Every time, you get the pinkie and I \\n get a hang nail. \\n ( to Jake) \\n You Jake? \\n Jake nods and the King motions for the manicurist to \\n leave. \\n KING PIN \\n Grifter huh? Where have you been on \\n the grift? Couldn't been here long\",\n \" grifter comes in here with a fifteen \\n hundred dollar D-K-fucking-N-Y suit, \\n cooler than an Eskimo in winter and \\n tells me he wants to grift for me? \\n First thing I have to ask myself is, \\n is he playing for me or is he just \\n plain playing me? You tried it once. \\n JAKE \\n We got caught. So you know it won't \\n happen again.\",\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \"EXT. BACK ALLEY- NIGHT (PRESENT) \\n Butch shaking his head, still holding the gun. \\n BUTCH \\n Grifters... \\n JAKE \\n We can't all be model citizens such as \\n yourself. \\n BUTCH \\n It's all about the money, isn't it? \\n JAKE \\n Isn't it always? \\n CUT TO:\",\n \"Jake remains rigid against Lupus and Harlin as the nail \\n file scrapes along the soft, fleshy webbing between his \\n fingers. \\n Jake shuts his eyes... Then opens them to find the King \\n now gently stroking his hands-- Almost a loving caress. \\n KING PIN \\n You have incredibly soft hands. Good \\n cuticles . They' re like a baby's hands. \\n Grifters with rough hands... You know \\n that they're probably not that good.\",\n \"in black Armani. \\n JAKE (V.O.) \\n First thing about being on the grift.... \\n You're only as good as your Mark. The \\n Roper's the guy who finds them. \\n Jake buys another round to the indifferent Slick. \\n JAKE (V.O.) \\n They all have money one way or \\n another. Some of them come from money.\",\n \"Miles points out a woman crisply dressed in a suit, \\n MICHELLE STRIGO. They follow her down the street. \\n JAKE (V.O.) \\n Guy like me, with people like that... \\n I'll tell you what you're looking for \\n without even meeting you. It's like a \\n personal ad you wear over your head. \\n Jake watches as she hails a cab. A MAN, also hailing a \\n cab goes for the same one. Michelle gets into a screaming\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \"CONTINUED: \\n BUTCH (cont'd) \\n What was it you said about playing the \\n big con? \\n JAKE \\n It's like putting on a play, where \\n everyone knows their part except for \\n the mark. \\n BUTCH \\n Like putting on a play... Guess some \\n people forgot their lines. \\n JAKE \\n Guess so. \\n BUTCH\",\n \"Lily hops into the Cab and tosses Jake's new wallet onto \\n the sidewalk. \\n LILY (cont'd) \\n That's twice. \\n The cab pulls away. \\n Jake looks up at the clock-- \\\"11:12P\\\". \\n CUT TO: \\n EXT. - BACK ALLEY- NIGHT (PRESENT) \\n Butch smiles... \\n BUTCH \\n I can see why you liked her. \\n JAKE\",\n \" plays his own numbers. They hit the \\n Lucky Seven for one point two million. \\n LILY steps out from behind Butch. \\n LILY \\n Guess he passed on that unlucky- \\n asshole gene. \\n Lily looks down at Jake and the gun pointed at his head. \\n There's not even a hint of sympathy. \\n LILY \\n You should have trusted me Jake. \\n CUT TO:\",\n \" (laughing) \\n Fucking grifters! I love it! You got \\n balls, I'll give you that much. \\n \\n \\n \\n (CONTINUED) \\n \\n 22. \\n CONTINUED: \\n JAKE \\n No. Just confidence. \\n The King Pin stands up and moves over to Jake. \\n KING PIN \\n I' ll be honest with you, Kid. A\",\n \" your wife and daughter at the same time. \\n It's too late for you... \\n Jake looks up as the OLDER MAN MORPHS into LIONEL DOLBY, \\n the nervous mark from the earlier con. \\n JAKE (V.O.) \\n I have your confidence. \\n CLOSE-UP: Dolby's lips loosen in a wide SMILE. \\n Jake smiles back. He puts his drink down, then takes the\",\n \"Jake takes off after her. \\n CUT TO: \\n EXT. - BACK ALLEY- NIGHT (PRESENT) \\n Butch cracks a big smile. \\n BUTCH \\n She had you tempting fate. \\n JAKE \\n My father used to play the same fucking \\n lotto numbers with these other guys in \\n the pharmacy. The same numbers everyday \\n for sixteen years. One day he gets \\n pissed off, tells them he's out and\",\n \"She throws Jake a smile he can't but help return. They \\n stand for a second facing each other before she's whisked \\n away by an OLDER MAN, dressed in an expensive suit. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 11. \\n CONTINUED: \\n Jake's smile fades as he watches her saunter into the \\n bar, but not before she throws him another glance over \\n her shoulder. Jake continues on into...\",\n \"INT.- FOUR SEASONS HOTEL- NIGHT \\n A suite in the upscale hotel. Miles answers a KNOCK on \\n the door-- An expensive CALL GIRL stands at the door in \\n an overcoat. \\n JAKE (V.O.) \\n It's what makes us run. And despite \\n what they say, it can buy you love. \\n CALL GIRL \\n Are you ready for me, Ralph? \\n She lets the overcoat fall open, revealing her lack of\",\n \"Lily's hand moves down Jake's arm until it finds his hand. \\n LILY \\n You have really soft hands. Like a \\n baby's. \\n JAKE \\n (remembering the King) \\n Don't ruin this for me. \\n They roll off the bed onto the floor, a naked tangle of \\n arms and legs, their hands still entwined. \\n CUT TO: \\n EXT. - BACK ALLEY NIGHT (PRESENT)\"\n ],\n [\n \" LILY \\n Says who? \\n JAKE \\n You're working Daffy's block. He was \\n going to break your kneecaps. Pick- \\n pockets can be so bitchy sometimes. I \\n told him you were with us, so that's \\n two you owe me. \\n Lily takes a second to look the guys over. Miles gives \\n her a wink. Lily slowly raises her middle finger at him. \\n JAKE\",\n \" No, no. Nothing like that. I work in \\n a bank. \\n LILY \\n (leaning in) \\n Really? Wish we had met eight hours \\n ago. \\n Ashby nods and shyly looks away. He could be blushing. \\n Lily lets the moment play out for a beat before looking \\n over her shoulder. \\n LILY \\n (getting up) \\n My partners are here. \\n Ashby reverts back to schlub mode.\",\n \" We have work. It pays a lot. Unless \\n you figure on getting rich lifting \\n wallets while old guys feel you up. \\n LILY \\n Oooh. Sassy. What do you care who \\n feels me up, Jake? Unless it kinda \\n gotcha going. Did it, Jake? Getcha \\n going? \\n Lily saunters to Jake with a seductive grin. \\n Jake may be aware that he's stopped breathing.\",\n \"Lily rumages in the closet and a baseball bat. She hefts \\n the bat and takes a stance in front of the door. \\n More KNOCKING. \\n LILY \\n HOLD ON! \\n Another KNOCK. Lily slowly reaches for the doorknob. \\n Then the door flies open with a CRASH. Harlin fills the \\n doorway. \\n HARLIN \\n The King would like to have a word \\n with you.\",\n \" LILY \\n We're getting down to the wire. \\n Apparently another company has a \\n similar product in R&D right now. If \\n they beat us to it... \\n JAKE \\n Off the record, I'm this close to \\n cutting someone in on the action if \\n it'd help. \\n Ashby considers for a moment. \\n ASHBY \\n Should we get another round? \\n Jake and Lily share an almost imperceptible look.\",\n \"her bag. \\n From out of nowhere, Jake bumps into her. \\n \\n \\n \\n \\n (CONTINUED) \\n \\n 33. \\n CONTINUED: \\n JAKE \\n (not so innocently) \\n Oops. \\n Jake takes her by the arm out to... \\n CUT TO: \\n EXT.- ALLEY/OUTSIDE BAR- NIGHT \\n Jake pushes Lily through the back door where she finds\",\n \"She grabs the smoking pan from the stove and WHACKS Harlin \\n across the head. The burned egg lands on the floor. \\n Lily watches as he sways and teeters on his feet, like a \\n drunk. She raises the pan again... But before she \\n delivers the final blow, Harlin steps on the egg, causing \\n his leg to shoot out from under him. He lands flat on \\n his back, out cold. The wood floor CREAKS with his weight. \\n Lily wipes the blood from her nose and turns the hot\",\n \"CONTINUED: \\n LILY \\n Everyone's working an angle, right? \\n JAKE \\n There are three people I trust-- him, \\n him and a guy who got killed. I don't \\n know who you are! You're like some \\n stray doq that wandered into the \\n house. So I'm telling you to cut loose \\n of this. No one's looking for you, Not \\n the King, not Moonan and not Gillette.\",\n \"Jake takes her bag and dumps the contents on the floor-- \\n A few wallets, a watch, even a wedding ring. Jake picks \\n up one of the wallets filled with cash. \\n LILY (cont'd) \\n That's not-- \\n JAKE \\n (pocketing the wallet) \\n You interested in a little work? \\n Lily scoops up her bag and finds a cigarette, eyeing them \\n all suspiciously. \\n LILY\",\n \"Butch presses the gun against Jake's head. Jake turns \\n and looks at Lily. They lock eyes. \\n JAKE \\n What do you get, Lily? Finder's Fee? \\n Because it is all about the money, \\n right? \\n LILY \\n You sold me out. You should have trusted \\n me like I trusted you. You fucked up. \\n You fucked up HUGE. \\n Butch taps Jake on the head with the gun. \\n BUTCH\",\n \" After Glenn was finished, he gave me a \\n couple of valiums and I went home. The \\n next day, I finished my shift and met \\n him around back, like we always did. I \\n stuck a number eight scalpel into his \\n chest. Three or four times. \\n Jake slides off Lily. \\n JAKE \\n Did, uh... Did you kill him? \\n LILY \\n I don't know. I packed up my shit and\",\n \" (CONTINUED) \\n \\n 82. \\n CONTINUED: \\n LILY (cont'd) \\n He told me that I was stupid because \\n my boyfriend didn't really love me. \\n Jake grabs Lily and rolls her over onto her back. He \\n climbs on top of her. \\n JAKE \\n He was looking out for you. \\n LILY \\n Then he grabbed me and threw me down\",\n \" LILY \\n Mr . King, I think--- \\n JAKE \\n (w/ a look) \\n Hey, I got it! Take some mental notes. \\n You just might learn something here. \\n Lily just shrugs and rolls her eyes. \\n KING PIN \\n Listen, Scooter--- \\n JAKE \\n No, you listen. We're partners now and \\n even though I'm running the show for\",\n \"Just then, a KNOCK on the door. Jake opens the door to \\n reveal Lily, dressed in an expensive business suit and \\n sporting a sophisticated cut of new RED HAIR \\n JAKE (V.O.) \\n Redheads. \\n JAKE \\n FUCK! \\n Gordo, Lupus and Miles look up at Lily. \\n GORDO \\n Oh shit. \\n \\n \\n \\n \\n (CONTINUED) \\n\",\n \" LILY (O.S.) \\n You got my cell. Leave a message. \\n JAKE \\n It's me. It's Jake. Listen... It's \\n happening. Gordo's landing right now. \\n Meet me at the Euclid... For your cut, \\n I mean. It's... I want you to have it. \\n Jake hangs up the phone. \\n LUPUS \\n You really like that bitch don't you?\",\n \"The same flood of people exit the bank... Jake, Lupus, \\n Lily, Miles and Gordo wait by the side of the building. \\n MILES \\n Alice Tanner. Finance Director. \\n Miles points out ALICE TANNER, a mousy looking woman in a \\n bad skirt. She gets to the intersection and waits for \\n the light to change, even as hordes of others jaywalk the \\n way New Yorkers do.\",\n \" (CONTINUED) \\n \\n 72. \\n CONTINUED: \\n ASHBY \\n Well, typically, corporate loans are \\n relatively simple matters, but you do \\n need to demonstrate a capacity for gross \\n fund recovery. \\n Lily arches an eyebrow at Ashby. \\n LILY \\n Don't tell me you started a tech firm \\n here before us. \\n ASHBY\",\n \"Lily, wide-eyed, stands frozen with the bat still cocked.. \\n LILY \\n Uh, right now? \\n HARLI \\n Please. I have a car waiting. \\n Lily takes a swing. Harlin easily grabs the bat and \\n backhands Lily. She goes flying back into the far wall, \\n bounces off and lands with a THUD at Harlin's feet where \\n she finds the butter knife.\",\n \"INT.- LILY'S APARTMENT- NIGHT \\n Lily stands at a hot plate in her \\\"kitchen\\\" frying an \\n egg. \\n HEAVY FOOTSTEPS from the hall catch her attention, growing \\n louder, then stopping at her door. A KNOCK. \\n HARLIN (0.S.) \\n Lily? \\n Lily frantically rumages through drawers. She pulls a \\n knife, but it's only a butter knife. She tosses it aside.\",\n \"see that it's thrown Jake a bit. \\n LILY \\n What the hell's his problem? \\n JAKE \\n Don't worry about it. \\n LILY \\n It's just that I left my asshole decoder \\n ring at home, so how do I know not to \\n worry? \\n Jake stops and turns to her, looking her up and down. \\n JAKE \\n You need to get a haircut. \\n LILY\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["How do the grifters decide to save themselves?","Who do the grifters decide to steal from next?","What is the name of the Special Agent looking for Jake?","What country does the the Bank Vice President wire money to?","Who really killed the grifter at the beginning of the story?","What did Lily do after walking out on the con?","What did Price tell Travis?","How did Jake survive being shot?","What happens to Price and Travis?","Who is the de facto leader of the group?","Who did the money that was stolen actually belong to?","Who do the grifters agree to steal money from?","What is the name of the independent con artist?","What illness does The King suffer from?","Who gets Jake to reconsider nixing the con?","Who wires the money to Gordo in Belize?","Who shoots Lupus?","Who revealed the entire con to Price?","Who turns out to be an old confidant of Jake?","WHAT ARE GRIFTERS?","IN THE STORY, WHO WAS THE LEADER OF THIS GROUP OF FOUR GRIFTERS?","WHO DID JAKE PROPOSE HIS GROUP WORK FOR?","WHAT MENTAL CONDITION DID KING SUFFER FROM?","WHO DID JAKE'S CON INVOLVE BRIBING?","WHAT TYPE OF BUSINESS DID KING'S RIVAL MORGAN PRICE OWN?","WHEN DID BUTAN CONFISCATE THE MONEY FROM THE CON?","WHO WAS THE FEMALE GRIFTER INVOLVED WITH JAKE?","WHO WAS LILY'S BOSS?"],"string":"[\n \"How do the grifters decide to save themselves?\",\n \"Who do the grifters decide to steal from next?\",\n \"What is the name of the Special Agent looking for Jake?\",\n \"What country does the the Bank Vice President wire money to?\",\n \"Who really killed the grifter at the beginning of the story?\",\n \"What did Lily do after walking out on the con?\",\n \"What did Price tell Travis?\",\n \"How did Jake survive being shot?\",\n \"What happens to Price and Travis?\",\n \"Who is the de facto leader of the group?\",\n \"Who did the money that was stolen actually belong to?\",\n \"Who do the grifters agree to steal money from?\",\n \"What is the name of the independent con artist?\",\n \"What illness does The King suffer from?\",\n \"Who gets Jake to reconsider nixing the con?\",\n \"Who wires the money to Gordo in Belize?\",\n \"Who shoots Lupus?\",\n \"Who revealed the entire con to Price?\",\n \"Who turns out to be an old confidant of Jake?\",\n \"WHAT ARE GRIFTERS?\",\n \"IN THE STORY, WHO WAS THE LEADER OF THIS GROUP OF FOUR GRIFTERS?\",\n \"WHO DID JAKE PROPOSE HIS GROUP WORK FOR?\",\n \"WHAT MENTAL CONDITION DID KING SUFFER FROM?\",\n \"WHO DID JAKE'S CON INVOLVE BRIBING?\",\n \"WHAT TYPE OF BUSINESS DID KING'S RIVAL MORGAN PRICE OWN?\",\n \"WHEN DID BUTAN CONFISCATE THE MONEY FROM THE CON?\",\n \"WHO WAS THE FEMALE GRIFTER INVOLVED WITH JAKE?\",\n \"WHO WAS LILY'S BOSS?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["By working for The King.","by working for the King"],["Morgan Price","Morgan Price"],["Gunther Butan","Gunther Butan"],["Belize","Belize"],["Lupus","Lupus"],["She revealed the plan to Price.","she revelaed the con to Price"],["How the con was being pulled off and how to stop it.","To locate Jake, and keep everything from happening."],["He used fake bullets and blood packets.","His shooting was faked."],["They get arrested.","They were arrested."],["Jake Vig","Jake Vig"],["The King","A crime lord."],["Morgan Price","Morgan Price"],["Lily","The King"],["ADHD","ADHD."],["Lupus","Agent Butan"],["The bribed bank VP","the bank Vice President"],["Travis","Travis."],["Lily","Lily."],["Butan","Butan"],["CONMEN/CONWOMEN","Con artists."],["JAKE VIG","Jake"],["A LOCAL CRIME LORD CALLED KING","The King"],["ADHD","ADHD."],["A BANK VICE PRESIDENT.","a bank vice president"],["A BANK","A bank."],["WHEN HE ARRESTED THE KING","When he arrested the king."],["LILY","Lily."],["HERSELF.","Price"]],"string":"[\n [\n \"By working for The King.\",\n \"by working for the King\"\n ],\n [\n \"Morgan Price\",\n \"Morgan Price\"\n ],\n [\n \"Gunther Butan\",\n \"Gunther Butan\"\n ],\n [\n \"Belize\",\n \"Belize\"\n ],\n [\n \"Lupus\",\n \"Lupus\"\n ],\n [\n \"She revealed the plan to Price.\",\n \"she revelaed the con to Price\"\n ],\n [\n \"How the con was being pulled off and how to stop it.\",\n \"To locate Jake, and keep everything from happening.\"\n ],\n [\n \"He used fake bullets and blood packets.\",\n \"His shooting was faked.\"\n ],\n [\n \"They get arrested.\",\n \"They were arrested.\"\n ],\n [\n \"Jake Vig\",\n \"Jake Vig\"\n ],\n [\n \"The King\",\n \"A crime lord.\"\n ],\n [\n \"Morgan Price\",\n \"Morgan Price\"\n ],\n [\n \"Lily\",\n \"The King\"\n ],\n [\n \"ADHD\",\n \"ADHD.\"\n ],\n [\n \"Lupus\",\n \"Agent Butan\"\n ],\n [\n \"The bribed bank VP\",\n \"the bank Vice President\"\n ],\n [\n \"Travis\",\n \"Travis.\"\n ],\n [\n \"Lily\",\n \"Lily.\"\n ],\n [\n \"Butan\",\n \"Butan\"\n ],\n [\n \"CONMEN/CONWOMEN\",\n \"Con artists.\"\n ],\n [\n \"JAKE VIG\",\n \"Jake\"\n ],\n [\n \"A LOCAL CRIME LORD CALLED KING\",\n \"The King\"\n ],\n [\n \"ADHD\",\n \"ADHD.\"\n ],\n [\n \"A BANK VICE PRESIDENT.\",\n \"a bank vice president\"\n ],\n [\n \"A BANK\",\n \"A bank.\"\n ],\n [\n \"WHEN HE ARRESTED THE KING\",\n \"When he arrested the king.\"\n ],\n [\n \"LILY\",\n \"Lily.\"\n ],\n [\n \"HERSELF.\",\n \"Price\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"ff96536fef7560517e1411f531ca14b7460eb010"},"split":{"kind":"string","value":"validation"}}},{"rowIdx":49,"cells":{"text":{"kind":"list like","value":[["letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","Yesterday I wrote formally, rising to the occasion like the conventional \n happy father rather than the man who believes in the miracle and lives \n for it. Yesterday I stinted myself. I took you in my arms, glad of what \n is and stately with respect for the fulness of your manhood. It is \n to-day that I let myself leap into yours in a passion of joy. I dwell on \n what has come to pass and inflate myself with pride in your fulfilment, \n more as a mother would, I think, and she your mother. \n","soul writhed in derision, you scoffed at that which you had held to be \n the nobility of the soul, and you minced words satirically over the \n exquisiteness of the type which we have evolved. Then the experiment of \n life turned farce, the heavens fell about your ears and \"Fool!\" was upon \n your lips. Oh, the hurricane that sweeps over the soul when it is \n cheated of its joy! In the first instant of Ellen's indifference, when I","gratified, in the other, hunger was done away with, and I will say that \n you are giving an Arabian Nights' entertainment. \n \n Love is of a piece with life, like hunger, like joy, like death. Your \n progress cannot leave it behind; your civilisation must become the \n exponent of it. \n \n Your last letter is formal and elaborate, and--equivocal. In it you \n remind me, menacingly, of the possibilities of progress, you posit that","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","night and the next and the next, I wrote \"Gentleman Adventurers,\" which \n the critics called the epitome of all that is balladesque. One pitied \n the dead because they could go forth no more on water and under sky. \n This poem, written in a mood which beneficent nature sends on the \n too-sick spirit, has served for more than a quarter of a century as the \n complete and accepted catalogue of the reasons for living. Well, I must","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","is my philosophy but a translation of the facts which have stamped me? \n Perhaps if I let you read these facts, you will the sooner come to share \n my consecration and my faith. I must teach you to know that you are the \n fact of my whole tangled web of facts, and that all that I have and am, \n and all that might have been I and mine, stretches itself out in the \n unmarked path which is before you. \n \n I take you back with me to the road, white with dust, upon which like a","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","good digestion, unailing body, and mild pleasures, and enjoying life \n with bovine placidity? But pretty Louisa Naveret entered his life. The \n \"abysmal fecundity\" was stirred and life clamoured to be created. \n Peacefulness and content vanished. All the forces of his existence \n impelled him to seize upon and possess \"nineteen-year-old\" Louisa \n Naveret. He was afflicted with a disorder of mind and body, a madness","But why did you not write before? After all, the great event was not \n when you found your offer of marriage accepted, but when you found you \n had fallen in love. Then was your hour. Then was the time for \n congratulation, when the call was first sounded and the reveille of Time \n and About fell upon your soul and the march to another's destiny was \n begun. It is always more important to love than to be loved. I wish it \n had been vouchsafed me to be by when your spirit of a sudden grew","happily ending novel. Tolstoy attempts to show that men and women can \n find happiness only when they grow content to give over seeking love \n from one another. They may keep the memory but must banish the hope. \n \"Hereafter, think of me only as the father of your children,\" and the \n woman who had pined for that which had been theirs in the beginning of \n their union weeps softly, and agrees. Tolstoy calls this peace, but for \n Barbara and me this gain is loss, this end an end indeed, replete with","loves you! Yet she thinks that your calm is depth, your silence prayer. \n Her pride protects her, but she strains for the word which does not \n come. She has never been quite sure, and I thank God for that. Hester \n has been fearing somewhat, and she has been doubting, and it is this \n that may save her when the night sets in and the storm breaks over her \n head. \n \n You, too, are thankful that her instincts served her true and that she","the lamp-post which was sticking out its flaming little tongue to the \n night. Why was I mocked? There was no mocking and there should have been \n no bitterness. Of that there was none either, after a while. \n \n Ellen put her hand on my hair, and a strong primal emotion rose in me. \n In that moment civilisation was as if it had not been. I reverted to the \n primitive. The blood of forgotten ancestors, cave-men and river-men,","have been too weary in spirit before to answer to your name when \n opportunity called roll. \n \n It was Earl who broke the silence caused by the inner tumult. In a \n dreamy voice, his eyes very eager and intent, he told us how at one time \n he had gone up a hill that faced the house in which he lived. A hard \n rain was driving, he fell at every step up the slippery steepness, but \n at every step the beauty of it became more and more wondrous, hardly"],["over, as if you had strength for no more than your book and your \n theory! You have become slave to a small point of inquiry, and you call \n it the advance to a new time. \"The crusade is on,\" you say. Coronation \n rites for the commoners and destruction to superstition. I put my hand \n out to you in joy. The joy is in unholy worship of a fetish, the pain \n that there is no joy also deference to a fetish. Your creed thunders","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","Do you remember the incident of the torn jacket and the blackened \n eyes?--so inexplicable at the time. Try as you would, neither you nor \n Waring could get anything out of me. Oh, believe me, it was tragic! I \n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \n the dawn, with the promise of day. And, of course, I thought it was the \n day, that I loved as a man loved, and that no man ever loved more. Well,","soul writhed in derision, you scoffed at that which you had held to be \n the nobility of the soul, and you minced words satirically over the \n exquisiteness of the type which we have evolved. Then the experiment of \n life turned farce, the heavens fell about your ears and \"Fool!\" was upon \n your lips. Oh, the hurricane that sweeps over the soul when it is \n cheated of its joy! In the first instant of Ellen's indifference, when I","never quite accepted the gift that seemed to have been proffered? \n \n You have a right to demand the reason for my renewed attack. It is \n because I have learned the strength of her love. \"You are blessed beyond \n words,\" I said two days ago, but as you reject the blessing, Hester must \n know it and you must tell her. Herbert, I am your friend. \n \n DANE KEMPTON. \n \n \n \n \n XXXVI \n","loves him too well to know or to have the strength to care, or she is, \n like him, of the new school,\" I thought. I sat and watched you, noting \n your youth, surprised by the scorn in your eyes and the sadness on your \n lips. You seemed hopeless and helpless. I closed my eyes. \"What has he \n left himself?\" I kept asking. \"How will he tread 'The paths gray heads \n abhor?'\" My own head bowed itself as before an irreparable loss. I had","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","beyond the times. You are like the idealistic and advanced zealots, who, \n when such action would mean destruction, advise these United States to \n disarm in the face of the war-harnessed world. \n \n But no more of this jerky letter. Soon I shall proceed to make my \n contention good. I shall show the higher part intellect plays in \n conjugal love, the control, restraint, forbearance, sacrifice. And I \n shall show that conjugal love is higher and finer than romantic love. \n","eyes and on her cheek and lip. \"Dane, I love you. Dane! Dane!\" The whole \n of me was caught up in the accents of that tremulousness. She had know \n John three months; but her love for him was young, it had come \n unexpectedly, it was still unexpressed and ineffable. Her yearning for \n him led to softness toward me, and though she rose out of her mood as \n one does from a dream, the hours when we were like the angels, all love","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","of youth; nor was there that cool, calm poise which comes of the \n calculation and discretion of age. Man and woman, we were in full tide, \n strong, simple, and elemental. Life rioted in our veins; we were \n a-bubble with the ferment; and it is out of such abundance that Mother \n Nature has always exacted her progeny. From the strictly emotional and \n naturalistic viewpoint, I must consider it, even now, the perfect love. \n But it was decreed that I should develop into an intellectual animal,","the general disarray with a thumping \"I will!\" And take my word for it, \n Dane, a year hence, when the very ordinary girl greets him with the \n matronly kiss and his fever and folly have left him, he will take up the \n book and make a success of it. \n \n Of course I am not in love. I have just come back from Hester--I ran \n down Saturday to Stanford and stopped over Sunday. Time did not pass","good digestion, unailing body, and mild pleasures, and enjoying life \n with bovine placidity? But pretty Louisa Naveret entered his life. The \n \"abysmal fecundity\" was stirred and life clamoured to be created. \n Peacefulness and content vanished. All the forces of his existence \n impelled him to seize upon and possess \"nineteen-year-old\" Louisa \n Naveret. He was afflicted with a disorder of mind and body, a madness","the lamp-post which was sticking out its flaming little tongue to the \n night. Why was I mocked? There was no mocking and there should have been \n no bitterness. Of that there was none either, after a while. \n \n Ellen put her hand on my hair, and a strong primal emotion rose in me. \n In that moment civilisation was as if it had not been. I reverted to the \n primitive. The blood of forgotten ancestors, cave-men and river-men,","It is better to be rejected, equal turned from equal, than to be held \n with slim desire for slight purpose. Can you see this, Herbert? You are \n hurting the girl's life. She will ask for what you withhold, though not \n a word rise to her lips; will thirst for it through the years, will \n herself grow cramped with your denial till her own love seem a thing of \n dream, unstable and vague and illusive. And all the time you are gentle. \n You are devoted to her interests, furthering her happiness to the best","such heat, and to such little purpose. \n \n You do not see how this answers your last letter. I will tell you. It \n shows you that you have explained yourself fully the night we spoke face \n to face. \n \n You say that Hester is the woman to complement your man. This sounds \n like a lover, only I happen to know that she is not the irresistible \n woman. I found it out quite by accident--a few words dropped into a","regret for the time when your mind had no surprises for me, when the \n days were flushed halcyon with my hope in you. I resent your development \n if it is because of it that you speak prosaically of a prosaic marriage \n and of a honeymoon simultaneous with the Degree. I think you are too \n well pleased with the simultaneousness. \n \n Yet the fact of the letter is fair. It cannot be that the soul of it is","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n"],["HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","finest terms of the finest speech in the world. To do this is to have \n lived. \n \n HERBERT. \n \n \n \n \n XXIX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n August 26, 19--. \n \n You insist that the question is not on the value of love but on the","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so"," GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \n \n \n \n \n Produced by Curtis Weyant, Martin Pettit and the Online \n Distributed Proofreading Team at http://www.pgdp.net (This \n file was produced from images generously made available \n by The Internet Archive/American Libraries.) \n \n \n \n \n \n \n THE KEMPTON-WACE LETTERS \n","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","Always yours, \n DANE KEMPTON. \n \n \n \n \n VII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n December 6, 19--. \n \n No, I am not in love. I am very thankful that I am not. I pride myself \n on the fact. As you say, I may not be adjusting my life artistically to","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n","love. And only the lunatic, I suppose, may compose a medical brochure on \n insanity. \n \n HERBERT. \n \n \n \n \n XXXI \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n October 7, 19--. \n \n It is true that you have a hard task before you, but it is not because \n you are fighting convention and shattering illusion; it is because you","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate.","compromise, sacrifice, and unselfishness, reason will dictate \n separation. In such cases, when they will have become rational once \n more, they will reason the impossibility of a continued relation and \n give it up. In which case the true-love disciple may contend that there \n was no real love in the beginning. But he is wrong. It was just as real \n as that of any marriage, only it failed in the post-nuptial quest after \n compatibility. In all marriages love--passionate, romantic love--must","As I have constantly insisted, our difference is temperamental. The \n common words we lay hold of mean one thing to you and another thing to \n me. I do not equivocate when I say that love is instinctive, and that \n the latter-day expression of love is artificial. \"Art,\" as I understand \n the term in its broadness, contradistinguishes from nature. Whatever man \n contrives or devises is an artifice, a thing of art not of nature, and \n therefore artificial. \n","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n","and I schooled myself to think that there had been no affront, that it \n honours a woman to be wanted no matter for what end, that every use is a \n noble use, that we die the same, loved or used. If Herbert Wace wants a \n wife and thinks me fitting, why, it is well. I thought all this and aged \n as I thought. Nevertheless, my hand did not put itself out a second time \n to detain the man who had forced me to face this. \n","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n January 20, 19--. \n \n I do not know whether to laugh or weep. I have just finished reading \n your letter, and I can hardly think. Words seem to have lost their \n meaning, and words, used as you use them, are without significance. You \n appear to speak a tongue strangely familiar, yet one I cannot","splendour of unfolding, her nature roused, her being expectant. But \n later, for poet and lover, the failure and the waste! Were it otherwise \n with your feeling for your betrothed, the comparison would not hold. \n \n Hester does not think these things, and she is beautiful and happy. \n \n Yours devotedly, \n DANE KEMPTON. \n \n \n \n \n XXXIV \n \n FROM THE SAME TO THE SAME \n \n","romance of to-day as you have not caught it and where you have missed \n it. He knows life and is living. Are you living, Dane Kempton? \n \n Forgive me. I had begun to explain and reconcile our difference. I find \n I am lecturing and censuring you. In defending myself, I offend. But \n this I wish to say: We are so made, you and I, that your function in \n life is to dream, mine to work. That you failed to make a dreamer of me"],["THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday morning. \n \n I must proceed with the three other points of my letter, so I shall stay \n here and write, though there is a sharp breeze this morning and a \n coquettishly escaping sunlight, and something tugs at me to go out upon \n the city streets. It is not restlessness, but the love of the open. I am \n fain to leave a walled house, and, better still, to get outside of the","creep over the Berkeley Hills and down out of the east! Why should you \n linger on there in London town! We grow away from each other, it \n seems--you with your wonder-singing, I with my joyful science. \n \n Poesy and economics! Alack! alack! How did I escape you, Dane, when mind \n and mood you mastered me? The auguries were fair. I, too, should have \n been a singer, and lo, I strive for science. All my boyhood was singing,","Revolution 2s. net \n \n War of the Classes 2s. net \n \n The Human Drift 6s. net and 2s. net \n \n The Iron Heel 2s. net \n \n The Road 2s. net \n \n \n [A] Films have been founded on these novels \n \n MILLS & BOON, Ltd., 49 Rupert St., London, W.1. \n \n * * * * * \n \n","prevent polygamy did another woman chance to strand on that particular \n isle. \n \n It is the common practice of the man of the London slum to kick his wife \n to death when she has offended him. And the man of the London slum is a \n very natural beast who expresses himself in a very natural manner. He \n has never heard of Hero and Leander, and the comparison of the missus' \n eyes to the stars would to him be arrant bosh. The gentle, tender,","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","\"Thou shalt not.\" Love is a thing of yesterday. No room for anything \n that intimately concerns the self. But what are the apostles of the \n young thought preaching if it is not the right of men to their own, and \n what would it avail them to come into their own if life be stripped of \n romance? \n \n I am dissatisfied because you are willing to live as others must live. \n You should stay aristocrat. Ferdinand Lassalle dressed with elegance for","LONDON. \n November 19, 19--. \n \n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \n the impulse to pass it on, and to you of all others. \n \n The mood leapt upon Barbara out of the pages of \"Katia,\" a story by \n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \n love, killing it with their own hands, but the author means it to be a","the truth to you though I do love you and hold you mine. Disagreeable of \n me, but how else? \n \n DANE. \n \n \n \n \n X \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday, January 1, 19--. \n \n Behold, I have lived! I press your face to the breathing, stinging roses \n of my days, and bid you drink in the sweet and throb with the pain. What","love. And only the lunatic, I suppose, may compose a medical brochure on \n insanity. \n \n HERBERT. \n \n \n \n \n XXXI \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n October 7, 19--. \n \n It is true that you have a hard task before you, but it is not because \n you are fighting convention and shattering illusion; it is because you","able to remember back and recognise what young eyes mean when they look \n like that. From London to Palo Alto is a short trip, if at the end of it \n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \n aware that evening had come, and we stopped a little in front of the \n arch to observe the night-look of the foot-hills. Lights had begun to \n appear in the corridors of the quadrangle, and here and there in a","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n","know now, as I felt then, your consistent revolt against his \n materialistic philosophy. \n \n Only the other day you complained of a letter of mine, calling it cold \n and analytical. That I should be cold and analytical despite all the \n prodding and pressing and moulding I have received at your hands, and \n the hands of Waring, marks only more clearly our temperamental \n difference; but it does not mark that one or the other of us is less a","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we"],["two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","your dismal science,\" he is sure to add; and to fire him I lay it to the \n defects of early training. I know he thinks that I never half \n appreciated you, and that I do not appreciate you now. If you will \n recollect, you praised his verses once. He cherishes that praise amongst \n his sweetest treasures. Poor dear good old Gwynne, tender, sensitive, \n shrinking, with the face of a seraph and the heart of a maid. Never were","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","soul writhed in derision, you scoffed at that which you had held to be \n the nobility of the soul, and you minced words satirically over the \n exquisiteness of the type which we have evolved. Then the experiment of \n life turned farce, the heavens fell about your ears and \"Fool!\" was upon \n your lips. Oh, the hurricane that sweeps over the soul when it is \n cheated of its joy! In the first instant of Ellen's indifference, when I","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","the lamp-post which was sticking out its flaming little tongue to the \n night. Why was I mocked? There was no mocking and there should have been \n no bitterness. Of that there was none either, after a while. \n \n Ellen put her hand on my hair, and a strong primal emotion rose in me. \n In that moment civilisation was as if it had not been. I reverted to the \n primitive. The blood of forgotten ancestors, cave-men and river-men,","take it, in this dawning twentieth century, because she is a scientist; \n not in spite of being a scientist as some would hold. How shall I \n describe her? Perhaps as a George Eliot, fused with an Elizabeth \n Barrett, with a hint of Huxley and a trace of Keats. I may say she is \n something like all this, but I must say she is something other and \n different. There is about her a certain lightsomeness, a glow or flash \n almost Latin or oriental, or perhaps Celtic. Yes, that must be","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n","that you are unaware of the chill your words breathe, and that is a \n lapse which it is impossible to meet with indulgence. \n \n \"He does not love her,\" was Barbara's quick decision, and she laid the \n open letter down with a definiteness which said that you, too, are laid \n out and laid low. Your sister's very wrists can be articulate. However, \n I laughed at her and she soon joined me. We do not mean to be \n extravagant with our fears. Who shall prescribe the letters of lovers to","know now, as I felt then, your consistent revolt against his \n materialistic philosophy. \n \n Only the other day you complained of a letter of mine, calling it cold \n and analytical. That I should be cold and analytical despite all the \n prodding and pressing and moulding I have received at your hands, and \n the hands of Waring, marks only more clearly our temperamental \n difference; but it does not mark that one or the other of us is less a","what of you; and my father was a singer, too, in his own fine way. Dear \n to me is your likening of him to Waring.--\"What's become of Waring?\" He \n _was_ Waring. I can think of him only as one who went away, \"chose land \n travel or seafaring.\" \n \n Gwynne says I am sometimes almost a poet--Gwynne, you know, Arthur \n Gwynne, who has come to live with me at The Ridge. \"If it were not for","But hers will be no minor note, no middle flight. She is--well, she is \n Hester. In two years we shall be married. Two years, Dane. Surely you \n will be with us. \n \n One thing more; in your letter a certain undertone which I could not \n fail to detect. A shade less of me than formerly?--I turn and look into \n your face--Waring's handiwork you remember--his painter's fancy of you \n in those golden days when I stood on the brink of the world, and you","the general disarray with a thumping \"I will!\" And take my word for it, \n Dane, a year hence, when the very ordinary girl greets him with the \n matronly kiss and his fever and folly have left him, he will take up the \n book and make a success of it. \n \n Of course I am not in love. I have just come back from Hester--I ran \n down Saturday to Stanford and stopped over Sunday. Time did not pass","willing to bestow itself without question or let or hope of return, when \n the self broke up and you grew fain to beat out your strength in praise \n and service for the woman who was soaring high in the blue wastes. You \n have known her long, and you must have been hers long, yet no word of \n her and of your love reached me. It was not kind to be silent. \n \n Barbara spoke yesterday of your fastidiousness, and we told each other \n that you had gained a triumph of happiness in your love, for you are not","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","unechoed words, I became grave and still myself. He had unloved me, I \n said, and I waited. Something seemed pending, and meanwhile I could \n love! I made much of every word of comfort that he dropped me, and dwelt \n with hope on the future. All this I told Herbert the night when I \n explained, and he turned pale. \"You people fly away with yourselves. I \n cannot follow you. What is wrong, Hester?\" He smiled in his distress.","of those who cheat themselves. You choose rigorously, straining for the \n heart of the end as do all rigorists who are also hedonists. Because we \n are in possession of this bit of data as to your temperamental cosmos we \n can congratulate you with the more abandon. Oh, Herbert, do you know \n that this is a rampant spring, and that on leaving Barbara I tramped \n out of the confines into the green, happier, it almost seems, than I"],["dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","the truth to you though I do love you and hold you mine. Disagreeable of \n me, but how else? \n \n DANE. \n \n \n \n \n X \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday, January 1, 19--. \n \n Behold, I have lived! I press your face to the breathing, stinging roses \n of my days, and bid you drink in the sweet and throb with the pain. What","Madness and selfishness were the cause of Louisa Naveret's death, and \n the man who was mad and selfish was her lover. The poor man had not the \n strength to renounce when he thought he found himself face to face with \n the necessity of renouncing. But all lovers are not too weak to cope \n with love. John Ruskin, if you remember, loved his wife, and he shot \n neither himself, nor her, nor Millais. Charles J. Johnson is not a \n Ruskin, and Ruskin's love was not a madness.","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","prevent polygamy did another woman chance to strand on that particular \n isle. \n \n It is the common practice of the man of the London slum to kick his wife \n to death when she has offended him. And the man of the London slum is a \n very natural beast who expresses himself in a very natural manner. He \n has never heard of Hero and Leander, and the comparison of the missus' \n eyes to the stars would to him be arrant bosh. The gentle, tender,","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","Enters here the prejudice of love. It was the lad that discovered our \n difference and concealed; it was the man who was blind and could not \n discover. There we erred, man and boy; and here, both men now, we make \n all well again. \n \n Let me be explicit. Do you remember the passion with which I read the \n \"Intellectual Development of Europe?\" I understood not the tithe of it, \n but I was thrilled. My common sense was thrilled, I suppose; but it was","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","Nor do I feel impelled to leave her presence if I would live, as did \n Dante the presence of Beatrice; nor the painful confusion of Rousseau, \n when, in the same room with Madame Goton, he seemed impelled to leap \n into the flaming fireplace. But I do feel for Hester what happily mated \n men and women, after they have lived down the passion, feel in the \n afternoon of life. It is the affection of man for woman, which is","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we","and be something more than a mere unconscious puppet of the reproductive \n forces. So head mastered my heart, and I laid the grip of my will over \n the passion and went my way. \n \n And then came another man's wife, a proud-breasted woman, the perfect \n mother, made pre-eminently to know the lip clasp of a child. You know \n the kind, the type. \"The mothers of men,\" I call them. And so long as \n there are such women on this earth, that long may we keep faith in the","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","his working-men audiences, with the hope, he said, of reminding them \n that there was something better than their shabbiness. You are of the \n favoured, Herbert. It devolves upon you to endear your life to yourself. \n You do not agree with me. You do not believe that love is the law which \n controls freedom and life. Slave to your theory and rebel to the law, \n you lose your soul and imperil another's. \n","have ever been? Do you know that because you love a woman and she loves \n you, and that because you are swept along by certain forces, that I am \n happy and feel myself in sight of my portion of immortality on earth, \n far more than because of my books, dear lad, far more? \n \n I wish I could fly England and get to you. Should I have a shade less of \n you than formerly, if we were together now? From your too much green of \n wealth, a barrenness of friendship? It does not matter; what is her gain"],["dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","and arms outstretched in welcome. Oh, I saw the curved lips and \n outstretched arms, and all the splendid young womanhood swaying there, \n and I was pleased and all that; but I did not think it too wonderful and \n impossible and miraculous and the rest of the fond rubbish I am sure \n poor Bidwell thinks when his eyes are gladdened by his ordinary sort of \n girl when he calls upon her. \n \n What a comely young woman, is what I thought as I pressed Hester's","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","dwelt a religion which compelled us to serve the ideal. We strove to \n become what organically we felt the \"Human with his drippings of warm \n tears\" may become. We were the standard-bearers of the advancing margin \n of the world. We were the high-water mark toward which all the tides \n forever make. We were soldiers and priests. \n \n And so when Ellen loved, and lacked courage for her love, I helped her. \n A past of kindness and ardour riveted her to my side. She knew that we","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n","know her,--and of Herbert. He and I had often come to these spots. Oh, \n the hungry memories! Yet what were we but a young man and a young woman, \n who, without being battered into apathy by misfortune, without being \n wearied or ill, were taking each other for better or for worse because \n they seemed compatible? We were doing just that, to Herbert's certain \n knowledge! I failed him; he hoped for more complaisance. Marriage is a","felt myself pushed out of her life, I forgot everything but my desire. \n I could not renounce her. I was in the throes of the passion for \n ownership. \n \n Gentle girl between whom and myself there had been naught but sweetness \n and fellowship! How often had we talked large (we were very young!) of \n our sublimities and potentialities, how often had we pictured tragedies \n of surrender and greatened in the speaking! Ah, it should come true. For","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","April 2, 19--. \n \n So you have met Hester's brother? Well, I have had an outing with \n Hester. She loves me well, I know, and I cannot but confess a thrill at \n the thought. On the other hand, well do I know the significance of that \n love, the significance and the cause. Notwithstanding that wonderful \n soul of hers, she is in no wise constituted differently from her \n millions of sisters on the planet to-day. She loves--she knows not why;","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","too busy--and too sensible. Like me, she has not the time. We are \n workers, not dreamers; and the minutes are too full for us to lavish \n them on an eternal weighing and measuring of heart throbs. \n \n Besides, Hester is too large for that sort of stuff. She is the last \n woman in the world to peer down at the scales to see if she is getting \n full value. We leave that to the lesser creatures, who spend their \n courtship loudly protesting how unutterable, immeasurable, and","his working-men audiences, with the hope, he said, of reminding them \n that there was something better than their shabbiness. You are of the \n favoured, Herbert. It devolves upon you to endear your life to yourself. \n You do not agree with me. You do not believe that love is the law which \n controls freedom and life. Slave to your theory and rebel to the law, \n you lose your soul and imperil another's. \n","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble"],["forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","felt myself pushed out of her life, I forgot everything but my desire. \n I could not renounce her. I was in the throes of the passion for \n ownership. \n \n Gentle girl between whom and myself there had been naught but sweetness \n and fellowship! How often had we talked large (we were very young!) of \n our sublimities and potentialities, how often had we pictured tragedies \n of surrender and greatened in the speaking! Ah, it should come true. For","Do you remember the incident of the torn jacket and the blackened \n eyes?--so inexplicable at the time. Try as you would, neither you nor \n Waring could get anything out of me. Oh, believe me, it was tragic! I \n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \n the dawn, with the promise of day. And, of course, I thought it was the \n day, that I loved as a man loved, and that no man ever loved more. Well,","Tell her, then, tell her all you wish, you dear old fluttery, mothery \n poet father--as though it made any difference. \n \n HERBERT. \n \n \n \n \n XXXVII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n STANFORD UNIVERSITY. \n December 3, 19--. \n \n Not three weeks ago you were sitting opposite me and speaking of Hester.","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","thought--a memory of very long ago when one was young and might have \n chosen to live. \n \n I am sorry we darken the days for each other. \n \n Your friend always, \n \n DANE KEMPTON. \n \n \n \n \n XIII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 12, 19--. \n","November 20, 19--. \n \n Hester met me at the station, and we walked through the Arboretum to her \n home on the campus. Then followed an evening together in the dormitory \n parlour. I have just left her. Her face was tumultuously joyous when I \n murmured my \"At last!\" Her tearful excitement was like Barbara's. You \n did not tell me she is so young. You must have made her feel our \n closeness, or she may have found a bit of my verse that all expressed","make her task of leaving me an easy one. Were it not for my efforts, it \n would have been harder for her to obey a mandate which made for my pain. \n She could not quite drown an old, Puritan voice, speaking with the \n authority of tradition, which bade her hold to her vows. Yes, I made it \n easy for her. Harrow my soul with theories of selection and survival if \n you dare! \n \n In those days the spires of the temple were golden, the shrine white.","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","her, and presto, the whole-hearted one is my friend. Her poet is now her \n father, brother, comrade,--what she chooses, and all she chooses. \n \n At one time, before we were well out of the Arboretum, our eyes met, and \n there was something so sad and mild and strange in the burn of her gaze \n that I felt her frank spirit was unveiling itself in an utterness of \n speech. But I have become too much spoilt by mere length of living to be","\"Yes, but with no more reason than you for your unhappiness. Since you \n have come here, you have renewed your demands upon yourself. You wish to \n go to school with the youngest and find you cannot. You suffer because \n more seems behind you than before.\" Her voice rose as if she were \n fighting tears. It was different with her, I told her. Nothing was \n behind her. \n \n \"You test your work and I test my love. When you are sad, it is because","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","well, I laugh now. I was only fifteen--a young calf who went out and \n butted heads with another calf in the back pasture. \n \n She was a demure little coquette, Celia Genoine, Professor Genoine's \n daughter, if you will recollect. \"Ah,\" I hear you remonstrate, \"but she \n was a woman.\" Just so. Fifteen and twenty-two is usually the way of calf \n loves. I invested her with all the glow and colour of first youth, and","took long, solitary walks, with book of verse beneath my arm, and \n learned to love as lovers had loved before me. \n \n Sufficient romance was engendered for me to pass more than one night \n worshipping beneath her window. I mooned and sentimentalised and fell \n into a gentle melancholy, until you and Waring began to worry over an \n early decline, to consult specialists, and by trick and stratagem to \n entice me into eating more and reading less. But she married--ah, I have","were in feeling and fact divorced from each other by virtue of her \n stronger love for John, yet did she do battle with the rich young love. \n For two years we had been close; she had been so much my friend, she \n could not in maiden charity seal for me a so unwelcome fate. I had \n awakened her slumbering soul with my first look into the sphinx wonder \n of her eyes. For me she had become fire and dew, flame of the sun, and","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","and all speech, were mine. So much was vouchsafed me. \n \n Memories and echoes, gusts of sweet breath from the violets on your \n mother's grave--the prophet of matter will have none of them, and, I \n fear, will pity me that I am so much theirs. I am yours also, dear lad, \n and I wish to serve you. \n \n DANE KEMPTON. \n \n \n \n \n XI \n","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","\"I am difficult,\" she said. And again, \"There are times when no power \n can hold me.\" Then she quoted Browning:-- \n \n \n \"Already how am I so far \n Out of that minute? Must I go \n Still like the thistle-ball, no bar, \n Onward, whenever light winds blow, \n Fixed by no friendly star?\" \n \n \n \"Are you unhappy, Hester?\" I asked. \n"],["But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","prevent polygamy did another woman chance to strand on that particular \n isle. \n \n It is the common practice of the man of the London slum to kick his wife \n to death when she has offended him. And the man of the London slum is a \n very natural beast who expresses himself in a very natural manner. He \n has never heard of Hero and Leander, and the comparison of the missus' \n eyes to the stars would to him be arrant bosh. The gentle, tender,","FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday morning. \n \n I must proceed with the three other points of my letter, so I shall stay \n here and write, though there is a sharp breeze this morning and a \n coquettishly escaping sunlight, and something tugs at me to go out upon \n the city streets. It is not restlessness, but the love of the open. I am \n fain to leave a walled house, and, better still, to get outside of the","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we","forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","too busy--and too sensible. Like me, she has not the time. We are \n workers, not dreamers; and the minutes are too full for us to lavish \n them on an eternal weighing and measuring of heart throbs. \n \n Besides, Hester is too large for that sort of stuff. She is the last \n woman in the world to peer down at the scales to see if she is getting \n full value. We leave that to the lesser creatures, who spend their \n courtship loudly protesting how unutterable, immeasurable, and","took long, solitary walks, with book of verse beneath my arm, and \n learned to love as lovers had loved before me. \n \n Sufficient romance was engendered for me to pass more than one night \n worshipping beneath her window. I mooned and sentimentalised and fell \n into a gentle melancholy, until you and Waring began to worry over an \n early decline, to consult specialists, and by trick and stratagem to \n entice me into eating more and reading less. But she married--ah, I have","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are","possession. She is not the woman ever to make me swamp honour and poise \n and right conduct in the vortex of blind sex passion. She is not the \n woman to arouse in me such uncontrolled desire that for gratification I \n would do one ill deed, or put the slightest hurt upon the least of \n human creatures. She is not the most beautiful woman God Almighty ever \n planted on His footstool. (There have been and are many women as true","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","LONDON. \n November 19, 19--. \n \n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \n the impulse to pass it on, and to you of all others. \n \n The mood leapt upon Barbara out of the pages of \"Katia,\" a story by \n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \n love, killing it with their own hands, but the author means it to be a","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","replete with significance and health. I doubt not Elijah himself was \n dubbed parvenu when he fluttered with his golden harp into that \n bright-browed throng, pride-swollen for that they had fought with \n Michael when Lucifer was hurled into hell. \n \n \"We do not choose our wives as we buy our saddle-horses; we do not plan \n our marriages as we do the building of our houses,\"--so you say, and it","of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","the truth to you though I do love you and hold you mine. Disagreeable of \n me, but how else? \n \n DANE. \n \n \n \n \n X \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday, January 1, 19--. \n \n Behold, I have lived! I press your face to the breathing, stinging roses \n of my days, and bid you drink in the sweet and throb with the pain. What","I hitherto took for granted, and become doubly sure. You dogmatise when \n you say that the lover and the husband are mutually exclusive. If there \n was love in the beginning, it will be at the end. Love doubles upon \n itself. Propinquity tightens bonds and there is a steady blossoming of \n the character in a radiant atmosphere. The marriages that fail are the \n unions which are based on liking. In these, weariness must set in, for"],["Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate.","of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","HERBERT. \n \n \n \n \n XV \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n March 15, 19--. \n \n Clyde Stebbins was here an hour after your theories and definitions \n reached me. The fact that I had been reading treason against his sister","and I schooled myself to think that there had been no affront, that it \n honours a woman to be wanted no matter for what end, that every use is a \n noble use, that we die the same, loved or used. If Herbert Wace wants a \n wife and thinks me fitting, why, it is well. I thought all this and aged \n as I thought. Nevertheless, my hand did not put itself out a second time \n to detain the man who had forced me to face this. \n","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","shall be of the deeds I have done. \n \n HERBERT. \n \n \n \n \n IX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n December 28, 19--. \n \n The curtain is rung down on an illusion, but it rises again on another,","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","cannot be my loss. One power is mine,--without hindrance, in freedom and \n in right, to say to Ellen's son, \"Godspeed!\" to place Hester Stebbins's \n hand in his, and bid them forth to the sunrise, into the glory of day! \n \n Ever your devoted father, \n DANE KEMPTON. \n \n \n \n \n II \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,","mediocrity and register a high claim. I would keep the peace with \n Romance and fly her colours to the last. You have lived? It is well, and \n it might have been better, but do not give over and talk of \n stirpiculture. You are not wiser than the laws which made you. \n \n DANE. \n \n \n \n \n XXX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,","know her,--and of Herbert. He and I had often come to these spots. Oh, \n the hungry memories! Yet what were we but a young man and a young woman, \n who, without being battered into apathy by misfortune, without being \n wearied or ill, were taking each other for better or for worse because \n they seemed compatible? We were doing just that, to Herbert's certain \n knowledge! I failed him; he hoped for more complaisance. Marriage is a","his working-men audiences, with the hope, he said, of reminding them \n that there was something better than their shabbiness. You are of the \n favoured, Herbert. It devolves upon you to endear your life to yourself. \n You do not agree with me. You do not believe that love is the law which \n controls freedom and life. Slave to your theory and rebel to the law, \n you lose your soul and imperil another's. \n","It is better to be rejected, equal turned from equal, than to be held \n with slim desire for slight purpose. Can you see this, Herbert? You are \n hurting the girl's life. She will ask for what you withhold, though not \n a word rise to her lips; will thirst for it through the years, will \n herself grow cramped with your denial till her own love seem a thing of \n dream, unstable and vague and illusive. And all the time you are gentle. \n You are devoted to her interests, furthering her happiness to the best","day. As yet, you have not gauged her, and you would put her to small \n uses. Stand aside, dear Herbert. It will be better. \n \n I have played a surly part. I may be accused of having been to you both \n a Dmitri Roudin and an Iago. I beg you to believe that it has not been \n easy for me. I have uttered the earnest word, have driven you on by the \n goad of friendship, which drives far. I looked upon the days that came","spoke a few words and left. Our host had divulged what the anniversary \n sought to celebrate. We understood and were glad. \n \n Good night, lad. Would you could have shared our heyday at the dawning! \n \n DANE. \n \n \n \n \n XIV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n February 31, 19--. \n","Over and ended. It shall be as I said last night. Herbert, there is no \n call for anger; believe me, there is not. I am doing what I cannot help \n doing. You have not changed, but my faith in you has, and I cannot \n pretend to a happiness I do not feel. \n \n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \n to wrest myself from you. Did you at one time love me? That morning of \n wild sunshine when you took my hand and asked me to be your wife seems","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA."],["FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so","romance of to-day as you have not caught it and where you have missed \n it. He knows life and is living. Are you living, Dane Kempton? \n \n Forgive me. I had begun to explain and reconcile our difference. I find \n I am lecturing and censuring you. In defending myself, I offend. But \n this I wish to say: We are so made, you and I, that your function in \n life is to dream, mine to work. That you failed to make a dreamer of me","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n January 20, 19--. \n \n I do not know whether to laugh or weep. I have just finished reading \n your letter, and I can hardly think. Words seem to have lost their \n meaning, and words, used as you use them, are without significance. You \n appear to speak a tongue strangely familiar, yet one I cannot","and all speech, were mine. So much was vouchsafed me. \n \n Memories and echoes, gusts of sweet breath from the violets on your \n mother's grave--the prophet of matter will have none of them, and, I \n fear, will pity me that I am so much theirs. I am yours also, dear lad, \n and I wish to serve you. \n \n DANE KEMPTON. \n \n \n \n \n XI \n","Dane! Our captains sit in council, our heroes take the field, our \n fighting men are buckling on their harness, our martyrs have already \n died, and you are blind to it, blind to it all! \n \n We have no poets these days, and perforce we are singing with our hands. \n The walking delegate is a greater singer and a finer singer than you, \n Dane Kempton. The cold, analytical economist, delving in the dynamics","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","spoke a few words and left. Our host had divulged what the anniversary \n sought to celebrate. We understood and were glad. \n \n Good night, lad. Would you could have shared our heyday at the dawning! \n \n DANE. \n \n \n \n \n XIV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n February 31, 19--. \n","splendour of unfolding, her nature roused, her being expectant. But \n later, for poet and lover, the failure and the waste! Were it otherwise \n with your feeling for your betrothed, the comparison would not hold. \n \n Hester does not think these things, and she is beautiful and happy. \n \n Yours devotedly, \n DANE KEMPTON. \n \n \n \n \n XXXIV \n \n FROM THE SAME TO THE SAME \n \n","In one of the near turnings a woman with waiting face smiles subtly. Her \n hands beckon you to the tryst. Godspeed, my son. \n \n DANE. \n \n \n \n \n XXVIII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n August 6, 19--. \n","cannot be my loss. One power is mine,--without hindrance, in freedom and \n in right, to say to Ellen's son, \"Godspeed!\" to place Hester Stebbins's \n hand in his, and bid them forth to the sunrise, into the glory of day! \n \n Ever your devoted father, \n DANE KEMPTON. \n \n \n \n \n II \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n","never quite accepted the gift that seemed to have been proffered? \n \n You have a right to demand the reason for my renewed attack. It is \n because I have learned the strength of her love. \"You are blessed beyond \n words,\" I said two days ago, but as you reject the blessing, Hester must \n know it and you must tell her. Herbert, I am your friend. \n \n DANE KEMPTON. \n \n \n \n \n XXXVI \n","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA.","your fancies in colours and metals and marbles. You wrote epics and \n lyrics--ay, as you to-day write lyrics, Dane Kempton. And I multiplied \n myself. I kept hunger afar off, and fire and sword from your habitation, \n and the bondsmen in obedience under you. I solved methods of government \n and invented systems of jurisprudence. Out of my toil sprang forms and \n institutions. You sang of them and were the slave of them, but I was the","Always yours, \n DANE KEMPTON. \n \n \n \n \n VII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n December 6, 19--. \n \n No, I am not in love. I am very thankful that I am not. I pride myself \n on the fact. As you say, I may not be adjusting my life artistically to","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,"," His fits when he is neither sick nor well, \n Though no distress be near him but his own \n Unmanageable thoughts.\" \n \n \n You will judge by this letter that I am neither sick nor well, and that \n I reach for a distress which is not near. If I were Merchant rather than \n Poet, it would be otherwise with me. \n \n DANE. \n \n \n \n \n IV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate.","taken in good part, and they came with something that was like music. \n Was it the voice or some inexplicable feeling? I turned in wonder. Her \n head was raised, and in the indistinctness I caught that sweet look of \n hers which besought me, and which I answered without knowing to what \n question. \n \n I owe you a great happiness. Good-night. \n \n DANE KEMPTON. \n \n \n \n \n XXXIII \n \n FROM THE SAME TO THE SAME \n \n"],["Doubtless mine have the same forensic quality. Our letters have become \n rebuttals, pure and simple. This discovery gave my pen pause for a week. \n It occurred to me that Walt Whitman must have meant didactic letters \n too, when he said of the fretters of our little world, \"They make me \n sick talking of their duty to God.\" Yet friend should speak to friend, \n should utter the word than which nothing is more sacred. \"Let there be","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","with emphasis. Here I might have told her that men and women are races \n apart, but no one talks cant to Barbara. So I did not console her, and \n it stands against you in our minds that on this critical occasion you \n have baffled us with coldness. \n \n An absence of six years, broken into twice by a brief few months, must \n work changes. When Barbara called your letter unnatural, she forgot how \n little she knows what is natural to you. She and I have been wont to","Enters here the prejudice of love. It was the lad that discovered our \n difference and concealed; it was the man who was blind and could not \n discover. There we erred, man and boy; and here, both men now, we make \n all well again. \n \n Let me be explicit. Do you remember the passion with which I read the \n \"Intellectual Development of Europe?\" I understood not the tithe of it, \n but I was thrilled. My common sense was thrilled, I suppose; but it was","made me pick my subjects a little too carefully for smooth conversation. \n Your letter, partly open, was on the table before us, and my eyes fell \n upon it often as I wondered what it would mean to Hester's brother--if \n he could read it. I no longer think only of you. \n \n I reject your definition of love. It is not a disorder of the mind and \n body, nor is it solely the instrument of reproduction. I reject and \n resent your distinction between the pre-nuptial and post-nuptial states","is no cause for heartache and chagrin. What of my practical nature and \n analytical mind, I have generalised in my own way upon the data of life \n and achieved a different code from yours. Yet I seek truth as \n passionately as you. I still believe myself to be a dedicated spirit. \n \n And what boots it, all of it? When the last word is said, we are two \n men, by a thousand ties very dear to each other. There is room in our \n hearts for each other as there is room in the world for both of us.","that you are unaware of the chill your words breathe, and that is a \n lapse which it is impossible to meet with indulgence. \n \n \"He does not love her,\" was Barbara's quick decision, and she laid the \n open letter down with a definiteness which said that you, too, are laid \n out and laid low. Your sister's very wrists can be articulate. However, \n I laughed at her and she soon joined me. We do not mean to be \n extravagant with our fears. Who shall prescribe the letters of lovers to","gratified, in the other, hunger was done away with, and I will say that \n you are giving an Arabian Nights' entertainment. \n \n Love is of a piece with life, like hunger, like joy, like death. Your \n progress cannot leave it behind; your civilisation must become the \n exponent of it. \n \n Your last letter is formal and elaborate, and--equivocal. In it you \n remind me, menacingly, of the possibilities of progress, you posit that","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","show where I am wrong. But do not pour out on me your romantic and \n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \n Fact. \n \n HERBERT. \n \n Ah, your later letter has just arrived. I can only say that I \n understand. But withal, I am pained that I am not nearer to you. These \n intellectual phantasmagoria rise up like huge amorphous ghosts and hold","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","willing to bestow itself without question or let or hope of return, when \n the self broke up and you grew fain to beat out your strength in praise \n and service for the woman who was soaring high in the blue wastes. You \n have known her long, and you must have been hers long, yet no word of \n her and of your love reached me. It was not kind to be silent. \n \n Barbara spoke yesterday of your fastidiousness, and we told each other \n that you had gained a triumph of happiness in your love, for you are not","But why did you not write before? After all, the great event was not \n when you found your offer of marriage accepted, but when you found you \n had fallen in love. Then was your hour. Then was the time for \n congratulation, when the call was first sounded and the reveille of Time \n and About fell upon your soul and the march to another's destiny was \n begun. It is always more important to love than to be loved. I wish it \n had been vouchsafed me to be by when your spirit of a sudden grew","Yesterday I wrote formally, rising to the occasion like the conventional \n happy father rather than the man who believes in the miracle and lives \n for it. Yesterday I stinted myself. I took you in my arms, glad of what \n is and stately with respect for the fulness of your manhood. It is \n to-day that I let myself leap into yours in a passion of joy. I dwell on \n what has come to pass and inflate myself with pride in your fulfilment, \n more as a mother would, I think, and she your mother. \n"],[" * * * * * \n \n JACK LONDON'S BOOKS \n \n \"_He opened windows for them upon the splendour and the savagery, the \n pomp and the pitifulness that he had found in many corners of the earth. \n He saw that in every scene, in every human activity there was an element \n which lifted it into the region of the beautiful, and he made all his \n readers see it, whether he was learned or ignorant; cultivated or only","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","Do you remember the incident of the torn jacket and the blackened \n eyes?--so inexplicable at the time. Try as you would, neither you nor \n Waring could get anything out of me. Oh, believe me, it was tragic! I \n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \n the dawn, with the promise of day. And, of course, I thought it was the \n day, that I loved as a man loved, and that no man ever loved more. Well,","the truth to you though I do love you and hold you mine. Disagreeable of \n me, but how else? \n \n DANE. \n \n \n \n \n X \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday, January 1, 19--. \n \n Behold, I have lived! I press your face to the breathing, stinging roses \n of my days, and bid you drink in the sweet and throb with the pain. What","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we","to him when all grew calm. I wish it could have been otherwise, and that \n she could have brought him a woman's heart. \n \n The priest, as the professor, is a hero. Both made great outputs. \n \n There are few who can live like these. But because there are a few who \n can love and work, the game is saved. And because there are a few of \n these, we must ever quarrel with the many who are not like them. \n \n \n \"Give all to love;","and be something more than a mere unconscious puppet of the reproductive \n forces. So head mastered my heart, and I laid the grip of my will over \n the passion and went my way. \n \n And then came another man's wife, a proud-breasted woman, the perfect \n mother, made pre-eminently to know the lip clasp of a child. You know \n the kind, the type. \"The mothers of men,\" I call them. And so long as \n there are such women on this earth, that long may we keep faith in the","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","shall be of the deeds I have done. \n \n HERBERT. \n \n \n \n \n IX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n December 28, 19--. \n \n The curtain is rung down on an illusion, but it rises again on another,","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday morning. \n \n I must proceed with the three other points of my letter, so I shall stay \n here and write, though there is a sharp breeze this morning and a \n coquettishly escaping sunlight, and something tugs at me to go out upon \n the city streets. It is not restlessness, but the love of the open. I am \n fain to leave a walled house, and, better still, to get outside of the","have been too weary in spirit before to answer to your name when \n opportunity called roll. \n \n It was Earl who broke the silence caused by the inner tumult. In a \n dreamy voice, his eyes very eager and intent, he told us how at one time \n he had gone up a hill that faced the house in which he lived. A hard \n rain was driving, he fell at every step up the slippery steepness, but \n at every step the beauty of it became more and more wondrous, hardly","romance of to-day as you have not caught it and where you have missed \n it. He knows life and is living. Are you living, Dane Kempton? \n \n Forgive me. I had begun to explain and reconcile our difference. I find \n I am lecturing and censuring you. In defending myself, I offend. But \n this I wish to say: We are so made, you and I, that your function in \n life is to dream, mine to work. That you failed to make a dreamer of me","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","able to remember back and recognise what young eyes mean when they look \n like that. From London to Palo Alto is a short trip, if at the end of it \n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \n aware that evening had come, and we stopped a little in front of the \n arch to observe the night-look of the foot-hills. Lights had begun to \n appear in the corridors of the quadrangle, and here and there in a","creep over the Berkeley Hills and down out of the east! Why should you \n linger on there in London town! We grow away from each other, it \n seems--you with your wonder-singing, I with my joyful science. \n \n Poesy and economics! Alack! alack! How did I escape you, Dane, when mind \n and mood you mastered me? The auguries were fair. I, too, should have \n been a singer, and lo, I strive for science. All my boyhood was singing,","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit"],["dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","But hers will be no minor note, no middle flight. She is--well, she is \n Hester. In two years we shall be married. Two years, Dane. Surely you \n will be with us. \n \n One thing more; in your letter a certain undertone which I could not \n fail to detect. A shade less of me than formerly?--I turn and look into \n your face--Waring's handiwork you remember--his painter's fancy of you \n in those golden days when I stood on the brink of the world, and you","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","There is nothing more important than the play and interplay of feeling. \n Were Barbara \"unwifely,\" I could not blame her, but neither could I have \n at hand my proof of dear miracles. My proof remained to me, for there \n she stood, her face lifted toward mine, her mouth tremulous, her grey \n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \n been married seven years, and she still vibrates with the old wonder to \n find herself loving and beloved. \n","her, and presto, the whole-hearted one is my friend. Her poet is now her \n father, brother, comrade,--what she chooses, and all she chooses. \n \n At one time, before we were well out of the Arboretum, our eyes met, and \n there was something so sad and mild and strange in the burn of her gaze \n that I felt her frank spirit was unveiling itself in an utterness of \n speech. But I have become too much spoilt by mere length of living to be","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","the general disarray with a thumping \"I will!\" And take my word for it, \n Dane, a year hence, when the very ordinary girl greets him with the \n matronly kiss and his fever and folly have left him, he will take up the \n book and make a success of it. \n \n Of course I am not in love. I have just come back from Hester--I ran \n down Saturday to Stanford and stopped over Sunday. Time did not pass","such heat, and to such little purpose. \n \n You do not see how this answers your last letter. I will tell you. It \n shows you that you have explained yourself fully the night we spoke face \n to face. \n \n You say that Hester is the woman to complement your man. This sounds \n like a lover, only I happen to know that she is not the irresistible \n woman. I found it out quite by accident--a few words dropped into a","day. As yet, you have not gauged her, and you would put her to small \n uses. Stand aside, dear Herbert. It will be better. \n \n I have played a surly part. I may be accused of having been to you both \n a Dmitri Roudin and an Iago. I beg you to believe that it has not been \n easy for me. I have uttered the earnest word, have driven you on by the \n goad of friendship, which drives far. I looked upon the days that came","So when she prattled with abandon of all you both meant to be and do, \n her form erect before me, her hands eloquent with excitement, her voice \n pleading for the right to her very conscious self-esteem, I asked her to \n look still further. Further she saw you, and was content. \n \n That was before dinner. Later we were walking. \"I have a friend in \n Orion,\" she said. The witchery of starshine played in her eyes and","April 2, 19--. \n \n So you have met Hester's brother? Well, I have had an outing with \n Hester. She loves me well, I know, and I cannot but confess a thrill at \n the thought. On the other hand, well do I know the significance of that \n love, the significance and the cause. Notwithstanding that wonderful \n soul of hers, she is in no wise constituted differently from her \n millions of sisters on the planet to-day. She loves--she knows not why;","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","in things, and life is topsy-turvy. She is filled with vague, troubled \n yearnings, and the woman in her quickens and cries out for unity. It is \n an organic cry, old as the race, and she cannot shut out the sound of it \n or still the clamour in her blood. \n \n But there is one male in all the world who is most nearly her \n complement, and he may be over on the other side of the world where she","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","too busy--and too sensible. Like me, she has not the time. We are \n workers, not dreamers; and the minutes are too full for us to lavish \n them on an eternal weighing and measuring of heart throbs. \n \n Besides, Hester is too large for that sort of stuff. She is the last \n woman in the world to peer down at the scales to see if she is getting \n full value. We leave that to the lesser creatures, who spend their \n courtship loudly protesting how unutterable, immeasurable, and","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n","XXI \n \n FROM THE SAME TO THE SAME \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n May 26, 19--. \n \n \"Pretty nineteen-year-old Louisa Naveret, because her slower-minded \n fiancé, Charles J. Johnson, could not understand a joke, is dying with a \n bullet in her brain, and he, her murderer, lies dead at the morgue. They"],["of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","endure, and they die hard. Love will die hard, as died the idolatries \n of our forefathers, the geocentric theory of the universe, and the \n divine right of kings. \n \n So, I say, the rancour and warmth of the established when attacked is \n sincere. The world is mastered by the convention of love, and when one \n profanes love's Holy of Holies the world is unutterably shocked and \n hurt. Love is a thing for lovers only. It must not be approached by the","invariably ridiculous and an offence to high heaven. Believe me, it is \n artificial. The true judge cares not for the fact of the deed, but for \n its motive. And the lover knows the motive. He has the key to the life. \n He knows his beloved, not as she is, but \"as she was born to be.\" His \n lips press and his arms enfold not her so much as the ideal of her, and \n unless she unmake herself, he cannot unlove her. \"To judge a man by the","Schopenhauer regards it as a force treacherous to happiness, since to \n live is to be miserable. \"These lovers are the traitors who seek to \n perpetuate the whole want and drudgery which would otherwise speedily \n reach an end; this they wish to frustrate as others like them have \n frustrated it before.\" \n \n Because love frustrates the death of the race, it is the joy of my \n senses and the goal of my striving. \n \n Says Schopenhauer: \"Through love man shows that the species lies closer","I hitherto took for granted, and become doubly sure. You dogmatise when \n you say that the lover and the husband are mutually exclusive. If there \n was love in the beginning, it will be at the end. Love doubles upon \n itself. Propinquity tightens bonds and there is a steady blossoming of \n the character in a radiant atmosphere. The marriages that fail are the \n unions which are based on liking. In these, weariness must set in, for","to him than the individual, and he lives more immediately in the former \n than in the latter. Why does the lover hang with complete abandon on the \n eyes of his chosen one, and is ready to make every sacrifice for her? \n _Because it is his immortal part that longs after her, while it is \n merely his mortal part that desires everything else._\" Because this is \n so, love is the God of my faith. \n \n You see where our subject takes us! And all the while I care nothing for","consciously, you, unconsciously; and you have both missed the living \n value of your facts. \"Love is ruled by race welfare,\" says Schopenhauer. \n \"It (the race welfare) alone corresponds to the profoundness with which \n it is felt, to the seriousness with which it appears, to the importance \n which it attributes even to the trifling details of its sphere and \n occasion.\" Love concerns itself with \"The composition of the next \n generation,\" therefore you find it common as the commonplace, therefore","shuffle them about. There are forces stronger than force, shadows more \n real than reality. We know that the need of the unhungered for the one \n friend, one comrade, one mate, is good. We honour the love that persists \n in loving. More beautiful than starlight is the face of the lover when \n the Voice and the Vision enfold him. The race is consecrated to the \n worship of idea, and the lover who lays his all on the altar of romance","and visible achievements. I, on the other hand, maintain that it takes a \n greater dowry to marry upon than affection, and that men love as \n intensely and with as much abandon as women. People love in proportion \n to the depth of their natures, and the finest man in the world has an \n infinite capacity for giving and receiving love store. The spell is \n strongest upon the finest. \n \n This, briefly, is what we have been saying to each other. You attack my","I have been thinking about your romance and my rational rightness, and \n so this letter. \n \n \"_One loves because he loves: this explanation is, as yet, the most \n serious and most decisive that has been found for the solution of this \n problem._\" I do not know who has said this, but it might well have been \n you. And you might well say with Mlle. de Scudéri: \"_Love is--I know not \n what: which comes--I know not when: which is formed--I know not how:","our acts have a basis in reason. \n \n Comes the lover, tricked by nature, blind of passion, impelled madly \n toward the loved one. He is as blind to her salient imperfections as he \n is to her petty vices. He does not interrogate her disposition and \n temperament, or speculate as to how they will coördinate with his for \n two score years and odd. He questions nothing, desires nothing, save to \n possess her. And this is the paradox: _By nature he is driven to","and feelings of countless lovers who lived and loved and whose lives and \n loves are remembered. Their mistaken facts and foolish precepts are \n his, and likewise their imaginative absurdities and sentimental \n philanderings. Without an erotic literature, a history of great loves \n and lovers, a garland of love songs and ballads, a sheaf of spoken love \n tales and adventures--without all this, which is the property of his \n group, he could not possibly love in the way he does. \n","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","individual's life; this we know, and it is only impelled to perform such \n acts because of the madness of the trick, which, though it strikes at \n the particular life, makes for the general life. \n \n So I think there is no discussion over the fact that this emotion of \n love has no basis in reason. As the old French proverb runs, \"The first \n sigh of love is the last of wisdom.\" On the other hand, the individual \n not yet afflicted by love, or recovered from it, conducts his life in a","sexual love, the love of which the poets sing and which \"makes the world \n go round,\" I have called romantic love. The latter, which in actuality \n is sex comradeship, I call conjugal affection or friendship. To be more \n definite, I shall call the one \"love,\" the other \"affection\" or \n \"friendship.\" Now love is not affection or friendship, yet they are \n ofttimes mistaken, one for the other, for it so happens that the","wars. He learns hard and well. \n \n Indeed, I cannot leave this subject of first love. How do you know it \n was not good for you to love as you did? It is strange you should \n resolve to love no more because at one time you loved deeply enough \n almost to remain in love. It cannot be that you have grown old and that \n nature is resolving for you. You tell me of your experiences in order \n that I may be convinced that you know whereof you speak and I listen in \n wonder. Your conclusions are unwonted. \n","love-affairs, therefore your recital of them is empty of meaning. If you \n were in love to-day, and because of your philosophy you determined to do \n battle with your feeling, your experience would be more authoritative. \n \n You have known love, and having known you refuse it. Henceforth, it must \n be reason and not feeling. \"What is your objection?\" you ask. This \n merely, that the thing cannot be. Marriage to be marriage must come \n through love, through the reddest romance of love, through fire of the","which enchants--I know not by what: and which ends--I know not when or \n why_.\" \n \n You explain love by asserting that it is not to be explained. And \n therein lies our difference. You accept results; I search for causes. \n You stop at the gate of the mystery, worshipful and content. I go on and \n through, flinging the gate wide and formulating the law of the mystery \n which is a mystery no longer. It is our way. You worship the idea; I","and I schooled myself to think that there had been no affront, that it \n honours a woman to be wanted no matter for what end, that every use is a \n noble use, that we die the same, loved or used. If Herbert Wace wants a \n wife and thinks me fitting, why, it is well. I thought all this and aged \n as I thought. Nevertheless, my hand did not put itself out a second time \n to detain the man who had forced me to face this. \n","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n"],["of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","and I schooled myself to think that there had been no affront, that it \n honours a woman to be wanted no matter for what end, that every use is a \n noble use, that we die the same, loved or used. If Herbert Wace wants a \n wife and thinks me fitting, why, it is well. I thought all this and aged \n as I thought. Nevertheless, my hand did not put itself out a second time \n to detain the man who had forced me to face this. \n","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","contract a temporary tie, which, by social observance and demand, must \n endure for a lifetime._ Too much stress cannot be laid upon this, Dane, \n for herein lies the secret of the whole difficulty. \n \n But we go on with our lover. In the throes of desire--for desire is \n pain, whether it be heart hunger or belly hunger--he seeks to possess \n the loved one. The desire is a pain which seeks easement through \n possession. Love cannot in its very nature be peaceful or content. It is","sacrifice. The first is a blind mating of the blind; the second, a clear \n and open-eyed union of male and female who find enough in common to \n warrant that union. In a word and in the fullest sense of the word, it \n is sex comradeship. Pre-nuptial love cannot survive marriage any \n considerable time. It is doomed inexorably to flicker out, and when it \n has flickered out it must be replaced by affection, or else the parties","compromise, sacrifice, and unselfishness, reason will dictate \n separation. In such cases, when they will have become rational once \n more, they will reason the impossibility of a continued relation and \n give it up. In which case the true-love disciple may contend that there \n was no real love in the beginning. But he is wrong. It was just as real \n as that of any marriage, only it failed in the post-nuptial quest after \n compatibility. In all marriages love--passionate, romantic love--must","together; that is, they have sought and found compatibility before \n binding themselves, instead of binding themselves first and then seeking \n if there be compatibility or not. \n \n Let me apparently digress for the moment and bring all clear and \n straight. The emotions have no basis in reason. We smile or are sad at \n the manifestation of jealousy in another. We smile or are sad because of \n the unreasonableness of it. Likewise we smile at the antics of the","\"Gently! Gently!\" I say to myself. Old sorrows and wrongs oppress me \n and I grow harsh. My heat only helps to convince you that my position is \n not based on the _rational rightness_ you hold so essential and that \n therefore it is unlivable. I will state calmly, then, that it is wrong \n to marry without love. \"For the perpetuation of the species\"--that is \n noble of you! So you strip yourself of the thousand years of","of feelings. Further, I hold that marriage may not be based on \n affection alone, and I disagree with you that population is better than \n principle. Children need not be brought into the world at any cost. \n \n Love is not a disorder, but a growth. There is spiritual as well as \n physical growth. Some men and women never grow up strong enough to love. \n Their development is arrested, or they are, from the beginning, poor \n creatures born of starvelings, and perhaps fated to give birth to pale,","not marry that woman. He is certainly justified, since affection is what \n romantic love must evolve into after marriage. But do not mistake me, \n Dane. I do not intend this sweepingly. It will not do for the whole \n human herd; for at once enters that abhorrent thing you rightly fear, \n the marriage for convenience. Alas, it too often masquerades under the \n guise of romantic love. Certainly, every man is not capable of taking \n this short cut and at the same time of avoiding a violation of true","love-affairs, therefore your recital of them is empty of meaning. If you \n were in love to-day, and because of your philosophy you determined to do \n battle with your feeling, your experience would be more authoritative. \n \n You have known love, and having known you refuse it. Henceforth, it must \n be reason and not feeling. \"What is your objection?\" you ask. This \n merely, that the thing cannot be. Marriage to be marriage must come \n through love, through the reddest romance of love, through fire of the","Neither blinded nor frenzied by the unreasoned passion of love, they \n have weighed each other,--faults, virtues, and all,--and found a \n compatibility strong enough to withstand the strain of years and \n misfortune, and wise enough to compromise the individual clashes which \n must inevitably arise when soul shares never ending bed and board with \n soul. They have achieved before marriage what the love-impelled man and \n woman must achieve after marriage if they would continue to live","I hitherto took for granted, and become doubly sure. You dogmatise when \n you say that the lover and the husband are mutually exclusive. If there \n was love in the beginning, it will be at the end. Love doubles upon \n itself. Propinquity tightens bonds and there is a steady blossoming of \n the character in a radiant atmosphere. The marriages that fail are the \n unions which are based on liking. In these, weariness must set in, for","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","There is nothing more important than the play and interplay of feeling. \n Were Barbara \"unwifely,\" I could not blame her, but neither could I have \n at hand my proof of dear miracles. My proof remained to me, for there \n she stood, her face lifted toward mine, her mouth tremulous, her grey \n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \n been married seven years, and she still vibrates with the old wonder to \n find herself loving and beloved. \n","But the history of progress is the history of the elimination of waste. \n One boy, running twenty-five machines, turns out a thousand pairs of \n socks a day. His granny toiled a thousand days to do the same. Waste has \n been eliminated, the roundabout overcome. And so with romance. I strive \n not to be blinded by its beauty, but to give it exact appraisal. \n Oftentimes it is the roundabout, the wasteful, and must needs be \n eliminated. Thus chivalry and its romance vanished before the chemist","and degree. It is not whether people can live together, but whether they \n should live together. \"It is an awkward thing to play with souls,\"--you \n override the fastidiousness of the soul in marrying your companion. \n Unless you are an automaton, you cannot rest happy in the fact that you \n and she do not disagree. For comfort's sake you would have a negative \n dimension to your cosmos, forgetting that your longings and your needs \n and, it may be, your dreams, are positive. If sex-comradeship and","_comradeship_ for him, that I do not turn away when he commits even a \n lurid act. Love, you will remember, takes its rise in the emotions, and \n is unstable and wanton and capricious. But affection takes its rise in \n the intellect, is based upon judgment of the brain. Love is unyielding \n tyranny; affection is compromise. Love never compromises, no more than \n does the mad little mating sparrow compromise. \n","woman oppose her will to that of the man--he will beat her. Does he \n become over-violent in the manifestation of his regard, she will flee \n away, if she can, to secret hiding-places. He will not compare her eyes \n to the stars; nor will she dream that he is Apollo; nor will the pair \n moon in the twilight over the love of Hero and Leander. And the many \n monogamic generations out of which he has descended would fail to"],[" * * * * * \n \n JACK LONDON'S BOOKS \n \n \"_He opened windows for them upon the splendour and the savagery, the \n pomp and the pitifulness that he had found in many corners of the earth. \n He saw that in every scene, in every human activity there was an element \n which lifted it into the region of the beautiful, and he made all his \n readers see it, whether he was learned or ignorant; cultivated or only","and be something more than a mere unconscious puppet of the reproductive \n forces. So head mastered my heart, and I laid the grip of my will over \n the passion and went my way. \n \n And then came another man's wife, a proud-breasted woman, the perfect \n mother, made pre-eminently to know the lip clasp of a child. You know \n the kind, the type. \"The mothers of men,\" I call them. And so long as \n there are such women on this earth, that long may we keep faith in the","hands; and none of the ordinary sort either. She has health and strength \n and beauty and youth, and she will certainly make a most charming wife \n and excellent mother. Thus I thought, and then we chatted, had lunch, \n and passed a delightful afternoon together--an afternoon such as I might \n pass with you, or any good comrade, or with my wife. \n \n All of which rational rightness is, I know, distasteful to you, Dane. \n And I confess I depict it with brutal frankness, failing to give credit","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","possession. She is not the woman ever to make me swamp honour and poise \n and right conduct in the vortex of blind sex passion. She is not the \n woman to arouse in me such uncontrolled desire that for gratification I \n would do one ill deed, or put the slightest hurt upon the least of \n human creatures. She is not the most beautiful woman God Almighty ever \n planted on His footstool. (There have been and are many women as true","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","in things, and life is topsy-turvy. She is filled with vague, troubled \n yearnings, and the woman in her quickens and cries out for unity. It is \n an organic cry, old as the race, and she cannot shut out the sound of it \n or still the clamour in her blood. \n \n But there is one male in all the world who is most nearly her \n complement, and he may be over on the other side of the world where she","and arms outstretched in welcome. Oh, I saw the curved lips and \n outstretched arms, and all the splendid young womanhood swaying there, \n and I was pleased and all that; but I did not think it too wonderful and \n impossible and miraculous and the rest of the fond rubbish I am sure \n poor Bidwell thinks when his eyes are gladdened by his ordinary sort of \n girl when he calls upon her. \n \n What a comely young woman, is what I thought as I pressed Hester's","forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","probability, does she know she is doing it. She simply has her likes and \n dislikes, that is all. She is the slave of the law, unwittingly \n generalising upon sex-impressions against the day when she must identify \n the male who most nearly completes her. \n \n She drifts across the magic borderland to womanhood, where dreams and \n fancies rise and intermingle and the realities of life are lost. A \n dissatisfaction and a restlessness come upon her. There seems no sanity","breed of men. The wanton was the Mate Woman, but this was the Mother \n Woman, the last and highest and holiest in the hierarchy of life. In her \n all criteria were satisfied, and I reasoned my need of her. \n \n And by this I take it that I was passing out of my blind puppetdom. I \n was becoming a conscious selective factor in the scheme of reproduction, \n choosing a mate, not in the lust of my eyes, but in the desire of my","too busy--and too sensible. Like me, she has not the time. We are \n workers, not dreamers; and the minutes are too full for us to lavish \n them on an eternal weighing and measuring of heart throbs. \n \n Besides, Hester is too large for that sort of stuff. She is the last \n woman in the world to peer down at the scales to see if she is getting \n full value. We leave that to the lesser creatures, who spend their \n courtship loudly protesting how unutterable, immeasurable, and","complements my man and makes us one, and this is the highest civilised \n sense of union. She is to me the culmination of the thousands of \n generations of women. It took civilisation to make her, as it takes \n civilisation to make our marriage. She is to me the partner in a \n marriage of the gods, for we become gods, we half brutes, when we muzzle \n the beast and are not menaced by his growls. Under heaven she is my wife \n and the mother of my children. \n","eyes and on her cheek and lip. \"Dane, I love you. Dane! Dane!\" The whole \n of me was caught up in the accents of that tremulousness. She had know \n John three months; but her love for him was young, it had come \n unexpectedly, it was still unexpressed and ineffable. Her yearning for \n him led to softness toward me, and though she rose out of her mood as \n one does from a dream, the hours when we were like the angels, all love","April 2, 19--. \n \n So you have met Hester's brother? Well, I have had an outing with \n Hester. She loves me well, I know, and I cannot but confess a thrill at \n the thought. On the other hand, well do I know the significance of that \n love, the significance and the cause. Notwithstanding that wonderful \n soul of hers, she is in no wise constituted differently from her \n millions of sisters on the planet to-day. She loves--she knows not why;","the woman to make my pulse go fevered and me go mad. Nor is she the \n woman to make me forget my manhood and pride, to tumble me down \n doddering at her feet and gibbering like an ape. She is not the woman to \n put my thoughts out of joint and the world out of gear, and so to \n befuddle and make me drunk with the beast that is in me, that I am ready \n to sacrifice truth, honesty, duty, and purpose for the sake of","friend; and likewise with men, from the gardener to her father's \n associates. And she is more or less attracted by those who, in greater \n or less degree, answer to her organic demand, or, as it were, organic \n ideal. \n \n And upon creatures male she early proceeds to generalise. This kind of \n man she likes, that she does not like; and this kind she likes more than \n that kind. She does not know why she does this; nor, with the highest","prevent polygamy did another woman chance to strand on that particular \n isle. \n \n It is the common practice of the man of the London slum to kick his wife \n to death when she has offended him. And the man of the London slum is a \n very natural beast who expresses himself in a very natural manner. He \n has never heard of Hero and Leander, and the comparison of the missus' \n eyes to the stars would to him be arrant bosh. The gentle, tender,","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are"],["Doubtless mine have the same forensic quality. Our letters have become \n rebuttals, pure and simple. This discovery gave my pen pause for a week. \n It occurred to me that Walt Whitman must have meant didactic letters \n too, when he said of the fretters of our little world, \"They make me \n sick talking of their duty to God.\" Yet friend should speak to friend, \n should utter the word than which nothing is more sacred. \"Let there be","letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about"," GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \n \n \n \n \n Produced by Curtis Weyant, Martin Pettit and the Online \n Distributed Proofreading Team at http://www.pgdp.net (This \n file was produced from images generously made available \n by The Internet Archive/American Libraries.) \n \n \n \n \n \n \n THE KEMPTON-WACE LETTERS \n","that you are unaware of the chill your words breathe, and that is a \n lapse which it is impossible to meet with indulgence. \n \n \"He does not love her,\" was Barbara's quick decision, and she laid the \n open letter down with a definiteness which said that you, too, are laid \n out and laid low. Your sister's very wrists can be articulate. However, \n I laughed at her and she soon joined me. We do not mean to be \n extravagant with our fears. Who shall prescribe the letters of lovers to","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","yet wayward, what of the fever of successful wooing. And besides, ... \n how shall I say?... such was the gracious warmth of your letter, of both \n your letters, that I am at a loss. I feel weak, inadequate. It almost \n seems as though you had made a demand upon something that is not in me. \n Ah, you poets! It would seem your delight in my marriage were greater \n than mine. In my present mood, it is you who are young, you who love; I \n who have lived and am old.","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n","But why did you not write before? After all, the great event was not \n when you found your offer of marriage accepted, but when you found you \n had fallen in love. Then was your hour. Then was the time for \n congratulation, when the call was first sounded and the reveille of Time \n and About fell upon your soul and the march to another's destiny was \n begun. It is always more important to love than to be loved. I wish it \n had been vouchsafed me to be by when your spirit of a sudden grew","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","with emphasis. Here I might have told her that men and women are races \n apart, but no one talks cant to Barbara. So I did not console her, and \n it stands against you in our minds that on this critical occasion you \n have baffled us with coldness. \n \n An absence of six years, broken into twice by a brief few months, must \n work changes. When Barbara called your letter unnatural, she forgot how \n little she knows what is natural to you. She and I have been wont to","willing to bestow itself without question or let or hope of return, when \n the self broke up and you grew fain to beat out your strength in praise \n and service for the woman who was soaring high in the blue wastes. You \n have known her long, and you must have been hers long, yet no word of \n her and of your love reached me. It was not kind to be silent. \n \n Barbara spoke yesterday of your fastidiousness, and we told each other \n that you had gained a triumph of happiness in your love, for you are not","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","your dismal science,\" he is sure to add; and to fire him I lay it to the \n defects of early training. I know he thinks that I never half \n appreciated you, and that I do not appreciate you now. If you will \n recollect, you praised his verses once. He cherishes that praise amongst \n his sweetest treasures. Poor dear good old Gwynne, tender, sensitive, \n shrinking, with the face of a seraph and the heart of a maid. Never were","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","this time, as before, with the look of the absolute Good and True upon \n it. It is because we are at once actor and spectator that we find no \n fault with blinking sight and slothful thought. We are finite branded \n and content, except during the shrill, undermining moments when the \n orchestra is tuning up. \"Thus we half-men struggle.\" \n \n I follow your letter and wonder whether your illusions have qualities of \n beauty which escape me. I give you the benefit of every doubt which it","much strain, too little warmth, too much self-complacence. I see that \n you are really younger than I thought. The world never censures the \n crimes of the spirit. You are safe from the world's tongue lashings, and \n in that safety is the danger against which my friendship warns you. \n \n I have been reading Hester's poems, and I know that she is like them, \n nervous, vibrant, throbbing, sensitive. I have been reading your","Dante, our prince of lovers, might have lived better, but he loved well. \n \n This in answer to your letter. To meet your argument I have found it \n best to employ something of your own method, but I cannot rid myself of \n the feeling that I have vulgarised the subject by saying so much about \n it. I fear my letter would provoke a smile from those who know love and \n the wonder of its simplicity through all the subtlety. \"We, in loving, \n have no cause to speak so much!\" would be their unanswerable criticism.","all very joyous, gripping hold of the tangible world for the first time. \n And when I came to you, warm with the glow of adventure, you looked \n blankly, then smiled indulgently and did not answer. You regarded my \n ardour complacently. A passing humour of adolescence, you thought; and I \n thought: \"Dane does not read his Draper on his knees.\" Wordsworth was \n great to me; Draper was great also. You had no patience with him, and I","show where I am wrong. But do not pour out on me your romantic and \n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \n Fact. \n \n HERBERT. \n \n Ah, your later letter has just arrived. I can only say that I \n understand. But withal, I am pained that I am not nearer to you. These \n intellectual phantasmagoria rise up like huge amorphous ghosts and hold"],["The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","happily ending novel. Tolstoy attempts to show that men and women can \n find happiness only when they grow content to give over seeking love \n from one another. They may keep the memory but must banish the hope. \n \"Hereafter, think of me only as the father of your children,\" and the \n woman who had pined for that which had been theirs in the beginning of \n their union weeps softly, and agrees. Tolstoy calls this peace, but for \n Barbara and me this gain is loss, this end an end indeed, replete with","good digestion, unailing body, and mild pleasures, and enjoying life \n with bovine placidity? But pretty Louisa Naveret entered his life. The \n \"abysmal fecundity\" was stirred and life clamoured to be created. \n Peacefulness and content vanished. All the forces of his existence \n impelled him to seize upon and possess \"nineteen-year-old\" Louisa \n Naveret. He was afflicted with a disorder of mind and body, a madness","and despair were followed by a calm of neutrality. The inquiry waited \n no solution. The stress no longer touched me, and my twilight became \n luminous. I saw things as from a height and forms dropped out of my \n range, when Barbara came tugging at me, and my pale while of abstraction \n was at an end. \n \n She wanted to know what troubled me. She made her way to me, hurried but \n resolved, and stated her demand. \"You catechised me yesterday; to-night \n you shall answer.\"","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","turned his back upon it, selected a tree from the forest, shaped it with \n his rude tools and hollowed it out with fire, then launched it in the \n water and paddled toward where his happiness lay. \n \n Now concerning love. In the state of nature it is a brutal passion, \n nothing more. There is no romance attached. But life creeps upward, and \n the gregarious human forms social groups the like of which never existed \n before. Consider the family group, for instance. Such a group becomes in","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","the general disarray with a thumping \"I will!\" And take my word for it, \n Dane, a year hence, when the very ordinary girl greets him with the \n matronly kiss and his fever and folly have left him, he will take up the \n book and make a success of it. \n \n Of course I am not in love. I have just come back from Hester--I ran \n down Saturday to Stanford and stopped over Sunday. Time did not pass","Over and ended. It shall be as I said last night. Herbert, there is no \n call for anger; believe me, there is not. I am doing what I cannot help \n doing. You have not changed, but my faith in you has, and I cannot \n pretend to a happiness I do not feel. \n \n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \n to wrest myself from you. Did you at one time love me? That morning of \n wild sunshine when you took my hand and asked me to be your wife seems","in things, and life is topsy-turvy. She is filled with vague, troubled \n yearnings, and the woman in her quickens and cries out for unity. It is \n an organic cry, old as the race, and she cannot shut out the sound of it \n or still the clamour in her blood. \n \n But there is one male in all the world who is most nearly her \n complement, and he may be over on the other side of the world where she","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","But this maiden is obedient. By her acts she will link the past to the \n future, bind together the two eternities. But she is incomplete, this \n maiden, and being immature she is unaware of her incompleteness. \n Nevertheless she is the creature of the law of the race, and from her \n infancy she prepares herself for the task she is to perform. Hers is a \n certain definite organism, somewhat different from all other female \n organisms. Consequently there is one male in all the world whose","loves you! Yet she thinks that your calm is depth, your silence prayer. \n Her pride protects her, but she strains for the word which does not \n come. She has never been quite sure, and I thank God for that. Hester \n has been fearing somewhat, and she has been doubting, and it is this \n that may save her when the night sets in and the storm breaks over her \n head. \n \n You, too, are thankful that her instincts served her true and that she","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n","forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","gratified, in the other, hunger was done away with, and I will say that \n you are giving an Arabian Nights' entertainment. \n \n Love is of a piece with life, like hunger, like joy, like death. Your \n progress cannot leave it behind; your civilisation must become the \n exponent of it. \n \n Your last letter is formal and elaborate, and--equivocal. In it you \n remind me, menacingly, of the possibilities of progress, you posit that","\"Yes, but with no more reason than you for your unhappiness. Since you \n have come here, you have renewed your demands upon yourself. You wish to \n go to school with the youngest and find you cannot. You suffer because \n more seems behind you than before.\" Her voice rose as if she were \n fighting tears. It was different with her, I told her. Nothing was \n behind her. \n \n \"You test your work and I test my love. When you are sad, it is because","prompting to make much of life? You and I and people of our kind are old \n before our time, that is the reason we are not reckless. Our dreams \n mature us. I was a mere girl when Herbert said he wished to marry me, \n but I was old enough to grasp the full meaning of the pact, as he could \n not grasp it. In a moment I had travelled my way to the grave and back. \n I looked at the sheer, quick clouds that flitted past the blue, and I","of those who cheat themselves. You choose rigorously, straining for the \n heart of the end as do all rigorists who are also hedonists. Because we \n are in possession of this bit of data as to your temperamental cosmos we \n can congratulate you with the more abandon. Oh, Herbert, do you know \n that this is a rampant spring, and that on leaving Barbara I tramped \n out of the confines into the green, happier, it almost seems, than I"],["THE RIDGE, \n BERKELEY, CALIFORNIA. \n October 27, 19--. \n \n Do I still read my Wordsworth on my knees? Well, we may as well have it \n out. I have foreseen this day so long and shunned it that now I meet it \n almost with extended hands. No, I do not read my Wordsworth on my knees. \n My mind is filled with other things. I have not the time. I am not the","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","BERKELEY, CALIFORNIA. \n September 3, 19--. \n \n Here I am, back in the old quarters once more, with the old afternoon \n climb across the campus and up into the sky, up to the old rooms, the \n old books, and the old view. You poor fog-begirt Dane Kempton, could you \n but have lounged with me on the window couch, an hour past, and watched \n the light pass out of the day through the Golden Gate and the night","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","STANFORD UNIVERSITY. \n Wednesday. \n \n Last night I delivered my address to the student body. Behold the chapel \n crowded to the doors, aisles and window-seats crammed, and faces peering \n in from without, those of boys and girls who had perched themselves on \n the outer sills. A student audience is at the same time most critical \n and the most generous. I spoke on Literature and Democracy. \n \n Hester approved my effort. \"How does it feel to be great?\" she laughed.","THE RIDGE, \n BERKELEY, CALIFORNIA. \n July 5, 19--. \n \n I had not intended to answer your letter critically, but, on re-reading, \n find I am forced to speak if for no other reason than your epithet \n \"parvenu.\" The word has no reproach. It was ever thus that the old and \n perishing recognised the vigorous and new. Parvenu, upstart--the term is","The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","her, and presto, the whole-hearted one is my friend. Her poet is now her \n father, brother, comrade,--what she chooses, and all she chooses. \n \n At one time, before we were well out of the Arboretum, our eyes met, and \n there was something so sad and mild and strange in the burn of her gaze \n that I felt her frank spirit was unveiling itself in an utterness of \n speech. But I have become too much spoilt by mere length of living to be","and feelings of countless lovers who lived and loved and whose lives and \n loves are remembered. Their mistaken facts and foolish precepts are \n his, and likewise their imaginative absurdities and sentimental \n philanderings. Without an erotic literature, a history of great loves \n and lovers, a garland of love songs and ballads, a sheaf of spoken love \n tales and adventures--without all this, which is the property of his \n group, he could not possibly love in the way he does. \n","and smirches and frenzies put upon it by the spawn of multitudinous \n generations. There is your love, the whole history of it. There is no \n intrinsic shame in the thing itself, but the shame lies in that we are \n not greater than it. \n \n HERBERT. \n \n \n \n \n XVIII \n \n FROM THE SAME TO THE SAME \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA.","professor's office, while Roble and Encina looked like lit-up ferries. \n There was a spell of mystery and promise in the quiet which was deeper \n for being suggestive of the seething student-life just subsided. It was \n a silence that seemed to echo with bells and recitations, and babble and \n laughter and heartache. I fell into thought. One generation cometh and \n another passeth away. There is no respite. March with time and find","have been too weary in spirit before to answer to your name when \n opportunity called roll. \n \n It was Earl who broke the silence caused by the inner tumult. In a \n dreamy voice, his eyes very eager and intent, he told us how at one time \n he had gone up a hill that faced the house in which he lived. A hard \n rain was driving, he fell at every step up the slippery steepness, but \n at every step the beauty of it became more and more wondrous, hardly","of those who cheat themselves. You choose rigorously, straining for the \n heart of the end as do all rigorists who are also hedonists. Because we \n are in possession of this bit of data as to your temperamental cosmos we \n can congratulate you with the more abandon. Oh, Herbert, do you know \n that this is a rampant spring, and that on leaving Barbara I tramped \n out of the confines into the green, happier, it almost seems, than I","Tell her, then, tell her all you wish, you dear old fluttery, mothery \n poet father--as though it made any difference. \n \n HERBERT. \n \n \n \n \n XXXVII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n STANFORD UNIVERSITY. \n December 3, 19--. \n \n Not three weeks ago you were sitting opposite me and speaking of Hester.","death, mayhap, before it has found you. As years ago the flamelet of the \n street-lamp, so now these outposts of the colossal embryo of a world \n derided me and seemed to point me out and away. The evening grew chill \n with \"a greeting in which no kindness is.\" \n \n \"Your coming has been announced in every class, and your lecture is on \n the bulletin-boards. After that, can you be depressed?\" \n \n The light words were spoken low, as if doubtful whether they could be","of society, is more the prophet than you. The carpenter at his bench, \n the blacksmith by his forge, the boiler-maker clanging and clattering, \n are all warbling more sweetly than you. The sledge-wielder pours out \n more strength and certitude and joy in every blow than do you in your \n whole sheaf of songs. Why, the very socialist agitator, hustled by the \n police on a street corner amid the jeers of the mob, has caught the","In one of the near turnings a woman with waiting face smiles subtly. Her \n hands beckon you to the tryst. Godspeed, my son. \n \n DANE. \n \n \n \n \n XXVIII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n August 6, 19--. \n","STANFORD UNIVERSITY. \n Saturday. \n \n Her happiness wrung it from me. Before I could intervene, the question \n asked itself, \"How will it be with you in after years?\" \n \n Straight the answer came, \"There will be Herbert.\" \n \n Hester is proud. To-night I saw it in the lift of her chin, in the set \n of her neck, in the brilliance of her cheek. She knows herself endowed.","binding alike on the economist and poet. It springs out of the common \n and unappeasable hunger, commanding that love seek love through night to \n day and through day to night. \n \n Yet it is possible to put oneself outside the pale of the law, to refuse \n the gift of life and snap the tie between time and space and creature. \n It is possible to be too emaciated for interest or feeling. The men and \n women of the People know neither love nor art because they are too","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so"],["Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate."," GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \n \n \n \n \n Produced by Curtis Weyant, Martin Pettit and the Online \n Distributed Proofreading Team at http://www.pgdp.net (This \n file was produced from images generously made available \n by The Internet Archive/American Libraries.) \n \n \n \n \n \n \n THE KEMPTON-WACE LETTERS \n","HERBERT. \n \n \n \n \n XV \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n March 15, 19--. \n \n Clyde Stebbins was here an hour after your theories and definitions \n reached me. The fact that I had been reading treason against his sister","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so","shall be of the deeds I have done. \n \n HERBERT. \n \n \n \n \n IX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n December 28, 19--. \n \n The curtain is rung down on an illusion, but it rises again on another,","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA.","cannot be my loss. One power is mine,--without hindrance, in freedom and \n in right, to say to Ellen's son, \"Godspeed!\" to place Hester Stebbins's \n hand in his, and bid them forth to the sunrise, into the glory of day! \n \n Ever your devoted father, \n DANE KEMPTON. \n \n \n \n \n II \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,","Tell her, then, tell her all you wish, you dear old fluttery, mothery \n poet father--as though it made any difference. \n \n HERBERT. \n \n \n \n \n XXXVII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n STANFORD UNIVERSITY. \n December 3, 19--. \n \n Not three weeks ago you were sitting opposite me and speaking of Hester."," His fits when he is neither sick nor well, \n Though no distress be near him but his own \n Unmanageable thoughts.\" \n \n \n You will judge by this letter that I am neither sick nor well, and that \n I reach for a distress which is not near. If I were Merchant rather than \n Poet, it would be otherwise with me. \n \n DANE. \n \n \n \n \n IV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","Company Printed in Great Britain by Love & Malcomson Ltd. London and \n Redhill._ \n \n \n \n \n KEMPTON-WACE LETTERS \n \n \n \n \n I \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3 A QUEEN'S ROAD, CHELSEA, S.W. \n August 14, 19--. \n","of John Wace. For her his face was sunlit, and she needs must take it \n between her hands and hold it forever. He was her Siegfried, her master. \n Thus the gods decreed, and we three obeyed. What else was there to do? \n We must be honest before all, and Ellen did not love me any more, and I \n must know it, and wipe out a past of deepest mutuality, and strengthen \n and console and restore the woman whose hand held mine while her eyes \n were turned elsewhere. \n","and I schooled myself to think that there had been no affront, that it \n honours a woman to be wanted no matter for what end, that every use is a \n noble use, that we die the same, loved or used. If Herbert Wace wants a \n wife and thinks me fitting, why, it is well. I thought all this and aged \n as I thought. Nevertheless, my hand did not put itself out a second time \n to detain the man who had forced me to face this. \n","letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","mediocrity and register a high claim. I would keep the peace with \n Romance and fly her colours to the last. You have lived? It is well, and \n it might have been better, but do not give over and talk of \n stirpiculture. You are not wiser than the laws which made you. \n \n DANE. \n \n \n \n \n XXX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,"],["letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","Doubtless mine have the same forensic quality. Our letters have become \n rebuttals, pure and simple. This discovery gave my pen pause for a week. \n It occurred to me that Walt Whitman must have meant didactic letters \n too, when he said of the fretters of our little world, \"They make me \n sick talking of their duty to God.\" Yet friend should speak to friend, \n should utter the word than which nothing is more sacred. \"Let there be","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","that you are unaware of the chill your words breathe, and that is a \n lapse which it is impossible to meet with indulgence. \n \n \"He does not love her,\" was Barbara's quick decision, and she laid the \n open letter down with a definiteness which said that you, too, are laid \n out and laid low. Your sister's very wrists can be articulate. However, \n I laughed at her and she soon joined me. We do not mean to be \n extravagant with our fears. Who shall prescribe the letters of lovers to","with emphasis. Here I might have told her that men and women are races \n apart, but no one talks cant to Barbara. So I did not console her, and \n it stands against you in our minds that on this critical occasion you \n have baffled us with coldness. \n \n An absence of six years, broken into twice by a brief few months, must \n work changes. When Barbara called your letter unnatural, she forgot how \n little she knows what is natural to you. She and I have been wont to","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","this time, as before, with the look of the absolute Good and True upon \n it. It is because we are at once actor and spectator that we find no \n fault with blinking sight and slothful thought. We are finite branded \n and content, except during the shrill, undermining moments when the \n orchestra is tuning up. \"Thus we half-men struggle.\" \n \n I follow your letter and wonder whether your illusions have qualities of \n beauty which escape me. I give you the benefit of every doubt which it","Yesterday I wrote formally, rising to the occasion like the conventional \n happy father rather than the man who believes in the miracle and lives \n for it. Yesterday I stinted myself. I took you in my arms, glad of what \n is and stately with respect for the fulness of your manhood. It is \n to-day that I let myself leap into yours in a passion of joy. I dwell on \n what has come to pass and inflate myself with pride in your fulfilment, \n more as a mother would, I think, and she your mother. \n","But hers will be no minor note, no middle flight. She is--well, she is \n Hester. In two years we shall be married. Two years, Dane. Surely you \n will be with us. \n \n One thing more; in your letter a certain undertone which I could not \n fail to detect. A shade less of me than formerly?--I turn and look into \n your face--Waring's handiwork you remember--his painter's fancy of you \n in those golden days when I stood on the brink of the world, and you","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","But why did you not write before? After all, the great event was not \n when you found your offer of marriage accepted, but when you found you \n had fallen in love. Then was your hour. Then was the time for \n congratulation, when the call was first sounded and the reveille of Time \n and About fell upon your soul and the march to another's destiny was \n begun. It is always more important to love than to be loved. I wish it \n had been vouchsafed me to be by when your spirit of a sudden grew","such heat, and to such little purpose. \n \n You do not see how this answers your last letter. I will tell you. It \n shows you that you have explained yourself fully the night we spoke face \n to face. \n \n You say that Hester is the woman to complement your man. This sounds \n like a lover, only I happen to know that she is not the irresistible \n woman. I found it out quite by accident--a few words dropped into a","know now, as I felt then, your consistent revolt against his \n materialistic philosophy. \n \n Only the other day you complained of a letter of mine, calling it cold \n and analytical. That I should be cold and analytical despite all the \n prodding and pressing and moulding I have received at your hands, and \n the hands of Waring, marks only more clearly our temperamental \n difference; but it does not mark that one or the other of us is less a","gratified, in the other, hunger was done away with, and I will say that \n you are giving an Arabian Nights' entertainment. \n \n Love is of a piece with life, like hunger, like joy, like death. Your \n progress cannot leave it behind; your civilisation must become the \n exponent of it. \n \n Your last letter is formal and elaborate, and--equivocal. In it you \n remind me, menacingly, of the possibilities of progress, you posit that","yet wayward, what of the fever of successful wooing. And besides, ... \n how shall I say?... such was the gracious warmth of your letter, of both \n your letters, that I am at a loss. I feel weak, inadequate. It almost \n seems as though you had made a demand upon something that is not in me. \n Ah, you poets! It would seem your delight in my marriage were greater \n than mine. In my present mood, it is you who are young, you who love; I \n who have lived and am old.","show where I am wrong. But do not pour out on me your romantic and \n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \n Fact. \n \n HERBERT. \n \n Ah, your later letter has just arrived. I can only say that I \n understand. But withal, I am pained that I am not nearer to you. These \n intellectual phantasmagoria rise up like huge amorphous ghosts and hold","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA."],["FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA.","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","and all speech, were mine. So much was vouchsafed me. \n \n Memories and echoes, gusts of sweet breath from the violets on your \n mother's grave--the prophet of matter will have none of them, and, I \n fear, will pity me that I am so much theirs. I am yours also, dear lad, \n and I wish to serve you. \n \n DANE KEMPTON. \n \n \n \n \n XI \n","In one of the near turnings a woman with waiting face smiles subtly. Her \n hands beckon you to the tryst. Godspeed, my son. \n \n DANE. \n \n \n \n \n XXVIII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n August 6, 19--. \n","cannot be my loss. One power is mine,--without hindrance, in freedom and \n in right, to say to Ellen's son, \"Godspeed!\" to place Hester Stebbins's \n hand in his, and bid them forth to the sunrise, into the glory of day! \n \n Ever your devoted father, \n DANE KEMPTON. \n \n \n \n \n II \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE,","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n January 20, 19--. \n \n I do not know whether to laugh or weep. I have just finished reading \n your letter, and I can hardly think. Words seem to have lost their \n meaning, and words, used as you use them, are without significance. You \n appear to speak a tongue strangely familiar, yet one I cannot","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n"," His fits when he is neither sick nor well, \n Though no distress be near him but his own \n Unmanageable thoughts.\" \n \n \n You will judge by this letter that I am neither sick nor well, and that \n I reach for a distress which is not near. If I were Merchant rather than \n Poet, it would be otherwise with me. \n \n DANE. \n \n \n \n \n IV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","HERBERT. \n \n \n \n \n XV \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n March 15, 19--. \n \n Clyde Stebbins was here an hour after your theories and definitions \n reached me. The fact that I had been reading treason against his sister","spoke a few words and left. Our host had divulged what the anniversary \n sought to celebrate. We understood and were glad. \n \n Good night, lad. Would you could have shared our heyday at the dawning! \n \n DANE. \n \n \n \n \n XIV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n February 31, 19--. \n","splendour of unfolding, her nature roused, her being expectant. But \n later, for poet and lover, the failure and the waste! Were it otherwise \n with your feeling for your betrothed, the comparison would not hold. \n \n Hester does not think these things, and she is beautiful and happy. \n \n Yours devotedly, \n DANE KEMPTON. \n \n \n \n \n XXXIV \n \n FROM THE SAME TO THE SAME \n \n","Always yours, \n DANE KEMPTON. \n \n \n \n \n VII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n December 6, 19--. \n \n No, I am not in love. I am very thankful that I am not. I pride myself \n on the fact. As you say, I may not be adjusting my life artistically to","Tell her, then, tell her all you wish, you dear old fluttery, mothery \n poet father--as though it made any difference. \n \n HERBERT. \n \n \n \n \n XXXVII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n STANFORD UNIVERSITY. \n December 3, 19--. \n \n Not three weeks ago you were sitting opposite me and speaking of Hester.","God, to take from men who love them the love they gave? No such ordeal \n mine? \n \n Farewell, Herbert. Let us think calmly of each other since we have \n helped each other for so long a stretch of life. Farewell, dear. \n \n Always your friend, \n HESTER STEBBINS. \n \n \n \n \n XXXIX \n \n FROM HESTER STEBBINS TO DANE KEMPTON \n \n \n STANFORD UNIVERSITY.","taken in good part, and they came with something that was like music. \n Was it the voice or some inexplicable feeling? I turned in wonder. Her \n head was raised, and in the indistinctness I caught that sweet look of \n hers which besought me, and which I answered without knowing to what \n question. \n \n I owe you a great happiness. Good-night. \n \n DANE KEMPTON. \n \n \n \n \n XXXIII \n \n FROM THE SAME TO THE SAME \n \n","never quite accepted the gift that seemed to have been proffered? \n \n You have a right to demand the reason for my renewed attack. It is \n because I have learned the strength of her love. \"You are blessed beyond \n words,\" I said two days ago, but as you reject the blessing, Hester must \n know it and you must tell her. Herbert, I am your friend. \n \n DANE KEMPTON. \n \n \n \n \n XXXVI \n","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate."],["the points of argument except where they prick you from your position. \n One must scale the skies and swim the seas in order to reach you. Well, \n have I approached within your hearing? \n \n I was sitting amongst the fennel in Barbara's garden when your letter \n was brought, and I read it twice to make sure I understood. When the \n sun lies warm on waving fennel and a city is before you, mysterious in a \n veil of mist, it is easier to feel love than to think about it. For a","Is my meaning quite dashed away by this torrent of speech? It is simply \n this: Before we think we feel, and the end of thinking is feeling. The \n century of Voltaire and Dr. Johnson held that man is rational, the \n century of James, Ribot, Lange, and Wundt is thrilled to the heart with \n the doctrine that first, last, and always man is emotional. To speak \n loosely, the dimensions of the human cosmos are feeling, emotion, and \n sensation. \n","dangerous to yourself. You are too sad to know that you are not happy or \n to care. Does my diagnosis surprise you? Analyze the argument of your \n last letter. You trace the growth of the emotion of love from protoplasm \n to man. You follow the progress of the force which is stronger than \n hunger and cold and swifter and more final than death, from its \n potential state in the unicellular stage where life goes on by division, \n up through the multifarious forms of instinctive animal mating, till you","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","Doubtless mine have the same forensic quality. Our letters have become \n rebuttals, pure and simple. This discovery gave my pen pause for a week. \n It occurred to me that Walt Whitman must have meant didactic letters \n too, when he said of the fretters of our little world, \"They make me \n sick talking of their duty to God.\" Yet friend should speak to friend, \n should utter the word than which nothing is more sacred. \"Let there be","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","question, \"which of these makes the nearer approach to the truth?\" You \n have been asking me, \"What is love worth?\" And you have answered your \n question often enough and to your satisfaction, \"In itself it is worth \n nothing, being but the catspaw to scheming forces.\" With your denial of \n any intrinsic beauty in the emotion, with your acceptance of it as an \n unfortunate incident in human affairs, comes a vague hope that the race \n will outgrow this force. Here is your rift in the cloud. You picture a","know now, as I felt then, your consistent revolt against his \n materialistic philosophy. \n \n Only the other day you complained of a letter of mine, calling it cold \n and analytical. That I should be cold and analytical despite all the \n prodding and pressing and moulding I have received at your hands, and \n the hands of Waring, marks only more clearly our temperamental \n difference; but it does not mark that one or the other of us is less a","There is nothing more important than the play and interplay of feeling. \n Were Barbara \"unwifely,\" I could not blame her, but neither could I have \n at hand my proof of dear miracles. My proof remained to me, for there \n she stood, her face lifted toward mine, her mouth tremulous, her grey \n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \n been married seven years, and she still vibrates with the old wonder to \n find herself loving and beloved. \n","show where I am wrong. But do not pour out on me your romantic and \n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \n Fact. \n \n HERBERT. \n \n Ah, your later letter has just arrived. I can only say that I \n understand. But withal, I am pained that I am not nearer to you. These \n intellectual phantasmagoria rise up like huge amorphous ghosts and hold","walls within and join the city in friendship and let the city join me. I \n never feel greater fellowship than when I walk-- \n \n Except when I write to you. Then do I greaten with the pride of life. My \n sympathies quicken and I grow young again. I constitute myself advocate \n of the world, and enthusiasm does not fail me in this high calling. It \n is but natural that in the face of scepticism which I cannot share I \n should feel greater faith, that in the face of revilement a sense of the","arms. \n \n I fear I have not made myself clear. It is difficult to write hurriedly \n of things psychological, when the extreme demand is made upon intellect \n and vocabulary; but at least you may roughly catch my drift. What I have \n striven to say is, that I forgive my brother, not because I _love_ him, \n but because of the _affection_ I bear him; also that this affection is \n the product of reason, is the sum of the judgments I have achieved. \n \n HERBERT. \n \n","flat. And you helped to bind me with chains and burn me with fire when \n my facts and the laws behind my facts shook your dogmas. Dante's highest \n audacity could not transcend a material inferno. Milton could not shake \n off Lucifer and hell. \n \n You were more beautiful. But not only was I more useful, but I made the \n way for you that there might be greater beauty. You did not reck of \n that. To you the heart was the seat of the emotions. I formulated the","I have been thinking about your romance and my rational rightness, and \n so this letter. \n \n \"_One loves because he loves: this explanation is, as yet, the most \n serious and most decisive that has been found for the solution of this \n problem._\" I do not know who has said this, but it might well have been \n you. And you might well say with Mlle. de Scudéri: \"_Love is--I know not \n what: which comes--I know not when: which is formed--I know not how:","love-affairs, therefore your recital of them is empty of meaning. If you \n were in love to-day, and because of your philosophy you determined to do \n battle with your feeling, your experience would be more authoritative. \n \n You have known love, and having known you refuse it. Henceforth, it must \n be reason and not feeling. \"What is your objection?\" you ask. This \n merely, that the thing cannot be. Marriage to be marriage must come \n through love, through the reddest romance of love, through fire of the","man will refrain from laying rough hands on his mute brothers. \n \n The romance which is my proof of the good of being does not rest on \n passion. The unclean fires that consume the loutish and degenerate are \n not of love. You quote instances of the hyperphysical and hysterical. \n The feeling that I would have you obey for your soul's sake and without \n which you are but half alive, is not the blind passion of an oversexed \n sentimentalism. Rousseau was never in love in his life, though to say it","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","individual's life; this we know, and it is only impelled to perform such \n acts because of the madness of the trick, which, though it strikes at \n the particular life, makes for the general life. \n \n So I think there is no discussion over the fact that this emotion of \n love has no basis in reason. As the old French proverb runs, \"The first \n sigh of love is the last of wisdom.\" On the other hand, the individual \n not yet afflicted by love, or recovered from it, conducts his life in a","of feelings. Further, I hold that marriage may not be based on \n affection alone, and I disagree with you that population is better than \n principle. Children need not be brought into the world at any cost. \n \n Love is not a disorder, but a growth. There is spiritual as well as \n physical growth. Some men and women never grow up strong enough to love. \n Their development is arrested, or they are, from the beginning, poor \n creatures born of starvelings, and perhaps fated to give birth to pale,"],["letters, and I think her soul will escape yours. If you have not love \n like hers, you have nothing with which to keep her. This I have \n undertaken to say to you. It is a strange role, yet conventional. I am \n the father whose matrimonial whims are not met by the son. The stock \n measure is to disinherit. But the cause of our quarrel is somewhat \n unusual, and I can be neither so practical nor so vulgar as to set about","Doubtless mine have the same forensic quality. Our letters have become \n rebuttals, pure and simple. This discovery gave my pen pause for a week. \n It occurred to me that Walt Whitman must have meant didactic letters \n too, when he said of the fretters of our little world, \"They make me \n sick talking of their duty to God.\" Yet friend should speak to friend, \n should utter the word than which nothing is more sacred. \"Let there be","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","It is because you know not what you do that I cannot forgive you. Could \n you know that your letter with its catalogue of advantages and \n arrangements must offend me as much as it belies (let us hope) you and \n the woman of your love, I would pardon the affront of it upon us all, \n and ascribe the unseemly want of warmth to reserve or to the sadness \n which grips the heart when joy is too palpitant. But something warns me","that you are unaware of the chill your words breathe, and that is a \n lapse which it is impossible to meet with indulgence. \n \n \"He does not love her,\" was Barbara's quick decision, and she laid the \n open letter down with a definiteness which said that you, too, are laid \n out and laid low. Your sister's very wrists can be articulate. However, \n I laughed at her and she soon joined me. We do not mean to be \n extravagant with our fears. Who shall prescribe the letters of lovers to","But why did you not write before? After all, the great event was not \n when you found your offer of marriage accepted, but when you found you \n had fallen in love. Then was your hour. Then was the time for \n congratulation, when the call was first sounded and the reveille of Time \n and About fell upon your soul and the march to another's destiny was \n begun. It is always more important to love than to be loved. I wish it \n had been vouchsafed me to be by when your spirit of a sudden grew","their sisters and foster-fathers? Yet there are some things their \n letters should be incapable of saying, and amongst them that love is not \n a crisis and a rebirth, but that it is common as the commonplace, a hit \n or miss affair which \"shuffling\" could not affect. \n \n Barbara showed me your note to her. \"Had I written like this of myself \n and Earl--\" \n \n \"You could not,\" I objected. \n \n \"Then Herbert should have been as little able to do it,\" she deduced","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","such heat, and to such little purpose. \n \n You do not see how this answers your last letter. I will tell you. It \n shows you that you have explained yourself fully the night we spoke face \n to face. \n \n You say that Hester is the woman to complement your man. This sounds \n like a lover, only I happen to know that she is not the irresistible \n woman. I found it out quite by accident--a few words dropped into a"," GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \n \n \n \n \n Produced by Curtis Weyant, Martin Pettit and the Online \n Distributed Proofreading Team at http://www.pgdp.net (This \n file was produced from images generously made available \n by The Internet Archive/American Libraries.) \n \n \n \n \n \n \n THE KEMPTON-WACE LETTERS \n","perpetuation of the species, and that respect and affection are \n sufficient to bring two people into this most intimate possible \n relation. You also hold that the business of the world, pressing hard \n upon men, makes \"love from their lives a thing apart,\" and that this is \n as it should be. Your letters are an exposition and a defence of what I \n may loosely call the practical theory. You show that the world is for \n work and workers, and that life is for results as seen in institutions","\"The tenour of your talk led me on to believe--\" she stammered with hot \n cheeks. It is a standing offence of hers to imagine herself accused, and \n she admits it is a weakness born of lack of poise. \"But I took all for \n granted, I thought you fortunate beyond any other woman,\" I protested. \n At this the radiance broke forth. I forgave the chill that her first \n words on entering the room struck to my heart, and she forgot what she \n had imagined. \n","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","November 20, 19--. \n \n Hester met me at the station, and we walked through the Arboretum to her \n home on the campus. Then followed an evening together in the dormitory \n parlour. I have just left her. Her face was tumultuously joyous when I \n murmured my \"At last!\" Her tearful excitement was like Barbara's. You \n did not tell me she is so young. You must have made her feel our \n closeness, or she may have found a bit of my verse that all expressed","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","gratified, in the other, hunger was done away with, and I will say that \n you are giving an Arabian Nights' entertainment. \n \n Love is of a piece with life, like hunger, like joy, like death. Your \n progress cannot leave it behind; your civilisation must become the \n exponent of it. \n \n Your last letter is formal and elaborate, and--equivocal. In it you \n remind me, menacingly, of the possibilities of progress, you posit that","quickly and intimately; glad that you are under her charm, as I know her \n to be under yours; but I am not glad when you spell yourself into her \n and write out your heart's forebodings on her heart. For you are \n strangely morbid, and you are certainly guilty of reading your own \n doubts and fears into her unspoken and unguessed thoughts. \n \n Believe me, rather than the soul of her love seeming narrower than she \n hopes, the truth is she gives her love little thought at all. She is","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA.","with emphasis. Here I might have told her that men and women are races \n apart, but no one talks cant to Barbara. So I did not console her, and \n it stands against you in our minds that on this critical occasion you \n have baffled us with coldness. \n \n An absence of six years, broken into twice by a brief few months, must \n work changes. When Barbara called your letter unnatural, she forgot how \n little she knows what is natural to you. She and I have been wont to"],[" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \n \n \n \n \n Produced by Curtis Weyant, Martin Pettit and the Online \n Distributed Proofreading Team at http://www.pgdp.net (This \n file was produced from images generously made available \n by The Internet Archive/American Libraries.) \n \n \n \n \n \n \n THE KEMPTON-WACE LETTERS \n","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n November 29, 19--. \n \n What a flutter of letters! And what a fluttery Dane Kempton it is! The \n wine of our western sunshine has bitten into your blood and you are \n grown over-warm. I am glad that you and Hester have found each other so","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","Though we have many things not in common, yet you are my dearest friend \n on earth, you who have been a second father to me as well. \n \n You have long merited this explanation, and it was cowardly of me not to \n have made it before. My hope is that I have been sufficiently clear for \n you to understand. \n \n HERBERT. \n \n \n \n \n V \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","Company Printed in Great Britain by Love & Malcomson Ltd. London and \n Redhill._ \n \n \n \n \n KEMPTON-WACE LETTERS \n \n \n \n \n I \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3 A QUEEN'S ROAD, CHELSEA, S.W. \n August 14, 19--. \n","HERBERT. \n \n \n \n \n XII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 10, 19--. \n \n So we have got into an argument! I have been poring over your last two \n or three letters, and they read like a set of briefs for a debate.","Always yours, \n DANE KEMPTON. \n \n \n \n \n VII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n December 6, 19--. \n \n No, I am not in love. I am very thankful that I am not. I pride myself \n on the fact. As you say, I may not be adjusting my life artistically to","Tell her, then, tell her all you wish, you dear old fluttery, mothery \n poet father--as though it made any difference. \n \n HERBERT. \n \n \n \n \n XXXVII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n STANFORD UNIVERSITY. \n December 3, 19--. \n \n Not three weeks ago you were sitting opposite me and speaking of Hester.","And, Herbert, to me there is nothing comic in a stress of feeling. Let \n the lover pale and flutter and faint; in the presence of his deity it is \n an acceptable form of worship. The very self-possessed lover is more \n preposterous! \n \n Your book has not yet reached me. To-morrow I shall write again, \n providing I remember how to write a natural letter. \n \n Yours, \n DANE KEMPTON. \n \n \n \n \n XXIII \n"," His fits when he is neither sick nor well, \n Though no distress be near him but his own \n Unmanageable thoughts.\" \n \n \n You will judge by this letter that I am neither sick nor well, and that \n I reach for a distress which is not near. If I were Merchant rather than \n Poet, it would be otherwise with me. \n \n DANE. \n \n \n \n \n IV \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","HERBERT. \n \n \n \n \n XV \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n March 15, 19--. \n \n Clyde Stebbins was here an hour after your theories and definitions \n reached me. The fact that I had been reading treason against his sister","FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA. \n January 20, 19--. \n \n I do not know whether to laugh or weep. I have just finished reading \n your letter, and I can hardly think. Words seem to have lost their \n meaning, and words, used as you use them, are without significance. You \n appear to speak a tongue strangely familiar, yet one I cannot","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","shall be of the deeds I have done. \n \n HERBERT. \n \n \n \n \n IX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n December 28, 19--. \n \n The curtain is rung down on an illusion, but it rises again on another,","to pattern after yours: In the beginning man ate because he was hungry; \n to-day he is hungry because he eats. \n \n There are many things more I should like to answer, but I am writing \n this 'twixt breakfast and lecture hour, and time presses and students \n will not wait. \n \n HERBERT. \n \n \n \n \n XIX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON,","splendour of unfolding, her nature roused, her being expectant. But \n later, for poet and lover, the failure and the waste! Were it otherwise \n with your feeling for your betrothed, the comparison would not hold. \n \n Hester does not think these things, and she is beautiful and happy. \n \n Yours devotedly, \n DANE KEMPTON. \n \n \n \n \n XXXIV \n \n FROM THE SAME TO THE SAME \n \n","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","Until the carnival time when you and Hester come to love each other, if \n that time is to be, you two must be as separate in deed as you are in \n fact. Forgive me and write soon. \n \n Yours ever, \n DANE. \n \n \n \n \n XVII \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n \n THE RIDGE, \n BERKELEY, CALIFORNIA."],["dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n"," * * * * * \n \n JACK LONDON'S BOOKS \n \n \"_He opened windows for them upon the splendour and the savagery, the \n pomp and the pitifulness that he had found in many corners of the earth. \n He saw that in every scene, in every human activity there was an element \n which lifted it into the region of the beautiful, and he made all his \n readers see it, whether he was learned or ignorant; cultivated or only","to it must separate. We well know that many men and women, unable to \n build up affection on the ruins of love, do separate, or if they do not, \n continue to live together in cold tolerance or bitter hatred. \n \n Now, Hester is my mate. We have much in common. There is intellectual, \n spiritual, and physical affinity. The caress of her voice and the feel \n of her mind are pleasurable to me; likewise the touch of her hand (and \n you know that in the union of man and woman the higher affinities are","BERKELEY, CALIFORNIA. \n September 18, 19--. \n \n How abominable I must seem to you, Dane! For certainly a creature is \n abominable that lays rough hands on one's dearest possessions. I doubt \n if even you realise how deeply you are stirred by my conduct towards \n love. My marriage with Hester, considering the quality and degree of the \n contracting parties, must appear as terrible to you as the sodomies that","forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","THE KEMPTON-WACE LETTERS \n \n BY \n \n JACK LONDON \n AND \n ANNA STRUNSKY \n \n \n \"_And of naught else than Love would we \n discourse._\"--DANTE, Sonnet II. \n \n \n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \n \n \n _Copyright in the United States of America, 1903, by the Macmillan","Over and ended. It shall be as I said last night. Herbert, there is no \n call for anger; believe me, there is not. I am doing what I cannot help \n doing. You have not changed, but my faith in you has, and I cannot \n pretend to a happiness I do not feel. \n \n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \n to wrest myself from you. Did you at one time love me? That morning of \n wild sunshine when you took my hand and asked me to be your wife seems","Madness and selfishness were the cause of Louisa Naveret's death, and \n the man who was mad and selfish was her lover. The poor man had not the \n strength to renounce when he thought he found himself face to face with \n the necessity of renouncing. But all lovers are not too weak to cope \n with love. John Ruskin, if you remember, loved his wife, and he shot \n neither himself, nor her, nor Millais. Charles J. Johnson is not a \n Ruskin, and Ruskin's love was not a madness.","know her,--and of Herbert. He and I had often come to these spots. Oh, \n the hungry memories! Yet what were we but a young man and a young woman, \n who, without being battered into apathy by misfortune, without being \n wearied or ill, were taking each other for better or for worse because \n they seemed compatible? We were doing just that, to Herbert's certain \n knowledge! I failed him; he hoped for more complaisance. Marriage is a","each other,\" and so on. The ordinary married couple so often brings a \n sense of distressed surprise: \"How can these two foot it together?\" \n \"How did it happen?\" \"How can it go on?\" \n \n Last night counted to me. Your father and I have had such evenings, but \n I did not think I could do it all over again. We spoke with the fire \n (and conceit) of young students, exciting ourselves with expired \n theories, hoping old hopes, smarting under blows that perhaps had long","took long, solitary walks, with book of verse beneath my arm, and \n learned to love as lovers had loved before me. \n \n Sufficient romance was engendered for me to pass more than one night \n worshipping beneath her window. I mooned and sentimentalised and fell \n into a gentle melancholy, until you and Waring began to worry over an \n early decline, to consult specialists, and by trick and stratagem to \n entice me into eating more and reading less. But she married--ah, I have","Before that bright, black summer morning which saw me woman-pitied, I \n knew I should have to renounce her. Their souls rushed together in their \n first meeting. John had been away, knocking about museums and colleges, \n and carrying on tempestuous radical work. He was splendidly picturesque. \n I was a youth of twenty-three, almost ten years his junior, a boy full \n of half-defined aims and groping powers, reaching toward what he had \n firm in his grasp. Ellen talked of his coming, and she planned that she","were to have been married to-day.\" \n \n From to-day's paper I quote the above introduction to a column \n murder-sensation in simple life. Simple it was, and elemental--the man \n loving steadily and doggedly and madly, after the manner of the male \n before possession; the woman fluttering, and teasing, and tantalising, \n after the manner of the female courting possession. They had been \n engaged for some time. The woman loved the man and fully intended to","Neither blinded nor frenzied by the unreasoned passion of love, they \n have weighed each other,--faults, virtues, and all,--and found a \n compatibility strong enough to withstand the strain of years and \n misfortune, and wise enough to compromise the individual clashes which \n must inevitably arise when soul shares never ending bed and board with \n soul. They have achieved before marriage what the love-impelled man and \n woman must achieve after marriage if they would continue to live","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","were in feeling and fact divorced from each other by virtue of her \n stronger love for John, yet did she do battle with the rich young love. \n For two years we had been close; she had been so much my friend, she \n could not in maiden charity seal for me a so unwelcome fate. I had \n awakened her slumbering soul with my first look into the sphinx wonder \n of her eyes. For me she had become fire and dew, flame of the sun, and","depends their married happiness. Returning to the rationality which they \n forsook during mating-time, they cannot live a joint rational existence \n without compromising. If they be compatible, they will gradually grow to \n fit, each with the other, into the common life; compromise, on certain \n definite points, will become automatic; and for the rest they will \n exhibit a tacit and reasoned recognition of the imperfections and \n frailties of life. \n \n All this reason will dictate. If they be incapable of rising to","letter, a corroboration of the fact and further committal, a protracted \n defence of your position, running through a correspondence of over a \n year, and, finally, a face-to-face declaration. What boots it now that \n you write prettily? You do not love Hester. You want her to mother your \n children, and you install her in your life for the purpose before the \n need. \n \n Love is not lust, and it is good. The irresistible marriage, alone, is","benedict. My marriage and the presumably necessary honeymoon chime in \n with the summer vacation. There is no disturbing element even there. Oh, \n we are very practical, Hester and I. And we are both strong enough to \n lead each our own lives. \n \n Which reminds me that you have not asked about her. First, let me shock \n you--she, too, is a scientist. It was in my undergraduate days that we \n met, and ere the half-hour struck we were quarrelling felicitously over","his ordinary sort of girl a \"lyric love, half angel and half bird, and \n all a wonder and a wild desire.\" Bidwell exaggerates, perhaps, but \n unless he feels this for his wife, he has no wife. Barbara obeyed the \n voice of her heart. That sounds sentimental, but it is none the less a \n courageous thing to do. I was inconsistent enough to be sorry because \n she loved a crippled man. Bidwell and Barbara are wiser and happier than"],["Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote","LONDON. \n November 19, 19--. \n \n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \n the impulse to pass it on, and to you of all others. \n \n The mood leapt upon Barbara out of the pages of \"Katia,\" a story by \n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \n love, killing it with their own hands, but the author means it to be a","ideal than that for which the unreasoning heart hungers. You are sad, \n but you are not practical and you are not blasé. \n \n Of Barbara, of myself, and of London doings, this is no time to write. \n Tell Hester your friend thinks of her. \n \n Yours with great memories and greater hopes, \n DANE KEMPTON. \n \n \n \n \n XX \n \n FROM HERBERT WACE TO DANE KEMPTON \n \n","FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday morning. \n \n I must proceed with the three other points of my letter, so I shall stay \n here and write, though there is a sharp breeze this morning and a \n coquettishly escaping sunlight, and something tugs at me to go out upon \n the city streets. It is not restlessness, but the love of the open. I am \n fain to leave a walled house, and, better still, to get outside of the","But the half brute of the London slums kicks his wife when she offends \n him and knows nothing of love. Well for the honour of love that it is \n so! The half brute of the London slums had not food enough when a child, \n and malnutrition is deadly. Later, he stole and lied in order to eat, \n and he was bullied and kicked for it out of human shape. The trick was \n passed on to him. The unfortunate of the London slums will push us all","the truth to you though I do love you and hold you mine. Disagreeable of \n me, but how else? \n \n DANE. \n \n \n \n \n X \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n Sunday, January 1, 19--. \n \n Behold, I have lived! I press your face to the breathing, stinging roses \n of my days, and bid you drink in the sweet and throb with the pain. What","XXVII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON. \n July 22, 19--. \n \n Your birthday, Herbert, and for greeting I state that I walk your length \n with you. A truce to quarrelling! It is now a year since you informed me \n you were going to be married, and since then the gods have thundered \n their laughter at the sight of two muttering men who sat themselves on","HERBERT. \n \n \n \n \n XXII \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n June 12, 19--. \n \n Please remember that these letters are written to you alone. I do not \n think that there is less love in the world than ever before. I make you","thought--a memory of very long ago when one was young and might have \n chosen to live. \n \n I am sorry we darken the days for each other. \n \n Your friend always, \n \n DANE KEMPTON. \n \n \n \n \n XIII \n \n FROM THE SAME TO THE SAME \n \n \n LONDON, \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n February 12, 19--. \n","shall be of the deeds I have done. \n \n HERBERT. \n \n \n \n \n IX \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n 3A, QUEEN'S ROAD, CHELSEA, S.W. \n December 28, 19--. \n \n The curtain is rung down on an illusion, but it rises again on another,","love. And only the lunatic, I suppose, may compose a medical brochure on \n insanity. \n \n HERBERT. \n \n \n \n \n XXXI \n \n FROM DANE KEMPTON TO HERBERT WACE \n \n \n LONDON, \n October 7, 19--. \n \n It is true that you have a hard task before you, but it is not because \n you are fighting convention and shattering illusion; it is because you","took long, solitary walks, with book of verse beneath my arm, and \n learned to love as lovers had loved before me. \n \n Sufficient romance was engendered for me to pass more than one night \n worshipping beneath her window. I mooned and sentimentalised and fell \n into a gentle melancholy, until you and Waring began to worry over an \n early decline, to consult specialists, and by trick and stratagem to \n entice me into eating more and reading less. But she married--ah, I have","I care very much indeed. I do not wish you to awake some terrible night \n to find that you had ended your romance before you had begun it. I vex \n your days and call you dead? It is because I know the life that is by \n the grace of God yours, and because I cannot bear to let you coffin it. \n Herbert, there is misery when the blood pales, and the tears dry up, and \n the flame of the heart sinks, and all that is left is a memory of a","shoulder to meet the smile and the look and the quick breath of her who \n had sent herself his Eve. \n \n In the dawn stealing over the world of London, Earl told the story, and \n there and then we saw it all--the hill in the heart of the hills, the \n reconciled boy who had climbed its brow, the rain-drenched woman \n hurrying to overtake him, with the gift of all of herself in her eyes. \n We looked neither at Barbara nor at Earl. Possessed of the secret, we","eyes and on her cheek and lip. \"Dane, I love you. Dane! Dane!\" The whole \n of me was caught up in the accents of that tremulousness. She had know \n John three months; but her love for him was young, it had come \n unexpectedly, it was still unexpressed and ineffable. Her yearning for \n him led to softness toward me, and though she rose out of her mood as \n one does from a dream, the hours when we were like the angels, all love","3A, QUEEN'S ROAD, CHELSEA, S.W. \n April 22, 19--. \n \n Nature tricks her creatures and the race lives on, and I, overcivilised, \n decadent dreamer that I am, rejoice that the past binds us, am proud of \n a history so old and so significant and of an heritage so marvellous. \n Nature tricks her creatures and the race lives on, and I am prayerfully","was vibrant. Earl, too, was at his best. My heart loved this man who had \n lain all his life with death. His health is at its bad worst this \n winter, which fact made of the \"Celebration\" a rather heart-rending \n affair. He has been obliged to abandon the _Journal_, but we hope he can \n stay with the school. Meanwhile, his chronic invalidism of body and \n purse does not too much affect him. He keeps his charm of tenderness and","have ever been? Do you know that because you love a woman and she loves \n you, and that because you are swept along by certain forces, that I am \n happy and feel myself in sight of my portion of immortality on earth, \n far more than because of my books, dear lad, far more? \n \n I wish I could fly England and get to you. Should I have a shade less of \n you than formerly, if we were together now? From your too much green of \n wealth, a barrenness of friendship? It does not matter; what is her gain","able to remember back and recognise what young eyes mean when they look \n like that. From London to Palo Alto is a short trip, if at the end of it \n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \n aware that evening had come, and we stopped a little in front of the \n arch to observe the night-look of the foot-hills. Lights had begun to \n appear in the corridors of the quadrangle, and here and there in a","\"Your dreaming, Barbara, can scarce be better than your living.\" \n \n We looked long at each other. She knew herself a happy woman, yet to-day \n the ghost had walked in the light, and her eyes were not held, and she \n saw. Even her life was not sufficient, even her plans were paltry, even \n her heart's love was cramped. Such times of seeing come to happy men and \n to happy women. Barbara was reading the opinions of the world and the"],["forgotten whom. Anyway, she married, and there was trouble about it, \n too, and I bade adieu to love forever. \n \n Then came the love of my whelpage. I was twenty, and she a mad, wanton \n creature, wonderful and unmoral and filled with life to the brim. My \n blood pounds hot even now as I conjure her up. The ungarmented beast, my \n dear Dane, the great primordial ungarmented beast, mighty to procreate,","There is a youth here who loves me. If Herbert's face could shine like \n his for one hour, I believe I would be happier than I have ever been. \n And it would not spoil that happiness if this love were toward another \n than myself. Say you believe me. You must know it of me that before \n everything else in the world I pray that knowledge of love come to the \n man over whom the love of my girlhood was spilled. \n \n Do you ask what is left me, dear friend? Work and tears and the intact","felt myself pushed out of her life, I forgot everything but my desire. \n I could not renounce her. I was in the throes of the passion for \n ownership. \n \n Gentle girl between whom and myself there had been naught but sweetness \n and fellowship! How often had we talked large (we were very young!) of \n our sublimities and potentialities, how often had we pictured tragedies \n of surrender and greatened in the speaking! Ah, it should come true. For","gifted orator, a man of giant powers, and who was won away at the age of \n forty from his career by a mere girl. The girl planned nothing. She \n found herself a force in his life almost despite herself. The mere fact \n that she lived was enough to wrest this Titan from the arms of the \n Church. He told me that she criticised him with the directness of a \n simple nature, and that he came to understand her truths better than she \n herself. I think she must have loved him at first, but she did not go","two men more incongruously companioned. I love him for himself. He \n tolerates me, I do secretly believe, because of you. He longs to meet \n you,--he knew you well through my father,--and we often talk you over. \n Be sure at every opportunity I tear off your halo and trundle it about. \n Trust me, you receive scant courtesy. \n \n How I wander on. My pen is unruly after the long vacation; my thought","Do you remember the incident of the torn jacket and the blackened \n eyes?--so inexplicable at the time. Try as you would, neither you nor \n Waring could get anything out of me. Oh, believe me, it was tragic! I \n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \n the dawn, with the promise of day. And, of course, I thought it was the \n day, that I loved as a man loved, and that no man ever loved more. Well,","is my philosophy but a translation of the facts which have stamped me? \n Perhaps if I let you read these facts, you will the sooner come to share \n my consecration and my faith. I must teach you to know that you are the \n fact of my whole tangled web of facts, and that all that I have and am, \n and all that might have been I and mine, stretches itself out in the \n unmarked path which is before you. \n \n I take you back with me to the road, white with dust, upon which like a","and all speech, were mine. So much was vouchsafed me. \n \n Memories and echoes, gusts of sweet breath from the violets on your \n mother's grave--the prophet of matter will have none of them, and, I \n fear, will pity me that I am so much theirs. I am yours also, dear lad, \n and I wish to serve you. \n \n DANE KEMPTON. \n \n \n \n \n XI \n","dream. Believe me, I am not pitiable. \n \n HESTER. \n \n \n \n \n \n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \n Jack London and Anna Strunsky \n \n","of those who cheat themselves. You choose rigorously, straining for the \n heart of the end as do all rigorists who are also hedonists. Because we \n are in possession of this bit of data as to your temperamental cosmos we \n can congratulate you with the more abandon. Oh, Herbert, do you know \n that this is a rampant spring, and that on leaving Barbara I tramped \n out of the confines into the green, happier, it almost seems, than I","Madness and selfishness were the cause of Louisa Naveret's death, and \n the man who was mad and selfish was her lover. The poor man had not the \n strength to renounce when he thought he found himself face to face with \n the necessity of renouncing. But all lovers are not too weak to cope \n with love. John Ruskin, if you remember, loved his wife, and he shot \n neither himself, nor her, nor Millais. Charles J. Johnson is not a \n Ruskin, and Ruskin's love was not a madness.","its environment (there is room for discussion there), but I do know that \n I am adjusting it scientifically. I am arranging my life so that I may \n get the most out of it, while the one thing to disorder it, worse than \n flood and fire and the public enemy, is love. \n \n I have told you, from time to time, of my book. I have decided to call \n it \"The Economic Man.\" I am going over the proofs now, and my brain is","\"I pity you. I wish you were as happy as I.\" And a thought leaped out in \n answer to her look which would have smote her had it spoken. It was, \n \"You, too, are awakened by a false dawning.\" Why is she so sure of \n herself and of you? Is she sure? The puny bit of writing had a vigorous \n rising. The ragged author was clad in it as in ermine. So the seeming \n love makes a strong call, for a while holding the girl intent upon a","her, and presto, the whole-hearted one is my friend. Her poet is now her \n father, brother, comrade,--what she chooses, and all she chooses. \n \n At one time, before we were well out of the Arboretum, our eyes met, and \n there was something so sad and mild and strange in the burn of her gaze \n that I felt her frank spirit was unveiling itself in an utterness of \n speech. But I have become too much spoilt by mere length of living to be","The door was seen from every point in the fog-begirt world. We who \n worshipped knew not of doubt. Stirred by the rumbling organ tones of \n causes and ideas, we immolated our lives gladly. High priests of \n thought, we swung the censers and rose on the breast of the incense. \n Ellen and John and myself glorified God and enjoyed Him forever,--God, \n the Type, the Final Humanity, the giant Body Soul of man. In our hearts","about her mouth. Where were you, Herbert? This night will never return. \n Yet what has been was for you--the more, perhaps, that you seemed away. \n So it is with lovers. She thinks you love her. \n \n \"I am sorry for your mood,\" she said. \"You are holding yourself to \n account these days in a way I know.\" Then she spoke, and I learned with \n new heaviness of spirit that she does know the way of it. You never \n thought Hester had much to struggle with? \n","in impatience, in wildness, but last night we awoke the radical in one \n another. We condemned the system. We placed ourselves outside the \n régime, refusing aught at its hands, registering our protest, hating the \n inordinate scheme of things only as hotly as we loved the juster Hand of \n a future time. \n \n It is curious that we, offsprings of parvenue success, should be capable \n of such repudiation. Barbara accepts the Management without the trouble","\"Yes, but with no more reason than you for your unhappiness. Since you \n have come here, you have renewed your demands upon yourself. You wish to \n go to school with the youngest and find you cannot. You suffer because \n more seems behind you than before.\" Her voice rose as if she were \n fighting tears. It was different with her, I told her. Nothing was \n behind her. \n \n \"You test your work and I test my love. When you are sad, it is because","in perfect working order. On the other hand, there is Professor Bidwell, \n who is likewise correcting proofs. Poor devil, he is in despair. He can \n do nothing with them. \"I positively cannot think,\" he complains to me, \n his hair rumpled and face flushed. He did not answer my knock the other \n day, and I came upon him with the neglected proofs under his elbows and \n his absent gaze directed through window and out of doors to some rosy","Herbert Wace of six years gone. It is fair that you should know this; \n fair, also, that you should know the Herbert Wace of six years gone was \n not quite the lad you deemed him. \n \n There is no more pathetic and terrible thing than the prejudice of love. \n Both you and I have suffered from it. Six years ago, ay, and before \n that, I felt and resented the growing difference between us. When under \n your spell, it seemed that I was born to lisp in numbers and devote"]],"string":"[\n [\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"Yesterday I wrote formally, rising to the occasion like the conventional \\n happy father rather than the man who believes in the miracle and lives \\n for it. Yesterday I stinted myself. I took you in my arms, glad of what \\n is and stately with respect for the fulness of your manhood. It is \\n to-day that I let myself leap into yours in a passion of joy. I dwell on \\n what has come to pass and inflate myself with pride in your fulfilment, \\n more as a mother would, I think, and she your mother. \\n\",\n \"soul writhed in derision, you scoffed at that which you had held to be \\n the nobility of the soul, and you minced words satirically over the \\n exquisiteness of the type which we have evolved. Then the experiment of \\n life turned farce, the heavens fell about your ears and \\\"Fool!\\\" was upon \\n your lips. Oh, the hurricane that sweeps over the soul when it is \\n cheated of its joy! In the first instant of Ellen's indifference, when I\",\n \"gratified, in the other, hunger was done away with, and I will say that \\n you are giving an Arabian Nights' entertainment. \\n \\n Love is of a piece with life, like hunger, like joy, like death. Your \\n progress cannot leave it behind; your civilisation must become the \\n exponent of it. \\n \\n Your last letter is formal and elaborate, and--equivocal. In it you \\n remind me, menacingly, of the possibilities of progress, you posit that\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"night and the next and the next, I wrote \\\"Gentleman Adventurers,\\\" which \\n the critics called the epitome of all that is balladesque. One pitied \\n the dead because they could go forth no more on water and under sky. \\n This poem, written in a mood which beneficent nature sends on the \\n too-sick spirit, has served for more than a quarter of a century as the \\n complete and accepted catalogue of the reasons for living. Well, I must\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"is my philosophy but a translation of the facts which have stamped me? \\n Perhaps if I let you read these facts, you will the sooner come to share \\n my consecration and my faith. I must teach you to know that you are the \\n fact of my whole tangled web of facts, and that all that I have and am, \\n and all that might have been I and mine, stretches itself out in the \\n unmarked path which is before you. \\n \\n I take you back with me to the road, white with dust, upon which like a\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"good digestion, unailing body, and mild pleasures, and enjoying life \\n with bovine placidity? But pretty Louisa Naveret entered his life. The \\n \\\"abysmal fecundity\\\" was stirred and life clamoured to be created. \\n Peacefulness and content vanished. All the forces of his existence \\n impelled him to seize upon and possess \\\"nineteen-year-old\\\" Louisa \\n Naveret. He was afflicted with a disorder of mind and body, a madness\",\n \"But why did you not write before? After all, the great event was not \\n when you found your offer of marriage accepted, but when you found you \\n had fallen in love. Then was your hour. Then was the time for \\n congratulation, when the call was first sounded and the reveille of Time \\n and About fell upon your soul and the march to another's destiny was \\n begun. It is always more important to love than to be loved. I wish it \\n had been vouchsafed me to be by when your spirit of a sudden grew\",\n \"happily ending novel. Tolstoy attempts to show that men and women can \\n find happiness only when they grow content to give over seeking love \\n from one another. They may keep the memory but must banish the hope. \\n \\\"Hereafter, think of me only as the father of your children,\\\" and the \\n woman who had pined for that which had been theirs in the beginning of \\n their union weeps softly, and agrees. Tolstoy calls this peace, but for \\n Barbara and me this gain is loss, this end an end indeed, replete with\",\n \"loves you! Yet she thinks that your calm is depth, your silence prayer. \\n Her pride protects her, but she strains for the word which does not \\n come. She has never been quite sure, and I thank God for that. Hester \\n has been fearing somewhat, and she has been doubting, and it is this \\n that may save her when the night sets in and the storm breaks over her \\n head. \\n \\n You, too, are thankful that her instincts served her true and that she\",\n \"the lamp-post which was sticking out its flaming little tongue to the \\n night. Why was I mocked? There was no mocking and there should have been \\n no bitterness. Of that there was none either, after a while. \\n \\n Ellen put her hand on my hair, and a strong primal emotion rose in me. \\n In that moment civilisation was as if it had not been. I reverted to the \\n primitive. The blood of forgotten ancestors, cave-men and river-men,\",\n \"have been too weary in spirit before to answer to your name when \\n opportunity called roll. \\n \\n It was Earl who broke the silence caused by the inner tumult. In a \\n dreamy voice, his eyes very eager and intent, he told us how at one time \\n he had gone up a hill that faced the house in which he lived. A hard \\n rain was driving, he fell at every step up the slippery steepness, but \\n at every step the beauty of it became more and more wondrous, hardly\"\n ],\n [\n \"over, as if you had strength for no more than your book and your \\n theory! You have become slave to a small point of inquiry, and you call \\n it the advance to a new time. \\\"The crusade is on,\\\" you say. Coronation \\n rites for the commoners and destruction to superstition. I put my hand \\n out to you in joy. The joy is in unholy worship of a fetish, the pain \\n that there is no joy also deference to a fetish. Your creed thunders\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"Do you remember the incident of the torn jacket and the blackened \\n eyes?--so inexplicable at the time. Try as you would, neither you nor \\n Waring could get anything out of me. Oh, believe me, it was tragic! I \\n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \\n the dawn, with the promise of day. And, of course, I thought it was the \\n day, that I loved as a man loved, and that no man ever loved more. Well,\",\n \"soul writhed in derision, you scoffed at that which you had held to be \\n the nobility of the soul, and you minced words satirically over the \\n exquisiteness of the type which we have evolved. Then the experiment of \\n life turned farce, the heavens fell about your ears and \\\"Fool!\\\" was upon \\n your lips. Oh, the hurricane that sweeps over the soul when it is \\n cheated of its joy! In the first instant of Ellen's indifference, when I\",\n \"never quite accepted the gift that seemed to have been proffered? \\n \\n You have a right to demand the reason for my renewed attack. It is \\n because I have learned the strength of her love. \\\"You are blessed beyond \\n words,\\\" I said two days ago, but as you reject the blessing, Hester must \\n know it and you must tell her. Herbert, I am your friend. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXVI \\n\",\n \"loves him too well to know or to have the strength to care, or she is, \\n like him, of the new school,\\\" I thought. I sat and watched you, noting \\n your youth, surprised by the scorn in your eyes and the sadness on your \\n lips. You seemed hopeless and helpless. I closed my eyes. \\\"What has he \\n left himself?\\\" I kept asking. \\\"How will he tread 'The paths gray heads \\n abhor?'\\\" My own head bowed itself as before an irreparable loss. I had\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"beyond the times. You are like the idealistic and advanced zealots, who, \\n when such action would mean destruction, advise these United States to \\n disarm in the face of the war-harnessed world. \\n \\n But no more of this jerky letter. Soon I shall proceed to make my \\n contention good. I shall show the higher part intellect plays in \\n conjugal love, the control, restraint, forbearance, sacrifice. And I \\n shall show that conjugal love is higher and finer than romantic love. \\n\",\n \"eyes and on her cheek and lip. \\\"Dane, I love you. Dane! Dane!\\\" The whole \\n of me was caught up in the accents of that tremulousness. She had know \\n John three months; but her love for him was young, it had come \\n unexpectedly, it was still unexpressed and ineffable. Her yearning for \\n him led to softness toward me, and though she rose out of her mood as \\n one does from a dream, the hours when we were like the angels, all love\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"of youth; nor was there that cool, calm poise which comes of the \\n calculation and discretion of age. Man and woman, we were in full tide, \\n strong, simple, and elemental. Life rioted in our veins; we were \\n a-bubble with the ferment; and it is out of such abundance that Mother \\n Nature has always exacted her progeny. From the strictly emotional and \\n naturalistic viewpoint, I must consider it, even now, the perfect love. \\n But it was decreed that I should develop into an intellectual animal,\",\n \"the general disarray with a thumping \\\"I will!\\\" And take my word for it, \\n Dane, a year hence, when the very ordinary girl greets him with the \\n matronly kiss and his fever and folly have left him, he will take up the \\n book and make a success of it. \\n \\n Of course I am not in love. I have just come back from Hester--I ran \\n down Saturday to Stanford and stopped over Sunday. Time did not pass\",\n \"good digestion, unailing body, and mild pleasures, and enjoying life \\n with bovine placidity? But pretty Louisa Naveret entered his life. The \\n \\\"abysmal fecundity\\\" was stirred and life clamoured to be created. \\n Peacefulness and content vanished. All the forces of his existence \\n impelled him to seize upon and possess \\\"nineteen-year-old\\\" Louisa \\n Naveret. He was afflicted with a disorder of mind and body, a madness\",\n \"the lamp-post which was sticking out its flaming little tongue to the \\n night. Why was I mocked? There was no mocking and there should have been \\n no bitterness. Of that there was none either, after a while. \\n \\n Ellen put her hand on my hair, and a strong primal emotion rose in me. \\n In that moment civilisation was as if it had not been. I reverted to the \\n primitive. The blood of forgotten ancestors, cave-men and river-men,\",\n \"It is better to be rejected, equal turned from equal, than to be held \\n with slim desire for slight purpose. Can you see this, Herbert? You are \\n hurting the girl's life. She will ask for what you withhold, though not \\n a word rise to her lips; will thirst for it through the years, will \\n herself grow cramped with your denial till her own love seem a thing of \\n dream, unstable and vague and illusive. And all the time you are gentle. \\n You are devoted to her interests, furthering her happiness to the best\",\n \"such heat, and to such little purpose. \\n \\n You do not see how this answers your last letter. I will tell you. It \\n shows you that you have explained yourself fully the night we spoke face \\n to face. \\n \\n You say that Hester is the woman to complement your man. This sounds \\n like a lover, only I happen to know that she is not the irresistible \\n woman. I found it out quite by accident--a few words dropped into a\",\n \"regret for the time when your mind had no surprises for me, when the \\n days were flushed halcyon with my hope in you. I resent your development \\n if it is because of it that you speak prosaically of a prosaic marriage \\n and of a honeymoon simultaneous with the Degree. I think you are too \\n well pleased with the simultaneousness. \\n \\n Yet the fact of the letter is fair. It cannot be that the soul of it is\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\"\n ],\n [\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"finest terms of the finest speech in the world. To do this is to have \\n lived. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXIX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n August 26, 19--. \\n \\n You insist that the question is not on the value of love but on the\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \\n \\n \\n \\n \\n Produced by Curtis Weyant, Martin Pettit and the Online \\n Distributed Proofreading Team at http://www.pgdp.net (This \\n file was produced from images generously made available \\n by The Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n THE KEMPTON-WACE LETTERS \\n\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"Always yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n VII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n December 6, 19--. \\n \\n No, I am not in love. I am very thankful that I am not. I pride myself \\n on the fact. As you say, I may not be adjusting my life artistically to\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \"love. And only the lunatic, I suppose, may compose a medical brochure on \\n insanity. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXI \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n October 7, 19--. \\n \\n It is true that you have a hard task before you, but it is not because \\n you are fighting convention and shattering illusion; it is because you\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\",\n \"compromise, sacrifice, and unselfishness, reason will dictate \\n separation. In such cases, when they will have become rational once \\n more, they will reason the impossibility of a continued relation and \\n give it up. In which case the true-love disciple may contend that there \\n was no real love in the beginning. But he is wrong. It was just as real \\n as that of any marriage, only it failed in the post-nuptial quest after \\n compatibility. In all marriages love--passionate, romantic love--must\",\n \"As I have constantly insisted, our difference is temperamental. The \\n common words we lay hold of mean one thing to you and another thing to \\n me. I do not equivocate when I say that love is instinctive, and that \\n the latter-day expression of love is artificial. \\\"Art,\\\" as I understand \\n the term in its broadness, contradistinguishes from nature. Whatever man \\n contrives or devises is an artifice, a thing of art not of nature, and \\n therefore artificial. \\n\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\",\n \"and I schooled myself to think that there had been no affront, that it \\n honours a woman to be wanted no matter for what end, that every use is a \\n noble use, that we die the same, loved or used. If Herbert Wace wants a \\n wife and thinks me fitting, why, it is well. I thought all this and aged \\n as I thought. Nevertheless, my hand did not put itself out a second time \\n to detain the man who had forced me to face this. \\n\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n January 20, 19--. \\n \\n I do not know whether to laugh or weep. I have just finished reading \\n your letter, and I can hardly think. Words seem to have lost their \\n meaning, and words, used as you use them, are without significance. You \\n appear to speak a tongue strangely familiar, yet one I cannot\",\n \"splendour of unfolding, her nature roused, her being expectant. But \\n later, for poet and lover, the failure and the waste! Were it otherwise \\n with your feeling for your betrothed, the comparison would not hold. \\n \\n Hester does not think these things, and she is beautiful and happy. \\n \\n Yours devotedly, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIV \\n \\n FROM THE SAME TO THE SAME \\n \\n\",\n \"romance of to-day as you have not caught it and where you have missed \\n it. He knows life and is living. Are you living, Dane Kempton? \\n \\n Forgive me. I had begun to explain and reconcile our difference. I find \\n I am lecturing and censuring you. In defending myself, I offend. But \\n this I wish to say: We are so made, you and I, that your function in \\n life is to dream, mine to work. That you failed to make a dreamer of me\"\n ],\n [\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday morning. \\n \\n I must proceed with the three other points of my letter, so I shall stay \\n here and write, though there is a sharp breeze this morning and a \\n coquettishly escaping sunlight, and something tugs at me to go out upon \\n the city streets. It is not restlessness, but the love of the open. I am \\n fain to leave a walled house, and, better still, to get outside of the\",\n \"creep over the Berkeley Hills and down out of the east! Why should you \\n linger on there in London town! We grow away from each other, it \\n seems--you with your wonder-singing, I with my joyful science. \\n \\n Poesy and economics! Alack! alack! How did I escape you, Dane, when mind \\n and mood you mastered me? The auguries were fair. I, too, should have \\n been a singer, and lo, I strive for science. All my boyhood was singing,\",\n \"Revolution 2s. net \\n \\n War of the Classes 2s. net \\n \\n The Human Drift 6s. net and 2s. net \\n \\n The Iron Heel 2s. net \\n \\n The Road 2s. net \\n \\n \\n [A] Films have been founded on these novels \\n \\n MILLS & BOON, Ltd., 49 Rupert St., London, W.1. \\n \\n * * * * * \\n \\n\",\n \"prevent polygamy did another woman chance to strand on that particular \\n isle. \\n \\n It is the common practice of the man of the London slum to kick his wife \\n to death when she has offended him. And the man of the London slum is a \\n very natural beast who expresses himself in a very natural manner. He \\n has never heard of Hero and Leander, and the comparison of the missus' \\n eyes to the stars would to him be arrant bosh. The gentle, tender,\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"\\\"Thou shalt not.\\\" Love is a thing of yesterday. No room for anything \\n that intimately concerns the self. But what are the apostles of the \\n young thought preaching if it is not the right of men to their own, and \\n what would it avail them to come into their own if life be stripped of \\n romance? \\n \\n I am dissatisfied because you are willing to live as others must live. \\n You should stay aristocrat. Ferdinand Lassalle dressed with elegance for\",\n \"LONDON. \\n November 19, 19--. \\n \\n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \\n the impulse to pass it on, and to you of all others. \\n \\n The mood leapt upon Barbara out of the pages of \\\"Katia,\\\" a story by \\n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \\n love, killing it with their own hands, but the author means it to be a\",\n \"the truth to you though I do love you and hold you mine. Disagreeable of \\n me, but how else? \\n \\n DANE. \\n \\n \\n \\n \\n X \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday, January 1, 19--. \\n \\n Behold, I have lived! I press your face to the breathing, stinging roses \\n of my days, and bid you drink in the sweet and throb with the pain. What\",\n \"love. And only the lunatic, I suppose, may compose a medical brochure on \\n insanity. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXI \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n October 7, 19--. \\n \\n It is true that you have a hard task before you, but it is not because \\n you are fighting convention and shattering illusion; it is because you\",\n \"able to remember back and recognise what young eyes mean when they look \\n like that. From London to Palo Alto is a short trip, if at the end of it \\n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \\n aware that evening had come, and we stopped a little in front of the \\n arch to observe the night-look of the foot-hills. Lights had begun to \\n appear in the corridors of the quadrangle, and here and there in a\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\",\n \"know now, as I felt then, your consistent revolt against his \\n materialistic philosophy. \\n \\n Only the other day you complained of a letter of mine, calling it cold \\n and analytical. That I should be cold and analytical despite all the \\n prodding and pressing and moulding I have received at your hands, and \\n the hands of Waring, marks only more clearly our temperamental \\n difference; but it does not mark that one or the other of us is less a\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\"\n ],\n [\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"your dismal science,\\\" he is sure to add; and to fire him I lay it to the \\n defects of early training. I know he thinks that I never half \\n appreciated you, and that I do not appreciate you now. If you will \\n recollect, you praised his verses once. He cherishes that praise amongst \\n his sweetest treasures. Poor dear good old Gwynne, tender, sensitive, \\n shrinking, with the face of a seraph and the heart of a maid. Never were\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"soul writhed in derision, you scoffed at that which you had held to be \\n the nobility of the soul, and you minced words satirically over the \\n exquisiteness of the type which we have evolved. Then the experiment of \\n life turned farce, the heavens fell about your ears and \\\"Fool!\\\" was upon \\n your lips. Oh, the hurricane that sweeps over the soul when it is \\n cheated of its joy! In the first instant of Ellen's indifference, when I\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"the lamp-post which was sticking out its flaming little tongue to the \\n night. Why was I mocked? There was no mocking and there should have been \\n no bitterness. Of that there was none either, after a while. \\n \\n Ellen put her hand on my hair, and a strong primal emotion rose in me. \\n In that moment civilisation was as if it had not been. I reverted to the \\n primitive. The blood of forgotten ancestors, cave-men and river-men,\",\n \"take it, in this dawning twentieth century, because she is a scientist; \\n not in spite of being a scientist as some would hold. How shall I \\n describe her? Perhaps as a George Eliot, fused with an Elizabeth \\n Barrett, with a hint of Huxley and a trace of Keats. I may say she is \\n something like all this, but I must say she is something other and \\n different. There is about her a certain lightsomeness, a glow or flash \\n almost Latin or oriental, or perhaps Celtic. Yes, that must be\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \"that you are unaware of the chill your words breathe, and that is a \\n lapse which it is impossible to meet with indulgence. \\n \\n \\\"He does not love her,\\\" was Barbara's quick decision, and she laid the \\n open letter down with a definiteness which said that you, too, are laid \\n out and laid low. Your sister's very wrists can be articulate. However, \\n I laughed at her and she soon joined me. We do not mean to be \\n extravagant with our fears. Who shall prescribe the letters of lovers to\",\n \"know now, as I felt then, your consistent revolt against his \\n materialistic philosophy. \\n \\n Only the other day you complained of a letter of mine, calling it cold \\n and analytical. That I should be cold and analytical despite all the \\n prodding and pressing and moulding I have received at your hands, and \\n the hands of Waring, marks only more clearly our temperamental \\n difference; but it does not mark that one or the other of us is less a\",\n \"what of you; and my father was a singer, too, in his own fine way. Dear \\n to me is your likening of him to Waring.--\\\"What's become of Waring?\\\" He \\n _was_ Waring. I can think of him only as one who went away, \\\"chose land \\n travel or seafaring.\\\" \\n \\n Gwynne says I am sometimes almost a poet--Gwynne, you know, Arthur \\n Gwynne, who has come to live with me at The Ridge. \\\"If it were not for\",\n \"But hers will be no minor note, no middle flight. She is--well, she is \\n Hester. In two years we shall be married. Two years, Dane. Surely you \\n will be with us. \\n \\n One thing more; in your letter a certain undertone which I could not \\n fail to detect. A shade less of me than formerly?--I turn and look into \\n your face--Waring's handiwork you remember--his painter's fancy of you \\n in those golden days when I stood on the brink of the world, and you\",\n \"the general disarray with a thumping \\\"I will!\\\" And take my word for it, \\n Dane, a year hence, when the very ordinary girl greets him with the \\n matronly kiss and his fever and folly have left him, he will take up the \\n book and make a success of it. \\n \\n Of course I am not in love. I have just come back from Hester--I ran \\n down Saturday to Stanford and stopped over Sunday. Time did not pass\",\n \"willing to bestow itself without question or let or hope of return, when \\n the self broke up and you grew fain to beat out your strength in praise \\n and service for the woman who was soaring high in the blue wastes. You \\n have known her long, and you must have been hers long, yet no word of \\n her and of your love reached me. It was not kind to be silent. \\n \\n Barbara spoke yesterday of your fastidiousness, and we told each other \\n that you had gained a triumph of happiness in your love, for you are not\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"unechoed words, I became grave and still myself. He had unloved me, I \\n said, and I waited. Something seemed pending, and meanwhile I could \\n love! I made much of every word of comfort that he dropped me, and dwelt \\n with hope on the future. All this I told Herbert the night when I \\n explained, and he turned pale. \\\"You people fly away with yourselves. I \\n cannot follow you. What is wrong, Hester?\\\" He smiled in his distress.\",\n \"of those who cheat themselves. You choose rigorously, straining for the \\n heart of the end as do all rigorists who are also hedonists. Because we \\n are in possession of this bit of data as to your temperamental cosmos we \\n can congratulate you with the more abandon. Oh, Herbert, do you know \\n that this is a rampant spring, and that on leaving Barbara I tramped \\n out of the confines into the green, happier, it almost seems, than I\"\n ],\n [\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"the truth to you though I do love you and hold you mine. Disagreeable of \\n me, but how else? \\n \\n DANE. \\n \\n \\n \\n \\n X \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday, January 1, 19--. \\n \\n Behold, I have lived! I press your face to the breathing, stinging roses \\n of my days, and bid you drink in the sweet and throb with the pain. What\",\n \"Madness and selfishness were the cause of Louisa Naveret's death, and \\n the man who was mad and selfish was her lover. The poor man had not the \\n strength to renounce when he thought he found himself face to face with \\n the necessity of renouncing. But all lovers are not too weak to cope \\n with love. John Ruskin, if you remember, loved his wife, and he shot \\n neither himself, nor her, nor Millais. Charles J. Johnson is not a \\n Ruskin, and Ruskin's love was not a madness.\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"prevent polygamy did another woman chance to strand on that particular \\n isle. \\n \\n It is the common practice of the man of the London slum to kick his wife \\n to death when she has offended him. And the man of the London slum is a \\n very natural beast who expresses himself in a very natural manner. He \\n has never heard of Hero and Leander, and the comparison of the missus' \\n eyes to the stars would to him be arrant bosh. The gentle, tender,\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"Enters here the prejudice of love. It was the lad that discovered our \\n difference and concealed; it was the man who was blind and could not \\n discover. There we erred, man and boy; and here, both men now, we make \\n all well again. \\n \\n Let me be explicit. Do you remember the passion with which I read the \\n \\\"Intellectual Development of Europe?\\\" I understood not the tithe of it, \\n but I was thrilled. My common sense was thrilled, I suppose; but it was\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"Nor do I feel impelled to leave her presence if I would live, as did \\n Dante the presence of Beatrice; nor the painful confusion of Rousseau, \\n when, in the same room with Madame Goton, he seemed impelled to leap \\n into the flaming fireplace. But I do feel for Hester what happily mated \\n men and women, after they have lived down the passion, feel in the \\n afternoon of life. It is the affection of man for woman, which is\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\",\n \"and be something more than a mere unconscious puppet of the reproductive \\n forces. So head mastered my heart, and I laid the grip of my will over \\n the passion and went my way. \\n \\n And then came another man's wife, a proud-breasted woman, the perfect \\n mother, made pre-eminently to know the lip clasp of a child. You know \\n the kind, the type. \\\"The mothers of men,\\\" I call them. And so long as \\n there are such women on this earth, that long may we keep faith in the\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"his working-men audiences, with the hope, he said, of reminding them \\n that there was something better than their shabbiness. You are of the \\n favoured, Herbert. It devolves upon you to endear your life to yourself. \\n You do not agree with me. You do not believe that love is the law which \\n controls freedom and life. Slave to your theory and rebel to the law, \\n you lose your soul and imperil another's. \\n\",\n \"have ever been? Do you know that because you love a woman and she loves \\n you, and that because you are swept along by certain forces, that I am \\n happy and feel myself in sight of my portion of immortality on earth, \\n far more than because of my books, dear lad, far more? \\n \\n I wish I could fly England and get to you. Should I have a shade less of \\n you than formerly, if we were together now? From your too much green of \\n wealth, a barrenness of friendship? It does not matter; what is her gain\"\n ],\n [\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"and arms outstretched in welcome. Oh, I saw the curved lips and \\n outstretched arms, and all the splendid young womanhood swaying there, \\n and I was pleased and all that; but I did not think it too wonderful and \\n impossible and miraculous and the rest of the fond rubbish I am sure \\n poor Bidwell thinks when his eyes are gladdened by his ordinary sort of \\n girl when he calls upon her. \\n \\n What a comely young woman, is what I thought as I pressed Hester's\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"dwelt a religion which compelled us to serve the ideal. We strove to \\n become what organically we felt the \\\"Human with his drippings of warm \\n tears\\\" may become. We were the standard-bearers of the advancing margin \\n of the world. We were the high-water mark toward which all the tides \\n forever make. We were soldiers and priests. \\n \\n And so when Ellen loved, and lacked courage for her love, I helped her. \\n A past of kindness and ardour riveted her to my side. She knew that we\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\",\n \"know her,--and of Herbert. He and I had often come to these spots. Oh, \\n the hungry memories! Yet what were we but a young man and a young woman, \\n who, without being battered into apathy by misfortune, without being \\n wearied or ill, were taking each other for better or for worse because \\n they seemed compatible? We were doing just that, to Herbert's certain \\n knowledge! I failed him; he hoped for more complaisance. Marriage is a\",\n \"felt myself pushed out of her life, I forgot everything but my desire. \\n I could not renounce her. I was in the throes of the passion for \\n ownership. \\n \\n Gentle girl between whom and myself there had been naught but sweetness \\n and fellowship! How often had we talked large (we were very young!) of \\n our sublimities and potentialities, how often had we pictured tragedies \\n of surrender and greatened in the speaking! Ah, it should come true. For\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"April 2, 19--. \\n \\n So you have met Hester's brother? Well, I have had an outing with \\n Hester. She loves me well, I know, and I cannot but confess a thrill at \\n the thought. On the other hand, well do I know the significance of that \\n love, the significance and the cause. Notwithstanding that wonderful \\n soul of hers, she is in no wise constituted differently from her \\n millions of sisters on the planet to-day. She loves--she knows not why;\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"too busy--and too sensible. Like me, she has not the time. We are \\n workers, not dreamers; and the minutes are too full for us to lavish \\n them on an eternal weighing and measuring of heart throbs. \\n \\n Besides, Hester is too large for that sort of stuff. She is the last \\n woman in the world to peer down at the scales to see if she is getting \\n full value. We leave that to the lesser creatures, who spend their \\n courtship loudly protesting how unutterable, immeasurable, and\",\n \"his working-men audiences, with the hope, he said, of reminding them \\n that there was something better than their shabbiness. You are of the \\n favoured, Herbert. It devolves upon you to endear your life to yourself. \\n You do not agree with me. You do not believe that love is the law which \\n controls freedom and life. Slave to your theory and rebel to the law, \\n you lose your soul and imperil another's. \\n\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\"\n ],\n [\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"felt myself pushed out of her life, I forgot everything but my desire. \\n I could not renounce her. I was in the throes of the passion for \\n ownership. \\n \\n Gentle girl between whom and myself there had been naught but sweetness \\n and fellowship! How often had we talked large (we were very young!) of \\n our sublimities and potentialities, how often had we pictured tragedies \\n of surrender and greatened in the speaking! Ah, it should come true. For\",\n \"Do you remember the incident of the torn jacket and the blackened \\n eyes?--so inexplicable at the time. Try as you would, neither you nor \\n Waring could get anything out of me. Oh, believe me, it was tragic! I \\n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \\n the dawn, with the promise of day. And, of course, I thought it was the \\n day, that I loved as a man loved, and that no man ever loved more. Well,\",\n \"Tell her, then, tell her all you wish, you dear old fluttery, mothery \\n poet father--as though it made any difference. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXVII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n STANFORD UNIVERSITY. \\n December 3, 19--. \\n \\n Not three weeks ago you were sitting opposite me and speaking of Hester.\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"thought--a memory of very long ago when one was young and might have \\n chosen to live. \\n \\n I am sorry we darken the days for each other. \\n \\n Your friend always, \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XIII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 12, 19--. \\n\",\n \"November 20, 19--. \\n \\n Hester met me at the station, and we walked through the Arboretum to her \\n home on the campus. Then followed an evening together in the dormitory \\n parlour. I have just left her. Her face was tumultuously joyous when I \\n murmured my \\\"At last!\\\" Her tearful excitement was like Barbara's. You \\n did not tell me she is so young. You must have made her feel our \\n closeness, or she may have found a bit of my verse that all expressed\",\n \"make her task of leaving me an easy one. Were it not for my efforts, it \\n would have been harder for her to obey a mandate which made for my pain. \\n She could not quite drown an old, Puritan voice, speaking with the \\n authority of tradition, which bade her hold to her vows. Yes, I made it \\n easy for her. Harrow my soul with theories of selection and survival if \\n you dare! \\n \\n In those days the spires of the temple were golden, the shrine white.\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"her, and presto, the whole-hearted one is my friend. Her poet is now her \\n father, brother, comrade,--what she chooses, and all she chooses. \\n \\n At one time, before we were well out of the Arboretum, our eyes met, and \\n there was something so sad and mild and strange in the burn of her gaze \\n that I felt her frank spirit was unveiling itself in an utterness of \\n speech. But I have become too much spoilt by mere length of living to be\",\n \"\\\"Yes, but with no more reason than you for your unhappiness. Since you \\n have come here, you have renewed your demands upon yourself. You wish to \\n go to school with the youngest and find you cannot. You suffer because \\n more seems behind you than before.\\\" Her voice rose as if she were \\n fighting tears. It was different with her, I told her. Nothing was \\n behind her. \\n \\n \\\"You test your work and I test my love. When you are sad, it is because\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"well, I laugh now. I was only fifteen--a young calf who went out and \\n butted heads with another calf in the back pasture. \\n \\n She was a demure little coquette, Celia Genoine, Professor Genoine's \\n daughter, if you will recollect. \\\"Ah,\\\" I hear you remonstrate, \\\"but she \\n was a woman.\\\" Just so. Fifteen and twenty-two is usually the way of calf \\n loves. I invested her with all the glow and colour of first youth, and\",\n \"took long, solitary walks, with book of verse beneath my arm, and \\n learned to love as lovers had loved before me. \\n \\n Sufficient romance was engendered for me to pass more than one night \\n worshipping beneath her window. I mooned and sentimentalised and fell \\n into a gentle melancholy, until you and Waring began to worry over an \\n early decline, to consult specialists, and by trick and stratagem to \\n entice me into eating more and reading less. But she married--ah, I have\",\n \"were in feeling and fact divorced from each other by virtue of her \\n stronger love for John, yet did she do battle with the rich young love. \\n For two years we had been close; she had been so much my friend, she \\n could not in maiden charity seal for me a so unwelcome fate. I had \\n awakened her slumbering soul with my first look into the sphinx wonder \\n of her eyes. For me she had become fire and dew, flame of the sun, and\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"and all speech, were mine. So much was vouchsafed me. \\n \\n Memories and echoes, gusts of sweet breath from the violets on your \\n mother's grave--the prophet of matter will have none of them, and, I \\n fear, will pity me that I am so much theirs. I am yours also, dear lad, \\n and I wish to serve you. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XI \\n\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"\\\"I am difficult,\\\" she said. And again, \\\"There are times when no power \\n can hold me.\\\" Then she quoted Browning:-- \\n \\n \\n \\\"Already how am I so far \\n Out of that minute? Must I go \\n Still like the thistle-ball, no bar, \\n Onward, whenever light winds blow, \\n Fixed by no friendly star?\\\" \\n \\n \\n \\\"Are you unhappy, Hester?\\\" I asked. \\n\"\n ],\n [\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"prevent polygamy did another woman chance to strand on that particular \\n isle. \\n \\n It is the common practice of the man of the London slum to kick his wife \\n to death when she has offended him. And the man of the London slum is a \\n very natural beast who expresses himself in a very natural manner. He \\n has never heard of Hero and Leander, and the comparison of the missus' \\n eyes to the stars would to him be arrant bosh. The gentle, tender,\",\n \"FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday morning. \\n \\n I must proceed with the three other points of my letter, so I shall stay \\n here and write, though there is a sharp breeze this morning and a \\n coquettishly escaping sunlight, and something tugs at me to go out upon \\n the city streets. It is not restlessness, but the love of the open. I am \\n fain to leave a walled house, and, better still, to get outside of the\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\",\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"too busy--and too sensible. Like me, she has not the time. We are \\n workers, not dreamers; and the minutes are too full for us to lavish \\n them on an eternal weighing and measuring of heart throbs. \\n \\n Besides, Hester is too large for that sort of stuff. She is the last \\n woman in the world to peer down at the scales to see if she is getting \\n full value. We leave that to the lesser creatures, who spend their \\n courtship loudly protesting how unutterable, immeasurable, and\",\n \"took long, solitary walks, with book of verse beneath my arm, and \\n learned to love as lovers had loved before me. \\n \\n Sufficient romance was engendered for me to pass more than one night \\n worshipping beneath her window. I mooned and sentimentalised and fell \\n into a gentle melancholy, until you and Waring began to worry over an \\n early decline, to consult specialists, and by trick and stratagem to \\n entice me into eating more and reading less. But she married--ah, I have\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\",\n \"possession. She is not the woman ever to make me swamp honour and poise \\n and right conduct in the vortex of blind sex passion. She is not the \\n woman to arouse in me such uncontrolled desire that for gratification I \\n would do one ill deed, or put the slightest hurt upon the least of \\n human creatures. She is not the most beautiful woman God Almighty ever \\n planted on His footstool. (There have been and are many women as true\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"LONDON. \\n November 19, 19--. \\n \\n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \\n the impulse to pass it on, and to you of all others. \\n \\n The mood leapt upon Barbara out of the pages of \\\"Katia,\\\" a story by \\n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \\n love, killing it with their own hands, but the author means it to be a\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"replete with significance and health. I doubt not Elijah himself was \\n dubbed parvenu when he fluttered with his golden harp into that \\n bright-browed throng, pride-swollen for that they had fought with \\n Michael when Lucifer was hurled into hell. \\n \\n \\\"We do not choose our wives as we buy our saddle-horses; we do not plan \\n our marriages as we do the building of our houses,\\\"--so you say, and it\",\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"the truth to you though I do love you and hold you mine. Disagreeable of \\n me, but how else? \\n \\n DANE. \\n \\n \\n \\n \\n X \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday, January 1, 19--. \\n \\n Behold, I have lived! I press your face to the breathing, stinging roses \\n of my days, and bid you drink in the sweet and throb with the pain. What\",\n \"I hitherto took for granted, and become doubly sure. You dogmatise when \\n you say that the lover and the husband are mutually exclusive. If there \\n was love in the beginning, it will be at the end. Love doubles upon \\n itself. Propinquity tightens bonds and there is a steady blossoming of \\n the character in a radiant atmosphere. The marriages that fail are the \\n unions which are based on liking. In these, weariness must set in, for\"\n ],\n [\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\",\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XV \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n March 15, 19--. \\n \\n Clyde Stebbins was here an hour after your theories and definitions \\n reached me. The fact that I had been reading treason against his sister\",\n \"and I schooled myself to think that there had been no affront, that it \\n honours a woman to be wanted no matter for what end, that every use is a \\n noble use, that we die the same, loved or used. If Herbert Wace wants a \\n wife and thinks me fitting, why, it is well. I thought all this and aged \\n as I thought. Nevertheless, my hand did not put itself out a second time \\n to detain the man who had forced me to face this. \\n\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"shall be of the deeds I have done. \\n \\n HERBERT. \\n \\n \\n \\n \\n IX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n December 28, 19--. \\n \\n The curtain is rung down on an illusion, but it rises again on another,\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"cannot be my loss. One power is mine,--without hindrance, in freedom and \\n in right, to say to Ellen's son, \\\"Godspeed!\\\" to place Hester Stebbins's \\n hand in his, and bid them forth to the sunrise, into the glory of day! \\n \\n Ever your devoted father, \\n DANE KEMPTON. \\n \\n \\n \\n \\n II \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\",\n \"mediocrity and register a high claim. I would keep the peace with \\n Romance and fly her colours to the last. You have lived? It is well, and \\n it might have been better, but do not give over and talk of \\n stirpiculture. You are not wiser than the laws which made you. \\n \\n DANE. \\n \\n \\n \\n \\n XXX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\",\n \"know her,--and of Herbert. He and I had often come to these spots. Oh, \\n the hungry memories! Yet what were we but a young man and a young woman, \\n who, without being battered into apathy by misfortune, without being \\n wearied or ill, were taking each other for better or for worse because \\n they seemed compatible? We were doing just that, to Herbert's certain \\n knowledge! I failed him; he hoped for more complaisance. Marriage is a\",\n \"his working-men audiences, with the hope, he said, of reminding them \\n that there was something better than their shabbiness. You are of the \\n favoured, Herbert. It devolves upon you to endear your life to yourself. \\n You do not agree with me. You do not believe that love is the law which \\n controls freedom and life. Slave to your theory and rebel to the law, \\n you lose your soul and imperil another's. \\n\",\n \"It is better to be rejected, equal turned from equal, than to be held \\n with slim desire for slight purpose. Can you see this, Herbert? You are \\n hurting the girl's life. She will ask for what you withhold, though not \\n a word rise to her lips; will thirst for it through the years, will \\n herself grow cramped with your denial till her own love seem a thing of \\n dream, unstable and vague and illusive. And all the time you are gentle. \\n You are devoted to her interests, furthering her happiness to the best\",\n \"day. As yet, you have not gauged her, and you would put her to small \\n uses. Stand aside, dear Herbert. It will be better. \\n \\n I have played a surly part. I may be accused of having been to you both \\n a Dmitri Roudin and an Iago. I beg you to believe that it has not been \\n easy for me. I have uttered the earnest word, have driven you on by the \\n goad of friendship, which drives far. I looked upon the days that came\",\n \"spoke a few words and left. Our host had divulged what the anniversary \\n sought to celebrate. We understood and were glad. \\n \\n Good night, lad. Would you could have shared our heyday at the dawning! \\n \\n DANE. \\n \\n \\n \\n \\n XIV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n February 31, 19--. \\n\",\n \"Over and ended. It shall be as I said last night. Herbert, there is no \\n call for anger; believe me, there is not. I am doing what I cannot help \\n doing. You have not changed, but my faith in you has, and I cannot \\n pretend to a happiness I do not feel. \\n \\n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \\n to wrest myself from you. Did you at one time love me? That morning of \\n wild sunshine when you took my hand and asked me to be your wife seems\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\"\n ],\n [\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \"romance of to-day as you have not caught it and where you have missed \\n it. He knows life and is living. Are you living, Dane Kempton? \\n \\n Forgive me. I had begun to explain and reconcile our difference. I find \\n I am lecturing and censuring you. In defending myself, I offend. But \\n this I wish to say: We are so made, you and I, that your function in \\n life is to dream, mine to work. That you failed to make a dreamer of me\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n January 20, 19--. \\n \\n I do not know whether to laugh or weep. I have just finished reading \\n your letter, and I can hardly think. Words seem to have lost their \\n meaning, and words, used as you use them, are without significance. You \\n appear to speak a tongue strangely familiar, yet one I cannot\",\n \"and all speech, were mine. So much was vouchsafed me. \\n \\n Memories and echoes, gusts of sweet breath from the violets on your \\n mother's grave--the prophet of matter will have none of them, and, I \\n fear, will pity me that I am so much theirs. I am yours also, dear lad, \\n and I wish to serve you. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XI \\n\",\n \"Dane! Our captains sit in council, our heroes take the field, our \\n fighting men are buckling on their harness, our martyrs have already \\n died, and you are blind to it, blind to it all! \\n \\n We have no poets these days, and perforce we are singing with our hands. \\n The walking delegate is a greater singer and a finer singer than you, \\n Dane Kempton. The cold, analytical economist, delving in the dynamics\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"spoke a few words and left. Our host had divulged what the anniversary \\n sought to celebrate. We understood and were glad. \\n \\n Good night, lad. Would you could have shared our heyday at the dawning! \\n \\n DANE. \\n \\n \\n \\n \\n XIV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n February 31, 19--. \\n\",\n \"splendour of unfolding, her nature roused, her being expectant. But \\n later, for poet and lover, the failure and the waste! Were it otherwise \\n with your feeling for your betrothed, the comparison would not hold. \\n \\n Hester does not think these things, and she is beautiful and happy. \\n \\n Yours devotedly, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIV \\n \\n FROM THE SAME TO THE SAME \\n \\n\",\n \"In one of the near turnings a woman with waiting face smiles subtly. Her \\n hands beckon you to the tryst. Godspeed, my son. \\n \\n DANE. \\n \\n \\n \\n \\n XXVIII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n August 6, 19--. \\n\",\n \"cannot be my loss. One power is mine,--without hindrance, in freedom and \\n in right, to say to Ellen's son, \\\"Godspeed!\\\" to place Hester Stebbins's \\n hand in his, and bid them forth to the sunrise, into the glory of day! \\n \\n Ever your devoted father, \\n DANE KEMPTON. \\n \\n \\n \\n \\n II \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \"never quite accepted the gift that seemed to have been proffered? \\n \\n You have a right to demand the reason for my renewed attack. It is \\n because I have learned the strength of her love. \\\"You are blessed beyond \\n words,\\\" I said two days ago, but as you reject the blessing, Hester must \\n know it and you must tell her. Herbert, I am your friend. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXVI \\n\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\",\n \"your fancies in colours and metals and marbles. You wrote epics and \\n lyrics--ay, as you to-day write lyrics, Dane Kempton. And I multiplied \\n myself. I kept hunger afar off, and fire and sword from your habitation, \\n and the bondsmen in obedience under you. I solved methods of government \\n and invented systems of jurisprudence. Out of my toil sprang forms and \\n institutions. You sang of them and were the slave of them, but I was the\",\n \"Always yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n VII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n December 6, 19--. \\n \\n No, I am not in love. I am very thankful that I am not. I pride myself \\n on the fact. As you say, I may not be adjusting my life artistically to\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \" His fits when he is neither sick nor well, \\n Though no distress be near him but his own \\n Unmanageable thoughts.\\\" \\n \\n \\n You will judge by this letter that I am neither sick nor well, and that \\n I reach for a distress which is not near. If I were Merchant rather than \\n Poet, it would be otherwise with me. \\n \\n DANE. \\n \\n \\n \\n \\n IV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\",\n \"taken in good part, and they came with something that was like music. \\n Was it the voice or some inexplicable feeling? I turned in wonder. Her \\n head was raised, and in the indistinctness I caught that sweet look of \\n hers which besought me, and which I answered without knowing to what \\n question. \\n \\n I owe you a great happiness. Good-night. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIII \\n \\n FROM THE SAME TO THE SAME \\n \\n\"\n ],\n [\n \"Doubtless mine have the same forensic quality. Our letters have become \\n rebuttals, pure and simple. This discovery gave my pen pause for a week. \\n It occurred to me that Walt Whitman must have meant didactic letters \\n too, when he said of the fretters of our little world, \\\"They make me \\n sick talking of their duty to God.\\\" Yet friend should speak to friend, \\n should utter the word than which nothing is more sacred. \\\"Let there be\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"with emphasis. Here I might have told her that men and women are races \\n apart, but no one talks cant to Barbara. So I did not console her, and \\n it stands against you in our minds that on this critical occasion you \\n have baffled us with coldness. \\n \\n An absence of six years, broken into twice by a brief few months, must \\n work changes. When Barbara called your letter unnatural, she forgot how \\n little she knows what is natural to you. She and I have been wont to\",\n \"Enters here the prejudice of love. It was the lad that discovered our \\n difference and concealed; it was the man who was blind and could not \\n discover. There we erred, man and boy; and here, both men now, we make \\n all well again. \\n \\n Let me be explicit. Do you remember the passion with which I read the \\n \\\"Intellectual Development of Europe?\\\" I understood not the tithe of it, \\n but I was thrilled. My common sense was thrilled, I suppose; but it was\",\n \"made me pick my subjects a little too carefully for smooth conversation. \\n Your letter, partly open, was on the table before us, and my eyes fell \\n upon it often as I wondered what it would mean to Hester's brother--if \\n he could read it. I no longer think only of you. \\n \\n I reject your definition of love. It is not a disorder of the mind and \\n body, nor is it solely the instrument of reproduction. I reject and \\n resent your distinction between the pre-nuptial and post-nuptial states\",\n \"is no cause for heartache and chagrin. What of my practical nature and \\n analytical mind, I have generalised in my own way upon the data of life \\n and achieved a different code from yours. Yet I seek truth as \\n passionately as you. I still believe myself to be a dedicated spirit. \\n \\n And what boots it, all of it? When the last word is said, we are two \\n men, by a thousand ties very dear to each other. There is room in our \\n hearts for each other as there is room in the world for both of us.\",\n \"that you are unaware of the chill your words breathe, and that is a \\n lapse which it is impossible to meet with indulgence. \\n \\n \\\"He does not love her,\\\" was Barbara's quick decision, and she laid the \\n open letter down with a definiteness which said that you, too, are laid \\n out and laid low. Your sister's very wrists can be articulate. However, \\n I laughed at her and she soon joined me. We do not mean to be \\n extravagant with our fears. Who shall prescribe the letters of lovers to\",\n \"gratified, in the other, hunger was done away with, and I will say that \\n you are giving an Arabian Nights' entertainment. \\n \\n Love is of a piece with life, like hunger, like joy, like death. Your \\n progress cannot leave it behind; your civilisation must become the \\n exponent of it. \\n \\n Your last letter is formal and elaborate, and--equivocal. In it you \\n remind me, menacingly, of the possibilities of progress, you posit that\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"show where I am wrong. But do not pour out on me your romantic and \\n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \\n Fact. \\n \\n HERBERT. \\n \\n Ah, your later letter has just arrived. I can only say that I \\n understand. But withal, I am pained that I am not nearer to you. These \\n intellectual phantasmagoria rise up like huge amorphous ghosts and hold\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"willing to bestow itself without question or let or hope of return, when \\n the self broke up and you grew fain to beat out your strength in praise \\n and service for the woman who was soaring high in the blue wastes. You \\n have known her long, and you must have been hers long, yet no word of \\n her and of your love reached me. It was not kind to be silent. \\n \\n Barbara spoke yesterday of your fastidiousness, and we told each other \\n that you had gained a triumph of happiness in your love, for you are not\",\n \"But why did you not write before? After all, the great event was not \\n when you found your offer of marriage accepted, but when you found you \\n had fallen in love. Then was your hour. Then was the time for \\n congratulation, when the call was first sounded and the reveille of Time \\n and About fell upon your soul and the march to another's destiny was \\n begun. It is always more important to love than to be loved. I wish it \\n had been vouchsafed me to be by when your spirit of a sudden grew\",\n \"Yesterday I wrote formally, rising to the occasion like the conventional \\n happy father rather than the man who believes in the miracle and lives \\n for it. Yesterday I stinted myself. I took you in my arms, glad of what \\n is and stately with respect for the fulness of your manhood. It is \\n to-day that I let myself leap into yours in a passion of joy. I dwell on \\n what has come to pass and inflate myself with pride in your fulfilment, \\n more as a mother would, I think, and she your mother. \\n\"\n ],\n [\n \" * * * * * \\n \\n JACK LONDON'S BOOKS \\n \\n \\\"_He opened windows for them upon the splendour and the savagery, the \\n pomp and the pitifulness that he had found in many corners of the earth. \\n He saw that in every scene, in every human activity there was an element \\n which lifted it into the region of the beautiful, and he made all his \\n readers see it, whether he was learned or ignorant; cultivated or only\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"Do you remember the incident of the torn jacket and the blackened \\n eyes?--so inexplicable at the time. Try as you would, neither you nor \\n Waring could get anything out of me. Oh, believe me, it was tragic! I \\n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \\n the dawn, with the promise of day. And, of course, I thought it was the \\n day, that I loved as a man loved, and that no man ever loved more. Well,\",\n \"the truth to you though I do love you and hold you mine. Disagreeable of \\n me, but how else? \\n \\n DANE. \\n \\n \\n \\n \\n X \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday, January 1, 19--. \\n \\n Behold, I have lived! I press your face to the breathing, stinging roses \\n of my days, and bid you drink in the sweet and throb with the pain. What\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\",\n \"to him when all grew calm. I wish it could have been otherwise, and that \\n she could have brought him a woman's heart. \\n \\n The priest, as the professor, is a hero. Both made great outputs. \\n \\n There are few who can live like these. But because there are a few who \\n can love and work, the game is saved. And because there are a few of \\n these, we must ever quarrel with the many who are not like them. \\n \\n \\n \\\"Give all to love;\",\n \"and be something more than a mere unconscious puppet of the reproductive \\n forces. So head mastered my heart, and I laid the grip of my will over \\n the passion and went my way. \\n \\n And then came another man's wife, a proud-breasted woman, the perfect \\n mother, made pre-eminently to know the lip clasp of a child. You know \\n the kind, the type. \\\"The mothers of men,\\\" I call them. And so long as \\n there are such women on this earth, that long may we keep faith in the\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"shall be of the deeds I have done. \\n \\n HERBERT. \\n \\n \\n \\n \\n IX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n December 28, 19--. \\n \\n The curtain is rung down on an illusion, but it rises again on another,\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday morning. \\n \\n I must proceed with the three other points of my letter, so I shall stay \\n here and write, though there is a sharp breeze this morning and a \\n coquettishly escaping sunlight, and something tugs at me to go out upon \\n the city streets. It is not restlessness, but the love of the open. I am \\n fain to leave a walled house, and, better still, to get outside of the\",\n \"have been too weary in spirit before to answer to your name when \\n opportunity called roll. \\n \\n It was Earl who broke the silence caused by the inner tumult. In a \\n dreamy voice, his eyes very eager and intent, he told us how at one time \\n he had gone up a hill that faced the house in which he lived. A hard \\n rain was driving, he fell at every step up the slippery steepness, but \\n at every step the beauty of it became more and more wondrous, hardly\",\n \"romance of to-day as you have not caught it and where you have missed \\n it. He knows life and is living. Are you living, Dane Kempton? \\n \\n Forgive me. I had begun to explain and reconcile our difference. I find \\n I am lecturing and censuring you. In defending myself, I offend. But \\n this I wish to say: We are so made, you and I, that your function in \\n life is to dream, mine to work. That you failed to make a dreamer of me\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"able to remember back and recognise what young eyes mean when they look \\n like that. From London to Palo Alto is a short trip, if at the end of it \\n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \\n aware that evening had come, and we stopped a little in front of the \\n arch to observe the night-look of the foot-hills. Lights had begun to \\n appear in the corridors of the quadrangle, and here and there in a\",\n \"creep over the Berkeley Hills and down out of the east! Why should you \\n linger on there in London town! We grow away from each other, it \\n seems--you with your wonder-singing, I with my joyful science. \\n \\n Poesy and economics! Alack! alack! How did I escape you, Dane, when mind \\n and mood you mastered me? The auguries were fair. I, too, should have \\n been a singer, and lo, I strive for science. All my boyhood was singing,\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\"\n ],\n [\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"But hers will be no minor note, no middle flight. She is--well, she is \\n Hester. In two years we shall be married. Two years, Dane. Surely you \\n will be with us. \\n \\n One thing more; in your letter a certain undertone which I could not \\n fail to detect. A shade less of me than formerly?--I turn and look into \\n your face--Waring's handiwork you remember--his painter's fancy of you \\n in those golden days when I stood on the brink of the world, and you\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"There is nothing more important than the play and interplay of feeling. \\n Were Barbara \\\"unwifely,\\\" I could not blame her, but neither could I have \\n at hand my proof of dear miracles. My proof remained to me, for there \\n she stood, her face lifted toward mine, her mouth tremulous, her grey \\n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \\n been married seven years, and she still vibrates with the old wonder to \\n find herself loving and beloved. \\n\",\n \"her, and presto, the whole-hearted one is my friend. Her poet is now her \\n father, brother, comrade,--what she chooses, and all she chooses. \\n \\n At one time, before we were well out of the Arboretum, our eyes met, and \\n there was something so sad and mild and strange in the burn of her gaze \\n that I felt her frank spirit was unveiling itself in an utterness of \\n speech. But I have become too much spoilt by mere length of living to be\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"the general disarray with a thumping \\\"I will!\\\" And take my word for it, \\n Dane, a year hence, when the very ordinary girl greets him with the \\n matronly kiss and his fever and folly have left him, he will take up the \\n book and make a success of it. \\n \\n Of course I am not in love. I have just come back from Hester--I ran \\n down Saturday to Stanford and stopped over Sunday. Time did not pass\",\n \"such heat, and to such little purpose. \\n \\n You do not see how this answers your last letter. I will tell you. It \\n shows you that you have explained yourself fully the night we spoke face \\n to face. \\n \\n You say that Hester is the woman to complement your man. This sounds \\n like a lover, only I happen to know that she is not the irresistible \\n woman. I found it out quite by accident--a few words dropped into a\",\n \"day. As yet, you have not gauged her, and you would put her to small \\n uses. Stand aside, dear Herbert. It will be better. \\n \\n I have played a surly part. I may be accused of having been to you both \\n a Dmitri Roudin and an Iago. I beg you to believe that it has not been \\n easy for me. I have uttered the earnest word, have driven you on by the \\n goad of friendship, which drives far. I looked upon the days that came\",\n \"So when she prattled with abandon of all you both meant to be and do, \\n her form erect before me, her hands eloquent with excitement, her voice \\n pleading for the right to her very conscious self-esteem, I asked her to \\n look still further. Further she saw you, and was content. \\n \\n That was before dinner. Later we were walking. \\\"I have a friend in \\n Orion,\\\" she said. The witchery of starshine played in her eyes and\",\n \"April 2, 19--. \\n \\n So you have met Hester's brother? Well, I have had an outing with \\n Hester. She loves me well, I know, and I cannot but confess a thrill at \\n the thought. On the other hand, well do I know the significance of that \\n love, the significance and the cause. Notwithstanding that wonderful \\n soul of hers, she is in no wise constituted differently from her \\n millions of sisters on the planet to-day. She loves--she knows not why;\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"in things, and life is topsy-turvy. She is filled with vague, troubled \\n yearnings, and the woman in her quickens and cries out for unity. It is \\n an organic cry, old as the race, and she cannot shut out the sound of it \\n or still the clamour in her blood. \\n \\n But there is one male in all the world who is most nearly her \\n complement, and he may be over on the other side of the world where she\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"too busy--and too sensible. Like me, she has not the time. We are \\n workers, not dreamers; and the minutes are too full for us to lavish \\n them on an eternal weighing and measuring of heart throbs. \\n \\n Besides, Hester is too large for that sort of stuff. She is the last \\n woman in the world to peer down at the scales to see if she is getting \\n full value. We leave that to the lesser creatures, who spend their \\n courtship loudly protesting how unutterable, immeasurable, and\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\",\n \"XXI \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n May 26, 19--. \\n \\n \\\"Pretty nineteen-year-old Louisa Naveret, because her slower-minded \\n fiancé, Charles J. Johnson, could not understand a joke, is dying with a \\n bullet in her brain, and he, her murderer, lies dead at the morgue. They\"\n ],\n [\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"endure, and they die hard. Love will die hard, as died the idolatries \\n of our forefathers, the geocentric theory of the universe, and the \\n divine right of kings. \\n \\n So, I say, the rancour and warmth of the established when attacked is \\n sincere. The world is mastered by the convention of love, and when one \\n profanes love's Holy of Holies the world is unutterably shocked and \\n hurt. Love is a thing for lovers only. It must not be approached by the\",\n \"invariably ridiculous and an offence to high heaven. Believe me, it is \\n artificial. The true judge cares not for the fact of the deed, but for \\n its motive. And the lover knows the motive. He has the key to the life. \\n He knows his beloved, not as she is, but \\\"as she was born to be.\\\" His \\n lips press and his arms enfold not her so much as the ideal of her, and \\n unless she unmake herself, he cannot unlove her. \\\"To judge a man by the\",\n \"Schopenhauer regards it as a force treacherous to happiness, since to \\n live is to be miserable. \\\"These lovers are the traitors who seek to \\n perpetuate the whole want and drudgery which would otherwise speedily \\n reach an end; this they wish to frustrate as others like them have \\n frustrated it before.\\\" \\n \\n Because love frustrates the death of the race, it is the joy of my \\n senses and the goal of my striving. \\n \\n Says Schopenhauer: \\\"Through love man shows that the species lies closer\",\n \"I hitherto took for granted, and become doubly sure. You dogmatise when \\n you say that the lover and the husband are mutually exclusive. If there \\n was love in the beginning, it will be at the end. Love doubles upon \\n itself. Propinquity tightens bonds and there is a steady blossoming of \\n the character in a radiant atmosphere. The marriages that fail are the \\n unions which are based on liking. In these, weariness must set in, for\",\n \"to him than the individual, and he lives more immediately in the former \\n than in the latter. Why does the lover hang with complete abandon on the \\n eyes of his chosen one, and is ready to make every sacrifice for her? \\n _Because it is his immortal part that longs after her, while it is \\n merely his mortal part that desires everything else._\\\" Because this is \\n so, love is the God of my faith. \\n \\n You see where our subject takes us! And all the while I care nothing for\",\n \"consciously, you, unconsciously; and you have both missed the living \\n value of your facts. \\\"Love is ruled by race welfare,\\\" says Schopenhauer. \\n \\\"It (the race welfare) alone corresponds to the profoundness with which \\n it is felt, to the seriousness with which it appears, to the importance \\n which it attributes even to the trifling details of its sphere and \\n occasion.\\\" Love concerns itself with \\\"The composition of the next \\n generation,\\\" therefore you find it common as the commonplace, therefore\",\n \"shuffle them about. There are forces stronger than force, shadows more \\n real than reality. We know that the need of the unhungered for the one \\n friend, one comrade, one mate, is good. We honour the love that persists \\n in loving. More beautiful than starlight is the face of the lover when \\n the Voice and the Vision enfold him. The race is consecrated to the \\n worship of idea, and the lover who lays his all on the altar of romance\",\n \"and visible achievements. I, on the other hand, maintain that it takes a \\n greater dowry to marry upon than affection, and that men love as \\n intensely and with as much abandon as women. People love in proportion \\n to the depth of their natures, and the finest man in the world has an \\n infinite capacity for giving and receiving love store. The spell is \\n strongest upon the finest. \\n \\n This, briefly, is what we have been saying to each other. You attack my\",\n \"I have been thinking about your romance and my rational rightness, and \\n so this letter. \\n \\n \\\"_One loves because he loves: this explanation is, as yet, the most \\n serious and most decisive that has been found for the solution of this \\n problem._\\\" I do not know who has said this, but it might well have been \\n you. And you might well say with Mlle. de Scudéri: \\\"_Love is--I know not \\n what: which comes--I know not when: which is formed--I know not how:\",\n \"our acts have a basis in reason. \\n \\n Comes the lover, tricked by nature, blind of passion, impelled madly \\n toward the loved one. He is as blind to her salient imperfections as he \\n is to her petty vices. He does not interrogate her disposition and \\n temperament, or speculate as to how they will coördinate with his for \\n two score years and odd. He questions nothing, desires nothing, save to \\n possess her. And this is the paradox: _By nature he is driven to\",\n \"and feelings of countless lovers who lived and loved and whose lives and \\n loves are remembered. Their mistaken facts and foolish precepts are \\n his, and likewise their imaginative absurdities and sentimental \\n philanderings. Without an erotic literature, a history of great loves \\n and lovers, a garland of love songs and ballads, a sheaf of spoken love \\n tales and adventures--without all this, which is the property of his \\n group, he could not possibly love in the way he does. \\n\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"individual's life; this we know, and it is only impelled to perform such \\n acts because of the madness of the trick, which, though it strikes at \\n the particular life, makes for the general life. \\n \\n So I think there is no discussion over the fact that this emotion of \\n love has no basis in reason. As the old French proverb runs, \\\"The first \\n sigh of love is the last of wisdom.\\\" On the other hand, the individual \\n not yet afflicted by love, or recovered from it, conducts his life in a\",\n \"sexual love, the love of which the poets sing and which \\\"makes the world \\n go round,\\\" I have called romantic love. The latter, which in actuality \\n is sex comradeship, I call conjugal affection or friendship. To be more \\n definite, I shall call the one \\\"love,\\\" the other \\\"affection\\\" or \\n \\\"friendship.\\\" Now love is not affection or friendship, yet they are \\n ofttimes mistaken, one for the other, for it so happens that the\",\n \"wars. He learns hard and well. \\n \\n Indeed, I cannot leave this subject of first love. How do you know it \\n was not good for you to love as you did? It is strange you should \\n resolve to love no more because at one time you loved deeply enough \\n almost to remain in love. It cannot be that you have grown old and that \\n nature is resolving for you. You tell me of your experiences in order \\n that I may be convinced that you know whereof you speak and I listen in \\n wonder. Your conclusions are unwonted. \\n\",\n \"love-affairs, therefore your recital of them is empty of meaning. If you \\n were in love to-day, and because of your philosophy you determined to do \\n battle with your feeling, your experience would be more authoritative. \\n \\n You have known love, and having known you refuse it. Henceforth, it must \\n be reason and not feeling. \\\"What is your objection?\\\" you ask. This \\n merely, that the thing cannot be. Marriage to be marriage must come \\n through love, through the reddest romance of love, through fire of the\",\n \"which enchants--I know not by what: and which ends--I know not when or \\n why_.\\\" \\n \\n You explain love by asserting that it is not to be explained. And \\n therein lies our difference. You accept results; I search for causes. \\n You stop at the gate of the mystery, worshipful and content. I go on and \\n through, flinging the gate wide and formulating the law of the mystery \\n which is a mystery no longer. It is our way. You worship the idea; I\",\n \"and I schooled myself to think that there had been no affront, that it \\n honours a woman to be wanted no matter for what end, that every use is a \\n noble use, that we die the same, loved or used. If Herbert Wace wants a \\n wife and thinks me fitting, why, it is well. I thought all this and aged \\n as I thought. Nevertheless, my hand did not put itself out a second time \\n to detain the man who had forced me to face this. \\n\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\"\n ],\n [\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"and I schooled myself to think that there had been no affront, that it \\n honours a woman to be wanted no matter for what end, that every use is a \\n noble use, that we die the same, loved or used. If Herbert Wace wants a \\n wife and thinks me fitting, why, it is well. I thought all this and aged \\n as I thought. Nevertheless, my hand did not put itself out a second time \\n to detain the man who had forced me to face this. \\n\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"contract a temporary tie, which, by social observance and demand, must \\n endure for a lifetime._ Too much stress cannot be laid upon this, Dane, \\n for herein lies the secret of the whole difficulty. \\n \\n But we go on with our lover. In the throes of desire--for desire is \\n pain, whether it be heart hunger or belly hunger--he seeks to possess \\n the loved one. The desire is a pain which seeks easement through \\n possession. Love cannot in its very nature be peaceful or content. It is\",\n \"sacrifice. The first is a blind mating of the blind; the second, a clear \\n and open-eyed union of male and female who find enough in common to \\n warrant that union. In a word and in the fullest sense of the word, it \\n is sex comradeship. Pre-nuptial love cannot survive marriage any \\n considerable time. It is doomed inexorably to flicker out, and when it \\n has flickered out it must be replaced by affection, or else the parties\",\n \"compromise, sacrifice, and unselfishness, reason will dictate \\n separation. In such cases, when they will have become rational once \\n more, they will reason the impossibility of a continued relation and \\n give it up. In which case the true-love disciple may contend that there \\n was no real love in the beginning. But he is wrong. It was just as real \\n as that of any marriage, only it failed in the post-nuptial quest after \\n compatibility. In all marriages love--passionate, romantic love--must\",\n \"together; that is, they have sought and found compatibility before \\n binding themselves, instead of binding themselves first and then seeking \\n if there be compatibility or not. \\n \\n Let me apparently digress for the moment and bring all clear and \\n straight. The emotions have no basis in reason. We smile or are sad at \\n the manifestation of jealousy in another. We smile or are sad because of \\n the unreasonableness of it. Likewise we smile at the antics of the\",\n \"\\\"Gently! Gently!\\\" I say to myself. Old sorrows and wrongs oppress me \\n and I grow harsh. My heat only helps to convince you that my position is \\n not based on the _rational rightness_ you hold so essential and that \\n therefore it is unlivable. I will state calmly, then, that it is wrong \\n to marry without love. \\\"For the perpetuation of the species\\\"--that is \\n noble of you! So you strip yourself of the thousand years of\",\n \"of feelings. Further, I hold that marriage may not be based on \\n affection alone, and I disagree with you that population is better than \\n principle. Children need not be brought into the world at any cost. \\n \\n Love is not a disorder, but a growth. There is spiritual as well as \\n physical growth. Some men and women never grow up strong enough to love. \\n Their development is arrested, or they are, from the beginning, poor \\n creatures born of starvelings, and perhaps fated to give birth to pale,\",\n \"not marry that woman. He is certainly justified, since affection is what \\n romantic love must evolve into after marriage. But do not mistake me, \\n Dane. I do not intend this sweepingly. It will not do for the whole \\n human herd; for at once enters that abhorrent thing you rightly fear, \\n the marriage for convenience. Alas, it too often masquerades under the \\n guise of romantic love. Certainly, every man is not capable of taking \\n this short cut and at the same time of avoiding a violation of true\",\n \"love-affairs, therefore your recital of them is empty of meaning. If you \\n were in love to-day, and because of your philosophy you determined to do \\n battle with your feeling, your experience would be more authoritative. \\n \\n You have known love, and having known you refuse it. Henceforth, it must \\n be reason and not feeling. \\\"What is your objection?\\\" you ask. This \\n merely, that the thing cannot be. Marriage to be marriage must come \\n through love, through the reddest romance of love, through fire of the\",\n \"Neither blinded nor frenzied by the unreasoned passion of love, they \\n have weighed each other,--faults, virtues, and all,--and found a \\n compatibility strong enough to withstand the strain of years and \\n misfortune, and wise enough to compromise the individual clashes which \\n must inevitably arise when soul shares never ending bed and board with \\n soul. They have achieved before marriage what the love-impelled man and \\n woman must achieve after marriage if they would continue to live\",\n \"I hitherto took for granted, and become doubly sure. You dogmatise when \\n you say that the lover and the husband are mutually exclusive. If there \\n was love in the beginning, it will be at the end. Love doubles upon \\n itself. Propinquity tightens bonds and there is a steady blossoming of \\n the character in a radiant atmosphere. The marriages that fail are the \\n unions which are based on liking. In these, weariness must set in, for\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"There is nothing more important than the play and interplay of feeling. \\n Were Barbara \\\"unwifely,\\\" I could not blame her, but neither could I have \\n at hand my proof of dear miracles. My proof remained to me, for there \\n she stood, her face lifted toward mine, her mouth tremulous, her grey \\n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \\n been married seven years, and she still vibrates with the old wonder to \\n find herself loving and beloved. \\n\",\n \"But the history of progress is the history of the elimination of waste. \\n One boy, running twenty-five machines, turns out a thousand pairs of \\n socks a day. His granny toiled a thousand days to do the same. Waste has \\n been eliminated, the roundabout overcome. And so with romance. I strive \\n not to be blinded by its beauty, but to give it exact appraisal. \\n Oftentimes it is the roundabout, the wasteful, and must needs be \\n eliminated. Thus chivalry and its romance vanished before the chemist\",\n \"and degree. It is not whether people can live together, but whether they \\n should live together. \\\"It is an awkward thing to play with souls,\\\"--you \\n override the fastidiousness of the soul in marrying your companion. \\n Unless you are an automaton, you cannot rest happy in the fact that you \\n and she do not disagree. For comfort's sake you would have a negative \\n dimension to your cosmos, forgetting that your longings and your needs \\n and, it may be, your dreams, are positive. If sex-comradeship and\",\n \"_comradeship_ for him, that I do not turn away when he commits even a \\n lurid act. Love, you will remember, takes its rise in the emotions, and \\n is unstable and wanton and capricious. But affection takes its rise in \\n the intellect, is based upon judgment of the brain. Love is unyielding \\n tyranny; affection is compromise. Love never compromises, no more than \\n does the mad little mating sparrow compromise. \\n\",\n \"woman oppose her will to that of the man--he will beat her. Does he \\n become over-violent in the manifestation of his regard, she will flee \\n away, if she can, to secret hiding-places. He will not compare her eyes \\n to the stars; nor will she dream that he is Apollo; nor will the pair \\n moon in the twilight over the love of Hero and Leander. And the many \\n monogamic generations out of which he has descended would fail to\"\n ],\n [\n \" * * * * * \\n \\n JACK LONDON'S BOOKS \\n \\n \\\"_He opened windows for them upon the splendour and the savagery, the \\n pomp and the pitifulness that he had found in many corners of the earth. \\n He saw that in every scene, in every human activity there was an element \\n which lifted it into the region of the beautiful, and he made all his \\n readers see it, whether he was learned or ignorant; cultivated or only\",\n \"and be something more than a mere unconscious puppet of the reproductive \\n forces. So head mastered my heart, and I laid the grip of my will over \\n the passion and went my way. \\n \\n And then came another man's wife, a proud-breasted woman, the perfect \\n mother, made pre-eminently to know the lip clasp of a child. You know \\n the kind, the type. \\\"The mothers of men,\\\" I call them. And so long as \\n there are such women on this earth, that long may we keep faith in the\",\n \"hands; and none of the ordinary sort either. She has health and strength \\n and beauty and youth, and she will certainly make a most charming wife \\n and excellent mother. Thus I thought, and then we chatted, had lunch, \\n and passed a delightful afternoon together--an afternoon such as I might \\n pass with you, or any good comrade, or with my wife. \\n \\n All of which rational rightness is, I know, distasteful to you, Dane. \\n And I confess I depict it with brutal frankness, failing to give credit\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"possession. She is not the woman ever to make me swamp honour and poise \\n and right conduct in the vortex of blind sex passion. She is not the \\n woman to arouse in me such uncontrolled desire that for gratification I \\n would do one ill deed, or put the slightest hurt upon the least of \\n human creatures. She is not the most beautiful woman God Almighty ever \\n planted on His footstool. (There have been and are many women as true\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"in things, and life is topsy-turvy. She is filled with vague, troubled \\n yearnings, and the woman in her quickens and cries out for unity. It is \\n an organic cry, old as the race, and she cannot shut out the sound of it \\n or still the clamour in her blood. \\n \\n But there is one male in all the world who is most nearly her \\n complement, and he may be over on the other side of the world where she\",\n \"and arms outstretched in welcome. Oh, I saw the curved lips and \\n outstretched arms, and all the splendid young womanhood swaying there, \\n and I was pleased and all that; but I did not think it too wonderful and \\n impossible and miraculous and the rest of the fond rubbish I am sure \\n poor Bidwell thinks when his eyes are gladdened by his ordinary sort of \\n girl when he calls upon her. \\n \\n What a comely young woman, is what I thought as I pressed Hester's\",\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"probability, does she know she is doing it. She simply has her likes and \\n dislikes, that is all. She is the slave of the law, unwittingly \\n generalising upon sex-impressions against the day when she must identify \\n the male who most nearly completes her. \\n \\n She drifts across the magic borderland to womanhood, where dreams and \\n fancies rise and intermingle and the realities of life are lost. A \\n dissatisfaction and a restlessness come upon her. There seems no sanity\",\n \"breed of men. The wanton was the Mate Woman, but this was the Mother \\n Woman, the last and highest and holiest in the hierarchy of life. In her \\n all criteria were satisfied, and I reasoned my need of her. \\n \\n And by this I take it that I was passing out of my blind puppetdom. I \\n was becoming a conscious selective factor in the scheme of reproduction, \\n choosing a mate, not in the lust of my eyes, but in the desire of my\",\n \"too busy--and too sensible. Like me, she has not the time. We are \\n workers, not dreamers; and the minutes are too full for us to lavish \\n them on an eternal weighing and measuring of heart throbs. \\n \\n Besides, Hester is too large for that sort of stuff. She is the last \\n woman in the world to peer down at the scales to see if she is getting \\n full value. We leave that to the lesser creatures, who spend their \\n courtship loudly protesting how unutterable, immeasurable, and\",\n \"complements my man and makes us one, and this is the highest civilised \\n sense of union. She is to me the culmination of the thousands of \\n generations of women. It took civilisation to make her, as it takes \\n civilisation to make our marriage. She is to me the partner in a \\n marriage of the gods, for we become gods, we half brutes, when we muzzle \\n the beast and are not menaced by his growls. Under heaven she is my wife \\n and the mother of my children. \\n\",\n \"eyes and on her cheek and lip. \\\"Dane, I love you. Dane! Dane!\\\" The whole \\n of me was caught up in the accents of that tremulousness. She had know \\n John three months; but her love for him was young, it had come \\n unexpectedly, it was still unexpressed and ineffable. Her yearning for \\n him led to softness toward me, and though she rose out of her mood as \\n one does from a dream, the hours when we were like the angels, all love\",\n \"April 2, 19--. \\n \\n So you have met Hester's brother? Well, I have had an outing with \\n Hester. She loves me well, I know, and I cannot but confess a thrill at \\n the thought. On the other hand, well do I know the significance of that \\n love, the significance and the cause. Notwithstanding that wonderful \\n soul of hers, she is in no wise constituted differently from her \\n millions of sisters on the planet to-day. She loves--she knows not why;\",\n \"the woman to make my pulse go fevered and me go mad. Nor is she the \\n woman to make me forget my manhood and pride, to tumble me down \\n doddering at her feet and gibbering like an ape. She is not the woman to \\n put my thoughts out of joint and the world out of gear, and so to \\n befuddle and make me drunk with the beast that is in me, that I am ready \\n to sacrifice truth, honesty, duty, and purpose for the sake of\",\n \"friend; and likewise with men, from the gardener to her father's \\n associates. And she is more or less attracted by those who, in greater \\n or less degree, answer to her organic demand, or, as it were, organic \\n ideal. \\n \\n And upon creatures male she early proceeds to generalise. This kind of \\n man she likes, that she does not like; and this kind she likes more than \\n that kind. She does not know why she does this; nor, with the highest\",\n \"prevent polygamy did another woman chance to strand on that particular \\n isle. \\n \\n It is the common practice of the man of the London slum to kick his wife \\n to death when she has offended him. And the man of the London slum is a \\n very natural beast who expresses himself in a very natural manner. He \\n has never heard of Hero and Leander, and the comparison of the missus' \\n eyes to the stars would to him be arrant bosh. The gentle, tender,\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\"\n ],\n [\n \"Doubtless mine have the same forensic quality. Our letters have become \\n rebuttals, pure and simple. This discovery gave my pen pause for a week. \\n It occurred to me that Walt Whitman must have meant didactic letters \\n too, when he said of the fretters of our little world, \\\"They make me \\n sick talking of their duty to God.\\\" Yet friend should speak to friend, \\n should utter the word than which nothing is more sacred. \\\"Let there be\",\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \\n \\n \\n \\n \\n Produced by Curtis Weyant, Martin Pettit and the Online \\n Distributed Proofreading Team at http://www.pgdp.net (This \\n file was produced from images generously made available \\n by The Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n THE KEMPTON-WACE LETTERS \\n\",\n \"that you are unaware of the chill your words breathe, and that is a \\n lapse which it is impossible to meet with indulgence. \\n \\n \\\"He does not love her,\\\" was Barbara's quick decision, and she laid the \\n open letter down with a definiteness which said that you, too, are laid \\n out and laid low. Your sister's very wrists can be articulate. However, \\n I laughed at her and she soon joined me. We do not mean to be \\n extravagant with our fears. Who shall prescribe the letters of lovers to\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"yet wayward, what of the fever of successful wooing. And besides, ... \\n how shall I say?... such was the gracious warmth of your letter, of both \\n your letters, that I am at a loss. I feel weak, inadequate. It almost \\n seems as though you had made a demand upon something that is not in me. \\n Ah, you poets! It would seem your delight in my marriage were greater \\n than mine. In my present mood, it is you who are young, you who love; I \\n who have lived and am old.\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \"But why did you not write before? After all, the great event was not \\n when you found your offer of marriage accepted, but when you found you \\n had fallen in love. Then was your hour. Then was the time for \\n congratulation, when the call was first sounded and the reveille of Time \\n and About fell upon your soul and the march to another's destiny was \\n begun. It is always more important to love than to be loved. I wish it \\n had been vouchsafed me to be by when your spirit of a sudden grew\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"with emphasis. Here I might have told her that men and women are races \\n apart, but no one talks cant to Barbara. So I did not console her, and \\n it stands against you in our minds that on this critical occasion you \\n have baffled us with coldness. \\n \\n An absence of six years, broken into twice by a brief few months, must \\n work changes. When Barbara called your letter unnatural, she forgot how \\n little she knows what is natural to you. She and I have been wont to\",\n \"willing to bestow itself without question or let or hope of return, when \\n the self broke up and you grew fain to beat out your strength in praise \\n and service for the woman who was soaring high in the blue wastes. You \\n have known her long, and you must have been hers long, yet no word of \\n her and of your love reached me. It was not kind to be silent. \\n \\n Barbara spoke yesterday of your fastidiousness, and we told each other \\n that you had gained a triumph of happiness in your love, for you are not\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"your dismal science,\\\" he is sure to add; and to fire him I lay it to the \\n defects of early training. I know he thinks that I never half \\n appreciated you, and that I do not appreciate you now. If you will \\n recollect, you praised his verses once. He cherishes that praise amongst \\n his sweetest treasures. Poor dear good old Gwynne, tender, sensitive, \\n shrinking, with the face of a seraph and the heart of a maid. Never were\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"this time, as before, with the look of the absolute Good and True upon \\n it. It is because we are at once actor and spectator that we find no \\n fault with blinking sight and slothful thought. We are finite branded \\n and content, except during the shrill, undermining moments when the \\n orchestra is tuning up. \\\"Thus we half-men struggle.\\\" \\n \\n I follow your letter and wonder whether your illusions have qualities of \\n beauty which escape me. I give you the benefit of every doubt which it\",\n \"much strain, too little warmth, too much self-complacence. I see that \\n you are really younger than I thought. The world never censures the \\n crimes of the spirit. You are safe from the world's tongue lashings, and \\n in that safety is the danger against which my friendship warns you. \\n \\n I have been reading Hester's poems, and I know that she is like them, \\n nervous, vibrant, throbbing, sensitive. I have been reading your\",\n \"Dante, our prince of lovers, might have lived better, but he loved well. \\n \\n This in answer to your letter. To meet your argument I have found it \\n best to employ something of your own method, but I cannot rid myself of \\n the feeling that I have vulgarised the subject by saying so much about \\n it. I fear my letter would provoke a smile from those who know love and \\n the wonder of its simplicity through all the subtlety. \\\"We, in loving, \\n have no cause to speak so much!\\\" would be their unanswerable criticism.\",\n \"all very joyous, gripping hold of the tangible world for the first time. \\n And when I came to you, warm with the glow of adventure, you looked \\n blankly, then smiled indulgently and did not answer. You regarded my \\n ardour complacently. A passing humour of adolescence, you thought; and I \\n thought: \\\"Dane does not read his Draper on his knees.\\\" Wordsworth was \\n great to me; Draper was great also. You had no patience with him, and I\",\n \"show where I am wrong. But do not pour out on me your romantic and \\n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \\n Fact. \\n \\n HERBERT. \\n \\n Ah, your later letter has just arrived. I can only say that I \\n understand. But withal, I am pained that I am not nearer to you. These \\n intellectual phantasmagoria rise up like huge amorphous ghosts and hold\"\n ],\n [\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"happily ending novel. Tolstoy attempts to show that men and women can \\n find happiness only when they grow content to give over seeking love \\n from one another. They may keep the memory but must banish the hope. \\n \\\"Hereafter, think of me only as the father of your children,\\\" and the \\n woman who had pined for that which had been theirs in the beginning of \\n their union weeps softly, and agrees. Tolstoy calls this peace, but for \\n Barbara and me this gain is loss, this end an end indeed, replete with\",\n \"good digestion, unailing body, and mild pleasures, and enjoying life \\n with bovine placidity? But pretty Louisa Naveret entered his life. The \\n \\\"abysmal fecundity\\\" was stirred and life clamoured to be created. \\n Peacefulness and content vanished. All the forces of his existence \\n impelled him to seize upon and possess \\\"nineteen-year-old\\\" Louisa \\n Naveret. He was afflicted with a disorder of mind and body, a madness\",\n \"and despair were followed by a calm of neutrality. The inquiry waited \\n no solution. The stress no longer touched me, and my twilight became \\n luminous. I saw things as from a height and forms dropped out of my \\n range, when Barbara came tugging at me, and my pale while of abstraction \\n was at an end. \\n \\n She wanted to know what troubled me. She made her way to me, hurried but \\n resolved, and stated her demand. \\\"You catechised me yesterday; to-night \\n you shall answer.\\\"\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"turned his back upon it, selected a tree from the forest, shaped it with \\n his rude tools and hollowed it out with fire, then launched it in the \\n water and paddled toward where his happiness lay. \\n \\n Now concerning love. In the state of nature it is a brutal passion, \\n nothing more. There is no romance attached. But life creeps upward, and \\n the gregarious human forms social groups the like of which never existed \\n before. Consider the family group, for instance. Such a group becomes in\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"the general disarray with a thumping \\\"I will!\\\" And take my word for it, \\n Dane, a year hence, when the very ordinary girl greets him with the \\n matronly kiss and his fever and folly have left him, he will take up the \\n book and make a success of it. \\n \\n Of course I am not in love. I have just come back from Hester--I ran \\n down Saturday to Stanford and stopped over Sunday. Time did not pass\",\n \"Over and ended. It shall be as I said last night. Herbert, there is no \\n call for anger; believe me, there is not. I am doing what I cannot help \\n doing. You have not changed, but my faith in you has, and I cannot \\n pretend to a happiness I do not feel. \\n \\n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \\n to wrest myself from you. Did you at one time love me? That morning of \\n wild sunshine when you took my hand and asked me to be your wife seems\",\n \"in things, and life is topsy-turvy. She is filled with vague, troubled \\n yearnings, and the woman in her quickens and cries out for unity. It is \\n an organic cry, old as the race, and she cannot shut out the sound of it \\n or still the clamour in her blood. \\n \\n But there is one male in all the world who is most nearly her \\n complement, and he may be over on the other side of the world where she\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"But this maiden is obedient. By her acts she will link the past to the \\n future, bind together the two eternities. But she is incomplete, this \\n maiden, and being immature she is unaware of her incompleteness. \\n Nevertheless she is the creature of the law of the race, and from her \\n infancy she prepares herself for the task she is to perform. Hers is a \\n certain definite organism, somewhat different from all other female \\n organisms. Consequently there is one male in all the world whose\",\n \"loves you! Yet she thinks that your calm is depth, your silence prayer. \\n Her pride protects her, but she strains for the word which does not \\n come. She has never been quite sure, and I thank God for that. Hester \\n has been fearing somewhat, and she has been doubting, and it is this \\n that may save her when the night sets in and the storm breaks over her \\n head. \\n \\n You, too, are thankful that her instincts served her true and that she\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\",\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"gratified, in the other, hunger was done away with, and I will say that \\n you are giving an Arabian Nights' entertainment. \\n \\n Love is of a piece with life, like hunger, like joy, like death. Your \\n progress cannot leave it behind; your civilisation must become the \\n exponent of it. \\n \\n Your last letter is formal and elaborate, and--equivocal. In it you \\n remind me, menacingly, of the possibilities of progress, you posit that\",\n \"\\\"Yes, but with no more reason than you for your unhappiness. Since you \\n have come here, you have renewed your demands upon yourself. You wish to \\n go to school with the youngest and find you cannot. You suffer because \\n more seems behind you than before.\\\" Her voice rose as if she were \\n fighting tears. It was different with her, I told her. Nothing was \\n behind her. \\n \\n \\\"You test your work and I test my love. When you are sad, it is because\",\n \"prompting to make much of life? You and I and people of our kind are old \\n before our time, that is the reason we are not reckless. Our dreams \\n mature us. I was a mere girl when Herbert said he wished to marry me, \\n but I was old enough to grasp the full meaning of the pact, as he could \\n not grasp it. In a moment I had travelled my way to the grave and back. \\n I looked at the sheer, quick clouds that flitted past the blue, and I\",\n \"of those who cheat themselves. You choose rigorously, straining for the \\n heart of the end as do all rigorists who are also hedonists. Because we \\n are in possession of this bit of data as to your temperamental cosmos we \\n can congratulate you with the more abandon. Oh, Herbert, do you know \\n that this is a rampant spring, and that on leaving Barbara I tramped \\n out of the confines into the green, happier, it almost seems, than I\"\n ],\n [\n \"THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n October 27, 19--. \\n \\n Do I still read my Wordsworth on my knees? Well, we may as well have it \\n out. I have foreseen this day so long and shunned it that now I meet it \\n almost with extended hands. No, I do not read my Wordsworth on my knees. \\n My mind is filled with other things. I have not the time. I am not the\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"BERKELEY, CALIFORNIA. \\n September 3, 19--. \\n \\n Here I am, back in the old quarters once more, with the old afternoon \\n climb across the campus and up into the sky, up to the old rooms, the \\n old books, and the old view. You poor fog-begirt Dane Kempton, could you \\n but have lounged with me on the window couch, an hour past, and watched \\n the light pass out of the day through the Golden Gate and the night\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"STANFORD UNIVERSITY. \\n Wednesday. \\n \\n Last night I delivered my address to the student body. Behold the chapel \\n crowded to the doors, aisles and window-seats crammed, and faces peering \\n in from without, those of boys and girls who had perched themselves on \\n the outer sills. A student audience is at the same time most critical \\n and the most generous. I spoke on Literature and Democracy. \\n \\n Hester approved my effort. \\\"How does it feel to be great?\\\" she laughed.\",\n \"THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n July 5, 19--. \\n \\n I had not intended to answer your letter critically, but, on re-reading, \\n find I am forced to speak if for no other reason than your epithet \\n \\\"parvenu.\\\" The word has no reproach. It was ever thus that the old and \\n perishing recognised the vigorous and new. Parvenu, upstart--the term is\",\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"her, and presto, the whole-hearted one is my friend. Her poet is now her \\n father, brother, comrade,--what she chooses, and all she chooses. \\n \\n At one time, before we were well out of the Arboretum, our eyes met, and \\n there was something so sad and mild and strange in the burn of her gaze \\n that I felt her frank spirit was unveiling itself in an utterness of \\n speech. But I have become too much spoilt by mere length of living to be\",\n \"and feelings of countless lovers who lived and loved and whose lives and \\n loves are remembered. Their mistaken facts and foolish precepts are \\n his, and likewise their imaginative absurdities and sentimental \\n philanderings. Without an erotic literature, a history of great loves \\n and lovers, a garland of love songs and ballads, a sheaf of spoken love \\n tales and adventures--without all this, which is the property of his \\n group, he could not possibly love in the way he does. \\n\",\n \"and smirches and frenzies put upon it by the spawn of multitudinous \\n generations. There is your love, the whole history of it. There is no \\n intrinsic shame in the thing itself, but the shame lies in that we are \\n not greater than it. \\n \\n HERBERT. \\n \\n \\n \\n \\n XVIII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\",\n \"professor's office, while Roble and Encina looked like lit-up ferries. \\n There was a spell of mystery and promise in the quiet which was deeper \\n for being suggestive of the seething student-life just subsided. It was \\n a silence that seemed to echo with bells and recitations, and babble and \\n laughter and heartache. I fell into thought. One generation cometh and \\n another passeth away. There is no respite. March with time and find\",\n \"have been too weary in spirit before to answer to your name when \\n opportunity called roll. \\n \\n It was Earl who broke the silence caused by the inner tumult. In a \\n dreamy voice, his eyes very eager and intent, he told us how at one time \\n he had gone up a hill that faced the house in which he lived. A hard \\n rain was driving, he fell at every step up the slippery steepness, but \\n at every step the beauty of it became more and more wondrous, hardly\",\n \"of those who cheat themselves. You choose rigorously, straining for the \\n heart of the end as do all rigorists who are also hedonists. Because we \\n are in possession of this bit of data as to your temperamental cosmos we \\n can congratulate you with the more abandon. Oh, Herbert, do you know \\n that this is a rampant spring, and that on leaving Barbara I tramped \\n out of the confines into the green, happier, it almost seems, than I\",\n \"Tell her, then, tell her all you wish, you dear old fluttery, mothery \\n poet father--as though it made any difference. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXVII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n STANFORD UNIVERSITY. \\n December 3, 19--. \\n \\n Not three weeks ago you were sitting opposite me and speaking of Hester.\",\n \"death, mayhap, before it has found you. As years ago the flamelet of the \\n street-lamp, so now these outposts of the colossal embryo of a world \\n derided me and seemed to point me out and away. The evening grew chill \\n with \\\"a greeting in which no kindness is.\\\" \\n \\n \\\"Your coming has been announced in every class, and your lecture is on \\n the bulletin-boards. After that, can you be depressed?\\\" \\n \\n The light words were spoken low, as if doubtful whether they could be\",\n \"of society, is more the prophet than you. The carpenter at his bench, \\n the blacksmith by his forge, the boiler-maker clanging and clattering, \\n are all warbling more sweetly than you. The sledge-wielder pours out \\n more strength and certitude and joy in every blow than do you in your \\n whole sheaf of songs. Why, the very socialist agitator, hustled by the \\n police on a street corner amid the jeers of the mob, has caught the\",\n \"In one of the near turnings a woman with waiting face smiles subtly. Her \\n hands beckon you to the tryst. Godspeed, my son. \\n \\n DANE. \\n \\n \\n \\n \\n XXVIII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n August 6, 19--. \\n\",\n \"STANFORD UNIVERSITY. \\n Saturday. \\n \\n Her happiness wrung it from me. Before I could intervene, the question \\n asked itself, \\\"How will it be with you in after years?\\\" \\n \\n Straight the answer came, \\\"There will be Herbert.\\\" \\n \\n Hester is proud. To-night I saw it in the lift of her chin, in the set \\n of her neck, in the brilliance of her cheek. She knows herself endowed.\",\n \"binding alike on the economist and poet. It springs out of the common \\n and unappeasable hunger, commanding that love seek love through night to \\n day and through day to night. \\n \\n Yet it is possible to put oneself outside the pale of the law, to refuse \\n the gift of life and snap the tie between time and space and creature. \\n It is possible to be too emaciated for interest or feeling. The men and \\n women of the People know neither love nor art because they are too\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\"\n ],\n [\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\",\n \" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \\n \\n \\n \\n \\n Produced by Curtis Weyant, Martin Pettit and the Online \\n Distributed Proofreading Team at http://www.pgdp.net (This \\n file was produced from images generously made available \\n by The Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n THE KEMPTON-WACE LETTERS \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XV \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n March 15, 19--. \\n \\n Clyde Stebbins was here an hour after your theories and definitions \\n reached me. The fact that I had been reading treason against his sister\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \"shall be of the deeds I have done. \\n \\n HERBERT. \\n \\n \\n \\n \\n IX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n December 28, 19--. \\n \\n The curtain is rung down on an illusion, but it rises again on another,\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\",\n \"cannot be my loss. One power is mine,--without hindrance, in freedom and \\n in right, to say to Ellen's son, \\\"Godspeed!\\\" to place Hester Stebbins's \\n hand in his, and bid them forth to the sunrise, into the glory of day! \\n \\n Ever your devoted father, \\n DANE KEMPTON. \\n \\n \\n \\n \\n II \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\",\n \"Tell her, then, tell her all you wish, you dear old fluttery, mothery \\n poet father--as though it made any difference. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXVII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n STANFORD UNIVERSITY. \\n December 3, 19--. \\n \\n Not three weeks ago you were sitting opposite me and speaking of Hester.\",\n \" His fits when he is neither sick nor well, \\n Though no distress be near him but his own \\n Unmanageable thoughts.\\\" \\n \\n \\n You will judge by this letter that I am neither sick nor well, and that \\n I reach for a distress which is not near. If I were Merchant rather than \\n Poet, it would be otherwise with me. \\n \\n DANE. \\n \\n \\n \\n \\n IV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"Company Printed in Great Britain by Love & Malcomson Ltd. London and \\n Redhill._ \\n \\n \\n \\n \\n KEMPTON-WACE LETTERS \\n \\n \\n \\n \\n I \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3 A QUEEN'S ROAD, CHELSEA, S.W. \\n August 14, 19--. \\n\",\n \"of John Wace. For her his face was sunlit, and she needs must take it \\n between her hands and hold it forever. He was her Siegfried, her master. \\n Thus the gods decreed, and we three obeyed. What else was there to do? \\n We must be honest before all, and Ellen did not love me any more, and I \\n must know it, and wipe out a past of deepest mutuality, and strengthen \\n and console and restore the woman whose hand held mine while her eyes \\n were turned elsewhere. \\n\",\n \"and I schooled myself to think that there had been no affront, that it \\n honours a woman to be wanted no matter for what end, that every use is a \\n noble use, that we die the same, loved or used. If Herbert Wace wants a \\n wife and thinks me fitting, why, it is well. I thought all this and aged \\n as I thought. Nevertheless, my hand did not put itself out a second time \\n to detain the man who had forced me to face this. \\n\",\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"mediocrity and register a high claim. I would keep the peace with \\n Romance and fly her colours to the last. You have lived? It is well, and \\n it might have been better, but do not give over and talk of \\n stirpiculture. You are not wiser than the laws which made you. \\n \\n DANE. \\n \\n \\n \\n \\n XXX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\"\n ],\n [\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"Doubtless mine have the same forensic quality. Our letters have become \\n rebuttals, pure and simple. This discovery gave my pen pause for a week. \\n It occurred to me that Walt Whitman must have meant didactic letters \\n too, when he said of the fretters of our little world, \\\"They make me \\n sick talking of their duty to God.\\\" Yet friend should speak to friend, \\n should utter the word than which nothing is more sacred. \\\"Let there be\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"that you are unaware of the chill your words breathe, and that is a \\n lapse which it is impossible to meet with indulgence. \\n \\n \\\"He does not love her,\\\" was Barbara's quick decision, and she laid the \\n open letter down with a definiteness which said that you, too, are laid \\n out and laid low. Your sister's very wrists can be articulate. However, \\n I laughed at her and she soon joined me. We do not mean to be \\n extravagant with our fears. Who shall prescribe the letters of lovers to\",\n \"with emphasis. Here I might have told her that men and women are races \\n apart, but no one talks cant to Barbara. So I did not console her, and \\n it stands against you in our minds that on this critical occasion you \\n have baffled us with coldness. \\n \\n An absence of six years, broken into twice by a brief few months, must \\n work changes. When Barbara called your letter unnatural, she forgot how \\n little she knows what is natural to you. She and I have been wont to\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"this time, as before, with the look of the absolute Good and True upon \\n it. It is because we are at once actor and spectator that we find no \\n fault with blinking sight and slothful thought. We are finite branded \\n and content, except during the shrill, undermining moments when the \\n orchestra is tuning up. \\\"Thus we half-men struggle.\\\" \\n \\n I follow your letter and wonder whether your illusions have qualities of \\n beauty which escape me. I give you the benefit of every doubt which it\",\n \"Yesterday I wrote formally, rising to the occasion like the conventional \\n happy father rather than the man who believes in the miracle and lives \\n for it. Yesterday I stinted myself. I took you in my arms, glad of what \\n is and stately with respect for the fulness of your manhood. It is \\n to-day that I let myself leap into yours in a passion of joy. I dwell on \\n what has come to pass and inflate myself with pride in your fulfilment, \\n more as a mother would, I think, and she your mother. \\n\",\n \"But hers will be no minor note, no middle flight. She is--well, she is \\n Hester. In two years we shall be married. Two years, Dane. Surely you \\n will be with us. \\n \\n One thing more; in your letter a certain undertone which I could not \\n fail to detect. A shade less of me than formerly?--I turn and look into \\n your face--Waring's handiwork you remember--his painter's fancy of you \\n in those golden days when I stood on the brink of the world, and you\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"But why did you not write before? After all, the great event was not \\n when you found your offer of marriage accepted, but when you found you \\n had fallen in love. Then was your hour. Then was the time for \\n congratulation, when the call was first sounded and the reveille of Time \\n and About fell upon your soul and the march to another's destiny was \\n begun. It is always more important to love than to be loved. I wish it \\n had been vouchsafed me to be by when your spirit of a sudden grew\",\n \"such heat, and to such little purpose. \\n \\n You do not see how this answers your last letter. I will tell you. It \\n shows you that you have explained yourself fully the night we spoke face \\n to face. \\n \\n You say that Hester is the woman to complement your man. This sounds \\n like a lover, only I happen to know that she is not the irresistible \\n woman. I found it out quite by accident--a few words dropped into a\",\n \"know now, as I felt then, your consistent revolt against his \\n materialistic philosophy. \\n \\n Only the other day you complained of a letter of mine, calling it cold \\n and analytical. That I should be cold and analytical despite all the \\n prodding and pressing and moulding I have received at your hands, and \\n the hands of Waring, marks only more clearly our temperamental \\n difference; but it does not mark that one or the other of us is less a\",\n \"gratified, in the other, hunger was done away with, and I will say that \\n you are giving an Arabian Nights' entertainment. \\n \\n Love is of a piece with life, like hunger, like joy, like death. Your \\n progress cannot leave it behind; your civilisation must become the \\n exponent of it. \\n \\n Your last letter is formal and elaborate, and--equivocal. In it you \\n remind me, menacingly, of the possibilities of progress, you posit that\",\n \"yet wayward, what of the fever of successful wooing. And besides, ... \\n how shall I say?... such was the gracious warmth of your letter, of both \\n your letters, that I am at a loss. I feel weak, inadequate. It almost \\n seems as though you had made a demand upon something that is not in me. \\n Ah, you poets! It would seem your delight in my marriage were greater \\n than mine. In my present mood, it is you who are young, you who love; I \\n who have lived and am old.\",\n \"show where I am wrong. But do not pour out on me your romantic and \\n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \\n Fact. \\n \\n HERBERT. \\n \\n Ah, your later letter has just arrived. I can only say that I \\n understand. But withal, I am pained that I am not nearer to you. These \\n intellectual phantasmagoria rise up like huge amorphous ghosts and hold\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\"\n ],\n [\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"and all speech, were mine. So much was vouchsafed me. \\n \\n Memories and echoes, gusts of sweet breath from the violets on your \\n mother's grave--the prophet of matter will have none of them, and, I \\n fear, will pity me that I am so much theirs. I am yours also, dear lad, \\n and I wish to serve you. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XI \\n\",\n \"In one of the near turnings a woman with waiting face smiles subtly. Her \\n hands beckon you to the tryst. Godspeed, my son. \\n \\n DANE. \\n \\n \\n \\n \\n XXVIII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n August 6, 19--. \\n\",\n \"cannot be my loss. One power is mine,--without hindrance, in freedom and \\n in right, to say to Ellen's son, \\\"Godspeed!\\\" to place Hester Stebbins's \\n hand in his, and bid them forth to the sunrise, into the glory of day! \\n \\n Ever your devoted father, \\n DANE KEMPTON. \\n \\n \\n \\n \\n II \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE,\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n January 20, 19--. \\n \\n I do not know whether to laugh or weep. I have just finished reading \\n your letter, and I can hardly think. Words seem to have lost their \\n meaning, and words, used as you use them, are without significance. You \\n appear to speak a tongue strangely familiar, yet one I cannot\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \" His fits when he is neither sick nor well, \\n Though no distress be near him but his own \\n Unmanageable thoughts.\\\" \\n \\n \\n You will judge by this letter that I am neither sick nor well, and that \\n I reach for a distress which is not near. If I were Merchant rather than \\n Poet, it would be otherwise with me. \\n \\n DANE. \\n \\n \\n \\n \\n IV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"HERBERT. \\n \\n \\n \\n \\n XV \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n March 15, 19--. \\n \\n Clyde Stebbins was here an hour after your theories and definitions \\n reached me. The fact that I had been reading treason against his sister\",\n \"spoke a few words and left. Our host had divulged what the anniversary \\n sought to celebrate. We understood and were glad. \\n \\n Good night, lad. Would you could have shared our heyday at the dawning! \\n \\n DANE. \\n \\n \\n \\n \\n XIV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n February 31, 19--. \\n\",\n \"splendour of unfolding, her nature roused, her being expectant. But \\n later, for poet and lover, the failure and the waste! Were it otherwise \\n with your feeling for your betrothed, the comparison would not hold. \\n \\n Hester does not think these things, and she is beautiful and happy. \\n \\n Yours devotedly, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIV \\n \\n FROM THE SAME TO THE SAME \\n \\n\",\n \"Always yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n VII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n December 6, 19--. \\n \\n No, I am not in love. I am very thankful that I am not. I pride myself \\n on the fact. As you say, I may not be adjusting my life artistically to\",\n \"Tell her, then, tell her all you wish, you dear old fluttery, mothery \\n poet father--as though it made any difference. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXVII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n STANFORD UNIVERSITY. \\n December 3, 19--. \\n \\n Not three weeks ago you were sitting opposite me and speaking of Hester.\",\n \"God, to take from men who love them the love they gave? No such ordeal \\n mine? \\n \\n Farewell, Herbert. Let us think calmly of each other since we have \\n helped each other for so long a stretch of life. Farewell, dear. \\n \\n Always your friend, \\n HESTER STEBBINS. \\n \\n \\n \\n \\n XXXIX \\n \\n FROM HESTER STEBBINS TO DANE KEMPTON \\n \\n \\n STANFORD UNIVERSITY.\",\n \"taken in good part, and they came with something that was like music. \\n Was it the voice or some inexplicable feeling? I turned in wonder. Her \\n head was raised, and in the indistinctness I caught that sweet look of \\n hers which besought me, and which I answered without knowing to what \\n question. \\n \\n I owe you a great happiness. Good-night. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIII \\n \\n FROM THE SAME TO THE SAME \\n \\n\",\n \"never quite accepted the gift that seemed to have been proffered? \\n \\n You have a right to demand the reason for my renewed attack. It is \\n because I have learned the strength of her love. \\\"You are blessed beyond \\n words,\\\" I said two days ago, but as you reject the blessing, Hester must \\n know it and you must tell her. Herbert, I am your friend. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXVI \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\"\n ],\n [\n \"the points of argument except where they prick you from your position. \\n One must scale the skies and swim the seas in order to reach you. Well, \\n have I approached within your hearing? \\n \\n I was sitting amongst the fennel in Barbara's garden when your letter \\n was brought, and I read it twice to make sure I understood. When the \\n sun lies warm on waving fennel and a city is before you, mysterious in a \\n veil of mist, it is easier to feel love than to think about it. For a\",\n \"Is my meaning quite dashed away by this torrent of speech? It is simply \\n this: Before we think we feel, and the end of thinking is feeling. The \\n century of Voltaire and Dr. Johnson held that man is rational, the \\n century of James, Ribot, Lange, and Wundt is thrilled to the heart with \\n the doctrine that first, last, and always man is emotional. To speak \\n loosely, the dimensions of the human cosmos are feeling, emotion, and \\n sensation. \\n\",\n \"dangerous to yourself. You are too sad to know that you are not happy or \\n to care. Does my diagnosis surprise you? Analyze the argument of your \\n last letter. You trace the growth of the emotion of love from protoplasm \\n to man. You follow the progress of the force which is stronger than \\n hunger and cold and swifter and more final than death, from its \\n potential state in the unicellular stage where life goes on by division, \\n up through the multifarious forms of instinctive animal mating, till you\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"Doubtless mine have the same forensic quality. Our letters have become \\n rebuttals, pure and simple. This discovery gave my pen pause for a week. \\n It occurred to me that Walt Whitman must have meant didactic letters \\n too, when he said of the fretters of our little world, \\\"They make me \\n sick talking of their duty to God.\\\" Yet friend should speak to friend, \\n should utter the word than which nothing is more sacred. \\\"Let there be\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"question, \\\"which of these makes the nearer approach to the truth?\\\" You \\n have been asking me, \\\"What is love worth?\\\" And you have answered your \\n question often enough and to your satisfaction, \\\"In itself it is worth \\n nothing, being but the catspaw to scheming forces.\\\" With your denial of \\n any intrinsic beauty in the emotion, with your acceptance of it as an \\n unfortunate incident in human affairs, comes a vague hope that the race \\n will outgrow this force. Here is your rift in the cloud. You picture a\",\n \"know now, as I felt then, your consistent revolt against his \\n materialistic philosophy. \\n \\n Only the other day you complained of a letter of mine, calling it cold \\n and analytical. That I should be cold and analytical despite all the \\n prodding and pressing and moulding I have received at your hands, and \\n the hands of Waring, marks only more clearly our temperamental \\n difference; but it does not mark that one or the other of us is less a\",\n \"There is nothing more important than the play and interplay of feeling. \\n Were Barbara \\\"unwifely,\\\" I could not blame her, but neither could I have \\n at hand my proof of dear miracles. My proof remained to me, for there \\n she stood, her face lifted toward mine, her mouth tremulous, her grey \\n eyes swimming. The mate woman was stirred. Barbara is twenty-six and has \\n been married seven years, and she still vibrates with the old wonder to \\n find herself loving and beloved. \\n\",\n \"show where I am wrong. But do not pour out on me your romantic and \\n poetic spleen. Confine yourself to the Fact, man, to the irrefragable \\n Fact. \\n \\n HERBERT. \\n \\n Ah, your later letter has just arrived. I can only say that I \\n understand. But withal, I am pained that I am not nearer to you. These \\n intellectual phantasmagoria rise up like huge amorphous ghosts and hold\",\n \"walls within and join the city in friendship and let the city join me. I \\n never feel greater fellowship than when I walk-- \\n \\n Except when I write to you. Then do I greaten with the pride of life. My \\n sympathies quicken and I grow young again. I constitute myself advocate \\n of the world, and enthusiasm does not fail me in this high calling. It \\n is but natural that in the face of scepticism which I cannot share I \\n should feel greater faith, that in the face of revilement a sense of the\",\n \"arms. \\n \\n I fear I have not made myself clear. It is difficult to write hurriedly \\n of things psychological, when the extreme demand is made upon intellect \\n and vocabulary; but at least you may roughly catch my drift. What I have \\n striven to say is, that I forgive my brother, not because I _love_ him, \\n but because of the _affection_ I bear him; also that this affection is \\n the product of reason, is the sum of the judgments I have achieved. \\n \\n HERBERT. \\n \\n\",\n \"flat. And you helped to bind me with chains and burn me with fire when \\n my facts and the laws behind my facts shook your dogmas. Dante's highest \\n audacity could not transcend a material inferno. Milton could not shake \\n off Lucifer and hell. \\n \\n You were more beautiful. But not only was I more useful, but I made the \\n way for you that there might be greater beauty. You did not reck of \\n that. To you the heart was the seat of the emotions. I formulated the\",\n \"I have been thinking about your romance and my rational rightness, and \\n so this letter. \\n \\n \\\"_One loves because he loves: this explanation is, as yet, the most \\n serious and most decisive that has been found for the solution of this \\n problem._\\\" I do not know who has said this, but it might well have been \\n you. And you might well say with Mlle. de Scudéri: \\\"_Love is--I know not \\n what: which comes--I know not when: which is formed--I know not how:\",\n \"love-affairs, therefore your recital of them is empty of meaning. If you \\n were in love to-day, and because of your philosophy you determined to do \\n battle with your feeling, your experience would be more authoritative. \\n \\n You have known love, and having known you refuse it. Henceforth, it must \\n be reason and not feeling. \\\"What is your objection?\\\" you ask. This \\n merely, that the thing cannot be. Marriage to be marriage must come \\n through love, through the reddest romance of love, through fire of the\",\n \"man will refrain from laying rough hands on his mute brothers. \\n \\n The romance which is my proof of the good of being does not rest on \\n passion. The unclean fires that consume the loutish and degenerate are \\n not of love. You quote instances of the hyperphysical and hysterical. \\n The feeling that I would have you obey for your soul's sake and without \\n which you are but half alive, is not the blind passion of an oversexed \\n sentimentalism. Rousseau was never in love in his life, though to say it\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"individual's life; this we know, and it is only impelled to perform such \\n acts because of the madness of the trick, which, though it strikes at \\n the particular life, makes for the general life. \\n \\n So I think there is no discussion over the fact that this emotion of \\n love has no basis in reason. As the old French proverb runs, \\\"The first \\n sigh of love is the last of wisdom.\\\" On the other hand, the individual \\n not yet afflicted by love, or recovered from it, conducts his life in a\",\n \"of feelings. Further, I hold that marriage may not be based on \\n affection alone, and I disagree with you that population is better than \\n principle. Children need not be brought into the world at any cost. \\n \\n Love is not a disorder, but a growth. There is spiritual as well as \\n physical growth. Some men and women never grow up strong enough to love. \\n Their development is arrested, or they are, from the beginning, poor \\n creatures born of starvelings, and perhaps fated to give birth to pale,\"\n ],\n [\n \"letters, and I think her soul will escape yours. If you have not love \\n like hers, you have nothing with which to keep her. This I have \\n undertaken to say to you. It is a strange role, yet conventional. I am \\n the father whose matrimonial whims are not met by the son. The stock \\n measure is to disinherit. But the cause of our quarrel is somewhat \\n unusual, and I can be neither so practical nor so vulgar as to set about\",\n \"Doubtless mine have the same forensic quality. Our letters have become \\n rebuttals, pure and simple. This discovery gave my pen pause for a week. \\n It occurred to me that Walt Whitman must have meant didactic letters \\n too, when he said of the fretters of our little world, \\\"They make me \\n sick talking of their duty to God.\\\" Yet friend should speak to friend, \\n should utter the word than which nothing is more sacred. \\\"Let there be\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"It is because you know not what you do that I cannot forgive you. Could \\n you know that your letter with its catalogue of advantages and \\n arrangements must offend me as much as it belies (let us hope) you and \\n the woman of your love, I would pardon the affront of it upon us all, \\n and ascribe the unseemly want of warmth to reserve or to the sadness \\n which grips the heart when joy is too palpitant. But something warns me\",\n \"that you are unaware of the chill your words breathe, and that is a \\n lapse which it is impossible to meet with indulgence. \\n \\n \\\"He does not love her,\\\" was Barbara's quick decision, and she laid the \\n open letter down with a definiteness which said that you, too, are laid \\n out and laid low. Your sister's very wrists can be articulate. However, \\n I laughed at her and she soon joined me. We do not mean to be \\n extravagant with our fears. Who shall prescribe the letters of lovers to\",\n \"But why did you not write before? After all, the great event was not \\n when you found your offer of marriage accepted, but when you found you \\n had fallen in love. Then was your hour. Then was the time for \\n congratulation, when the call was first sounded and the reveille of Time \\n and About fell upon your soul and the march to another's destiny was \\n begun. It is always more important to love than to be loved. I wish it \\n had been vouchsafed me to be by when your spirit of a sudden grew\",\n \"their sisters and foster-fathers? Yet there are some things their \\n letters should be incapable of saying, and amongst them that love is not \\n a crisis and a rebirth, but that it is common as the commonplace, a hit \\n or miss affair which \\\"shuffling\\\" could not affect. \\n \\n Barbara showed me your note to her. \\\"Had I written like this of myself \\n and Earl--\\\" \\n \\n \\\"You could not,\\\" I objected. \\n \\n \\\"Then Herbert should have been as little able to do it,\\\" she deduced\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"such heat, and to such little purpose. \\n \\n You do not see how this answers your last letter. I will tell you. It \\n shows you that you have explained yourself fully the night we spoke face \\n to face. \\n \\n You say that Hester is the woman to complement your man. This sounds \\n like a lover, only I happen to know that she is not the irresistible \\n woman. I found it out quite by accident--a few words dropped into a\",\n \" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \\n \\n \\n \\n \\n Produced by Curtis Weyant, Martin Pettit and the Online \\n Distributed Proofreading Team at http://www.pgdp.net (This \\n file was produced from images generously made available \\n by The Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n THE KEMPTON-WACE LETTERS \\n\",\n \"perpetuation of the species, and that respect and affection are \\n sufficient to bring two people into this most intimate possible \\n relation. You also hold that the business of the world, pressing hard \\n upon men, makes \\\"love from their lives a thing apart,\\\" and that this is \\n as it should be. Your letters are an exposition and a defence of what I \\n may loosely call the practical theory. You show that the world is for \\n work and workers, and that life is for results as seen in institutions\",\n \"\\\"The tenour of your talk led me on to believe--\\\" she stammered with hot \\n cheeks. It is a standing offence of hers to imagine herself accused, and \\n she admits it is a weakness born of lack of poise. \\\"But I took all for \\n granted, I thought you fortunate beyond any other woman,\\\" I protested. \\n At this the radiance broke forth. I forgave the chill that her first \\n words on entering the room struck to my heart, and she forgot what she \\n had imagined. \\n\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"November 20, 19--. \\n \\n Hester met me at the station, and we walked through the Arboretum to her \\n home on the campus. Then followed an evening together in the dormitory \\n parlour. I have just left her. Her face was tumultuously joyous when I \\n murmured my \\\"At last!\\\" Her tearful excitement was like Barbara's. You \\n did not tell me she is so young. You must have made her feel our \\n closeness, or she may have found a bit of my verse that all expressed\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"gratified, in the other, hunger was done away with, and I will say that \\n you are giving an Arabian Nights' entertainment. \\n \\n Love is of a piece with life, like hunger, like joy, like death. Your \\n progress cannot leave it behind; your civilisation must become the \\n exponent of it. \\n \\n Your last letter is formal and elaborate, and--equivocal. In it you \\n remind me, menacingly, of the possibilities of progress, you posit that\",\n \"quickly and intimately; glad that you are under her charm, as I know her \\n to be under yours; but I am not glad when you spell yourself into her \\n and write out your heart's forebodings on her heart. For you are \\n strangely morbid, and you are certainly guilty of reading your own \\n doubts and fears into her unspoken and unguessed thoughts. \\n \\n Believe me, rather than the soul of her love seeming narrower than she \\n hopes, the truth is she gives her love little thought at all. She is\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\",\n \"with emphasis. Here I might have told her that men and women are races \\n apart, but no one talks cant to Barbara. So I did not console her, and \\n it stands against you in our minds that on this critical occasion you \\n have baffled us with coldness. \\n \\n An absence of six years, broken into twice by a brief few months, must \\n work changes. When Barbara called your letter unnatural, she forgot how \\n little she knows what is natural to you. She and I have been wont to\"\n ],\n [\n \" GUTENBERG EBOOK THE KEMPTON-WACE LETTERS *** \\n \\n \\n \\n \\n Produced by Curtis Weyant, Martin Pettit and the Online \\n Distributed Proofreading Team at http://www.pgdp.net (This \\n file was produced from images generously made available \\n by The Internet Archive/American Libraries.) \\n \\n \\n \\n \\n \\n \\n THE KEMPTON-WACE LETTERS \\n\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n November 29, 19--. \\n \\n What a flutter of letters! And what a fluttery Dane Kempton it is! The \\n wine of our western sunshine has bitten into your blood and you are \\n grown over-warm. I am glad that you and Hester have found each other so\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"Though we have many things not in common, yet you are my dearest friend \\n on earth, you who have been a second father to me as well. \\n \\n You have long merited this explanation, and it was cowardly of me not to \\n have made it before. My hope is that I have been sufficiently clear for \\n you to understand. \\n \\n HERBERT. \\n \\n \\n \\n \\n V \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"Company Printed in Great Britain by Love & Malcomson Ltd. London and \\n Redhill._ \\n \\n \\n \\n \\n KEMPTON-WACE LETTERS \\n \\n \\n \\n \\n I \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3 A QUEEN'S ROAD, CHELSEA, S.W. \\n August 14, 19--. \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 10, 19--. \\n \\n So we have got into an argument! I have been poring over your last two \\n or three letters, and they read like a set of briefs for a debate.\",\n \"Always yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n VII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n December 6, 19--. \\n \\n No, I am not in love. I am very thankful that I am not. I pride myself \\n on the fact. As you say, I may not be adjusting my life artistically to\",\n \"Tell her, then, tell her all you wish, you dear old fluttery, mothery \\n poet father--as though it made any difference. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXVII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n STANFORD UNIVERSITY. \\n December 3, 19--. \\n \\n Not three weeks ago you were sitting opposite me and speaking of Hester.\",\n \"And, Herbert, to me there is nothing comic in a stress of feeling. Let \\n the lover pale and flutter and faint; in the presence of his deity it is \\n an acceptable form of worship. The very self-possessed lover is more \\n preposterous! \\n \\n Your book has not yet reached me. To-morrow I shall write again, \\n providing I remember how to write a natural letter. \\n \\n Yours, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXIII \\n\",\n \" His fits when he is neither sick nor well, \\n Though no distress be near him but his own \\n Unmanageable thoughts.\\\" \\n \\n \\n You will judge by this letter that I am neither sick nor well, and that \\n I reach for a distress which is not near. If I were Merchant rather than \\n Poet, it would be otherwise with me. \\n \\n DANE. \\n \\n \\n \\n \\n IV \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"HERBERT. \\n \\n \\n \\n \\n XV \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n March 15, 19--. \\n \\n Clyde Stebbins was here an hour after your theories and definitions \\n reached me. The fact that I had been reading treason against his sister\",\n \"FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA. \\n January 20, 19--. \\n \\n I do not know whether to laugh or weep. I have just finished reading \\n your letter, and I can hardly think. Words seem to have lost their \\n meaning, and words, used as you use them, are without significance. You \\n appear to speak a tongue strangely familiar, yet one I cannot\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"shall be of the deeds I have done. \\n \\n HERBERT. \\n \\n \\n \\n \\n IX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n December 28, 19--. \\n \\n The curtain is rung down on an illusion, but it rises again on another,\",\n \"to pattern after yours: In the beginning man ate because he was hungry; \\n to-day he is hungry because he eats. \\n \\n There are many things more I should like to answer, but I am writing \\n this 'twixt breakfast and lecture hour, and time presses and students \\n will not wait. \\n \\n HERBERT. \\n \\n \\n \\n \\n XIX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON,\",\n \"splendour of unfolding, her nature roused, her being expectant. But \\n later, for poet and lover, the failure and the waste! Were it otherwise \\n with your feeling for your betrothed, the comparison would not hold. \\n \\n Hester does not think these things, and she is beautiful and happy. \\n \\n Yours devotedly, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XXXIV \\n \\n FROM THE SAME TO THE SAME \\n \\n\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"Until the carnival time when you and Hester come to love each other, if \\n that time is to be, you two must be as separate in deed as you are in \\n fact. Forgive me and write soon. \\n \\n Yours ever, \\n DANE. \\n \\n \\n \\n \\n XVII \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n \\n THE RIDGE, \\n BERKELEY, CALIFORNIA.\"\n ],\n [\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \" * * * * * \\n \\n JACK LONDON'S BOOKS \\n \\n \\\"_He opened windows for them upon the splendour and the savagery, the \\n pomp and the pitifulness that he had found in many corners of the earth. \\n He saw that in every scene, in every human activity there was an element \\n which lifted it into the region of the beautiful, and he made all his \\n readers see it, whether he was learned or ignorant; cultivated or only\",\n \"to it must separate. We well know that many men and women, unable to \\n build up affection on the ruins of love, do separate, or if they do not, \\n continue to live together in cold tolerance or bitter hatred. \\n \\n Now, Hester is my mate. We have much in common. There is intellectual, \\n spiritual, and physical affinity. The caress of her voice and the feel \\n of her mind are pleasurable to me; likewise the touch of her hand (and \\n you know that in the union of man and woman the higher affinities are\",\n \"BERKELEY, CALIFORNIA. \\n September 18, 19--. \\n \\n How abominable I must seem to you, Dane! For certainly a creature is \\n abominable that lays rough hands on one's dearest possessions. I doubt \\n if even you realise how deeply you are stirred by my conduct towards \\n love. My marriage with Hester, considering the quality and degree of the \\n contracting parties, must appear as terrible to you as the sodomies that\",\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"THE KEMPTON-WACE LETTERS \\n \\n BY \\n \\n JACK LONDON \\n AND \\n ANNA STRUNSKY \\n \\n \\n \\\"_And of naught else than Love would we \\n discourse._\\\"--DANTE, Sonnet II. \\n \\n \\n MILLS & BOON, LIMITED 49 RUPERT STREET LONDON, W.1 \\n \\n \\n _Copyright in the United States of America, 1903, by the Macmillan\",\n \"Over and ended. It shall be as I said last night. Herbert, there is no \\n call for anger; believe me, there is not. I am doing what I cannot help \\n doing. You have not changed, but my faith in you has, and I cannot \\n pretend to a happiness I do not feel. \\n \\n Oh, but I laugh, my very dear one, I laugh that I could seem to choose \\n to wrest myself from you. Did you at one time love me? That morning of \\n wild sunshine when you took my hand and asked me to be your wife seems\",\n \"Madness and selfishness were the cause of Louisa Naveret's death, and \\n the man who was mad and selfish was her lover. The poor man had not the \\n strength to renounce when he thought he found himself face to face with \\n the necessity of renouncing. But all lovers are not too weak to cope \\n with love. John Ruskin, if you remember, loved his wife, and he shot \\n neither himself, nor her, nor Millais. Charles J. Johnson is not a \\n Ruskin, and Ruskin's love was not a madness.\",\n \"know her,--and of Herbert. He and I had often come to these spots. Oh, \\n the hungry memories! Yet what were we but a young man and a young woman, \\n who, without being battered into apathy by misfortune, without being \\n wearied or ill, were taking each other for better or for worse because \\n they seemed compatible? We were doing just that, to Herbert's certain \\n knowledge! I failed him; he hoped for more complaisance. Marriage is a\",\n \"each other,\\\" and so on. The ordinary married couple so often brings a \\n sense of distressed surprise: \\\"How can these two foot it together?\\\" \\n \\\"How did it happen?\\\" \\\"How can it go on?\\\" \\n \\n Last night counted to me. Your father and I have had such evenings, but \\n I did not think I could do it all over again. We spoke with the fire \\n (and conceit) of young students, exciting ourselves with expired \\n theories, hoping old hopes, smarting under blows that perhaps had long\",\n \"took long, solitary walks, with book of verse beneath my arm, and \\n learned to love as lovers had loved before me. \\n \\n Sufficient romance was engendered for me to pass more than one night \\n worshipping beneath her window. I mooned and sentimentalised and fell \\n into a gentle melancholy, until you and Waring began to worry over an \\n early decline, to consult specialists, and by trick and stratagem to \\n entice me into eating more and reading less. But she married--ah, I have\",\n \"Before that bright, black summer morning which saw me woman-pitied, I \\n knew I should have to renounce her. Their souls rushed together in their \\n first meeting. John had been away, knocking about museums and colleges, \\n and carrying on tempestuous radical work. He was splendidly picturesque. \\n I was a youth of twenty-three, almost ten years his junior, a boy full \\n of half-defined aims and groping powers, reaching toward what he had \\n firm in his grasp. Ellen talked of his coming, and she planned that she\",\n \"were to have been married to-day.\\\" \\n \\n From to-day's paper I quote the above introduction to a column \\n murder-sensation in simple life. Simple it was, and elemental--the man \\n loving steadily and doggedly and madly, after the manner of the male \\n before possession; the woman fluttering, and teasing, and tantalising, \\n after the manner of the female courting possession. They had been \\n engaged for some time. The woman loved the man and fully intended to\",\n \"Neither blinded nor frenzied by the unreasoned passion of love, they \\n have weighed each other,--faults, virtues, and all,--and found a \\n compatibility strong enough to withstand the strain of years and \\n misfortune, and wise enough to compromise the individual clashes which \\n must inevitably arise when soul shares never ending bed and board with \\n soul. They have achieved before marriage what the love-impelled man and \\n woman must achieve after marriage if they would continue to live\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"were in feeling and fact divorced from each other by virtue of her \\n stronger love for John, yet did she do battle with the rich young love. \\n For two years we had been close; she had been so much my friend, she \\n could not in maiden charity seal for me a so unwelcome fate. I had \\n awakened her slumbering soul with my first look into the sphinx wonder \\n of her eyes. For me she had become fire and dew, flame of the sun, and\",\n \"depends their married happiness. Returning to the rationality which they \\n forsook during mating-time, they cannot live a joint rational existence \\n without compromising. If they be compatible, they will gradually grow to \\n fit, each with the other, into the common life; compromise, on certain \\n definite points, will become automatic; and for the rest they will \\n exhibit a tacit and reasoned recognition of the imperfections and \\n frailties of life. \\n \\n All this reason will dictate. If they be incapable of rising to\",\n \"letter, a corroboration of the fact and further committal, a protracted \\n defence of your position, running through a correspondence of over a \\n year, and, finally, a face-to-face declaration. What boots it now that \\n you write prettily? You do not love Hester. You want her to mother your \\n children, and you install her in your life for the purpose before the \\n need. \\n \\n Love is not lust, and it is good. The irresistible marriage, alone, is\",\n \"benedict. My marriage and the presumably necessary honeymoon chime in \\n with the summer vacation. There is no disturbing element even there. Oh, \\n we are very practical, Hester and I. And we are both strong enough to \\n lead each our own lives. \\n \\n Which reminds me that you have not asked about her. First, let me shock \\n you--she, too, is a scientist. It was in my undergraduate days that we \\n met, and ere the half-hour struck we were quarrelling felicitously over\",\n \"his ordinary sort of girl a \\\"lyric love, half angel and half bird, and \\n all a wonder and a wild desire.\\\" Bidwell exaggerates, perhaps, but \\n unless he feels this for his wife, he has no wife. Barbara obeyed the \\n voice of her heart. That sounds sentimental, but it is none the less a \\n courageous thing to do. I was inconsistent enough to be sorry because \\n she loved a crippled man. Bidwell and Barbara are wiser and happier than\"\n ],\n [\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\",\n \"LONDON. \\n November 19, 19--. \\n \\n Metaphysics is contagious. I caught it from Barbara, and I cannot resist \\n the impulse to pass it on, and to you of all others. \\n \\n The mood leapt upon Barbara out of the pages of \\\"Katia,\\\" a story by \\n Tolstoy. To my mind, it is a painful tale of lovers who outlive their \\n love, killing it with their own hands, but the author means it to be a\",\n \"ideal than that for which the unreasoning heart hungers. You are sad, \\n but you are not practical and you are not blasé. \\n \\n Of Barbara, of myself, and of London doings, this is no time to write. \\n Tell Hester your friend thinks of her. \\n \\n Yours with great memories and greater hopes, \\n DANE KEMPTON. \\n \\n \\n \\n \\n XX \\n \\n FROM HERBERT WACE TO DANE KEMPTON \\n \\n\",\n \"FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday morning. \\n \\n I must proceed with the three other points of my letter, so I shall stay \\n here and write, though there is a sharp breeze this morning and a \\n coquettishly escaping sunlight, and something tugs at me to go out upon \\n the city streets. It is not restlessness, but the love of the open. I am \\n fain to leave a walled house, and, better still, to get outside of the\",\n \"But the half brute of the London slums kicks his wife when she offends \\n him and knows nothing of love. Well for the honour of love that it is \\n so! The half brute of the London slums had not food enough when a child, \\n and malnutrition is deadly. Later, he stole and lied in order to eat, \\n and he was bullied and kicked for it out of human shape. The trick was \\n passed on to him. The unfortunate of the London slums will push us all\",\n \"the truth to you though I do love you and hold you mine. Disagreeable of \\n me, but how else? \\n \\n DANE. \\n \\n \\n \\n \\n X \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n Sunday, January 1, 19--. \\n \\n Behold, I have lived! I press your face to the breathing, stinging roses \\n of my days, and bid you drink in the sweet and throb with the pain. What\",\n \"XXVII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON. \\n July 22, 19--. \\n \\n Your birthday, Herbert, and for greeting I state that I walk your length \\n with you. A truce to quarrelling! It is now a year since you informed me \\n you were going to be married, and since then the gods have thundered \\n their laughter at the sight of two muttering men who sat themselves on\",\n \"HERBERT. \\n \\n \\n \\n \\n XXII \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n June 12, 19--. \\n \\n Please remember that these letters are written to you alone. I do not \\n think that there is less love in the world than ever before. I make you\",\n \"thought--a memory of very long ago when one was young and might have \\n chosen to live. \\n \\n I am sorry we darken the days for each other. \\n \\n Your friend always, \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XIII \\n \\n FROM THE SAME TO THE SAME \\n \\n \\n LONDON, \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n February 12, 19--. \\n\",\n \"shall be of the deeds I have done. \\n \\n HERBERT. \\n \\n \\n \\n \\n IX \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n 3A, QUEEN'S ROAD, CHELSEA, S.W. \\n December 28, 19--. \\n \\n The curtain is rung down on an illusion, but it rises again on another,\",\n \"love. And only the lunatic, I suppose, may compose a medical brochure on \\n insanity. \\n \\n HERBERT. \\n \\n \\n \\n \\n XXXI \\n \\n FROM DANE KEMPTON TO HERBERT WACE \\n \\n \\n LONDON, \\n October 7, 19--. \\n \\n It is true that you have a hard task before you, but it is not because \\n you are fighting convention and shattering illusion; it is because you\",\n \"took long, solitary walks, with book of verse beneath my arm, and \\n learned to love as lovers had loved before me. \\n \\n Sufficient romance was engendered for me to pass more than one night \\n worshipping beneath her window. I mooned and sentimentalised and fell \\n into a gentle melancholy, until you and Waring began to worry over an \\n early decline, to consult specialists, and by trick and stratagem to \\n entice me into eating more and reading less. But she married--ah, I have\",\n \"I care very much indeed. I do not wish you to awake some terrible night \\n to find that you had ended your romance before you had begun it. I vex \\n your days and call you dead? It is because I know the life that is by \\n the grace of God yours, and because I cannot bear to let you coffin it. \\n Herbert, there is misery when the blood pales, and the tears dry up, and \\n the flame of the heart sinks, and all that is left is a memory of a\",\n \"shoulder to meet the smile and the look and the quick breath of her who \\n had sent herself his Eve. \\n \\n In the dawn stealing over the world of London, Earl told the story, and \\n there and then we saw it all--the hill in the heart of the hills, the \\n reconciled boy who had climbed its brow, the rain-drenched woman \\n hurrying to overtake him, with the gift of all of herself in her eyes. \\n We looked neither at Barbara nor at Earl. Possessed of the secret, we\",\n \"eyes and on her cheek and lip. \\\"Dane, I love you. Dane! Dane!\\\" The whole \\n of me was caught up in the accents of that tremulousness. She had know \\n John three months; but her love for him was young, it had come \\n unexpectedly, it was still unexpressed and ineffable. Her yearning for \\n him led to softness toward me, and though she rose out of her mood as \\n one does from a dream, the hours when we were like the angels, all love\",\n \"3A, QUEEN'S ROAD, CHELSEA, S.W. \\n April 22, 19--. \\n \\n Nature tricks her creatures and the race lives on, and I, overcivilised, \\n decadent dreamer that I am, rejoice that the past binds us, am proud of \\n a history so old and so significant and of an heritage so marvellous. \\n Nature tricks her creatures and the race lives on, and I am prayerfully\",\n \"was vibrant. Earl, too, was at his best. My heart loved this man who had \\n lain all his life with death. His health is at its bad worst this \\n winter, which fact made of the \\\"Celebration\\\" a rather heart-rending \\n affair. He has been obliged to abandon the _Journal_, but we hope he can \\n stay with the school. Meanwhile, his chronic invalidism of body and \\n purse does not too much affect him. He keeps his charm of tenderness and\",\n \"have ever been? Do you know that because you love a woman and she loves \\n you, and that because you are swept along by certain forces, that I am \\n happy and feel myself in sight of my portion of immortality on earth, \\n far more than because of my books, dear lad, far more? \\n \\n I wish I could fly England and get to you. Should I have a shade less of \\n you than formerly, if we were together now? From your too much green of \\n wealth, a barrenness of friendship? It does not matter; what is her gain\",\n \"able to remember back and recognise what young eyes mean when they look \\n like that. From London to Palo Alto is a short trip, if at the end of it \\n you meet a Hester. Yet I am sad. The mood crept on me the moment we grew \\n aware that evening had come, and we stopped a little in front of the \\n arch to observe the night-look of the foot-hills. Lights had begun to \\n appear in the corridors of the quadrangle, and here and there in a\",\n \"\\\"Your dreaming, Barbara, can scarce be better than your living.\\\" \\n \\n We looked long at each other. She knew herself a happy woman, yet to-day \\n the ghost had walked in the light, and her eyes were not held, and she \\n saw. Even her life was not sufficient, even her plans were paltry, even \\n her heart's love was cramped. Such times of seeing come to happy men and \\n to happy women. Barbara was reading the opinions of the world and the\"\n ],\n [\n \"forgotten whom. Anyway, she married, and there was trouble about it, \\n too, and I bade adieu to love forever. \\n \\n Then came the love of my whelpage. I was twenty, and she a mad, wanton \\n creature, wonderful and unmoral and filled with life to the brim. My \\n blood pounds hot even now as I conjure her up. The ungarmented beast, my \\n dear Dane, the great primordial ungarmented beast, mighty to procreate,\",\n \"There is a youth here who loves me. If Herbert's face could shine like \\n his for one hour, I believe I would be happier than I have ever been. \\n And it would not spoil that happiness if this love were toward another \\n than myself. Say you believe me. You must know it of me that before \\n everything else in the world I pray that knowledge of love come to the \\n man over whom the love of my girlhood was spilled. \\n \\n Do you ask what is left me, dear friend? Work and tears and the intact\",\n \"felt myself pushed out of her life, I forgot everything but my desire. \\n I could not renounce her. I was in the throes of the passion for \\n ownership. \\n \\n Gentle girl between whom and myself there had been naught but sweetness \\n and fellowship! How often had we talked large (we were very young!) of \\n our sublimities and potentialities, how often had we pictured tragedies \\n of surrender and greatened in the speaking! Ah, it should come true. For\",\n \"gifted orator, a man of giant powers, and who was won away at the age of \\n forty from his career by a mere girl. The girl planned nothing. She \\n found herself a force in his life almost despite herself. The mere fact \\n that she lived was enough to wrest this Titan from the arms of the \\n Church. He told me that she criticised him with the directness of a \\n simple nature, and that he came to understand her truths better than she \\n herself. I think she must have loved him at first, but she did not go\",\n \"two men more incongruously companioned. I love him for himself. He \\n tolerates me, I do secretly believe, because of you. He longs to meet \\n you,--he knew you well through my father,--and we often talk you over. \\n Be sure at every opportunity I tear off your halo and trundle it about. \\n Trust me, you receive scant courtesy. \\n \\n How I wander on. My pen is unruly after the long vacation; my thought\",\n \"Do you remember the incident of the torn jacket and the blackened \\n eyes?--so inexplicable at the time. Try as you would, neither you nor \\n Waring could get anything out of me. Oh, believe me, it was tragic! I \\n was fifteen. Fifteen, and athrill with a strange new pulse; flushed, as \\n the dawn, with the promise of day. And, of course, I thought it was the \\n day, that I loved as a man loved, and that no man ever loved more. Well,\",\n \"is my philosophy but a translation of the facts which have stamped me? \\n Perhaps if I let you read these facts, you will the sooner come to share \\n my consecration and my faith. I must teach you to know that you are the \\n fact of my whole tangled web of facts, and that all that I have and am, \\n and all that might have been I and mine, stretches itself out in the \\n unmarked path which is before you. \\n \\n I take you back with me to the road, white with dust, upon which like a\",\n \"and all speech, were mine. So much was vouchsafed me. \\n \\n Memories and echoes, gusts of sweet breath from the violets on your \\n mother's grave--the prophet of matter will have none of them, and, I \\n fear, will pity me that I am so much theirs. I am yours also, dear lad, \\n and I wish to serve you. \\n \\n DANE KEMPTON. \\n \\n \\n \\n \\n XI \\n\",\n \"dream. Believe me, I am not pitiable. \\n \\n HESTER. \\n \\n \\n \\n \\n \\n End of the Project Gutenberg EBook of The Kempton-Wace Letters, by \\n Jack London and Anna Strunsky \\n \\n\",\n \"of those who cheat themselves. You choose rigorously, straining for the \\n heart of the end as do all rigorists who are also hedonists. Because we \\n are in possession of this bit of data as to your temperamental cosmos we \\n can congratulate you with the more abandon. Oh, Herbert, do you know \\n that this is a rampant spring, and that on leaving Barbara I tramped \\n out of the confines into the green, happier, it almost seems, than I\",\n \"Madness and selfishness were the cause of Louisa Naveret's death, and \\n the man who was mad and selfish was her lover. The poor man had not the \\n strength to renounce when he thought he found himself face to face with \\n the necessity of renouncing. But all lovers are not too weak to cope \\n with love. John Ruskin, if you remember, loved his wife, and he shot \\n neither himself, nor her, nor Millais. Charles J. Johnson is not a \\n Ruskin, and Ruskin's love was not a madness.\",\n \"its environment (there is room for discussion there), but I do know that \\n I am adjusting it scientifically. I am arranging my life so that I may \\n get the most out of it, while the one thing to disorder it, worse than \\n flood and fire and the public enemy, is love. \\n \\n I have told you, from time to time, of my book. I have decided to call \\n it \\\"The Economic Man.\\\" I am going over the proofs now, and my brain is\",\n \"\\\"I pity you. I wish you were as happy as I.\\\" And a thought leaped out in \\n answer to her look which would have smote her had it spoken. It was, \\n \\\"You, too, are awakened by a false dawning.\\\" Why is she so sure of \\n herself and of you? Is she sure? The puny bit of writing had a vigorous \\n rising. The ragged author was clad in it as in ermine. So the seeming \\n love makes a strong call, for a while holding the girl intent upon a\",\n \"her, and presto, the whole-hearted one is my friend. Her poet is now her \\n father, brother, comrade,--what she chooses, and all she chooses. \\n \\n At one time, before we were well out of the Arboretum, our eyes met, and \\n there was something so sad and mild and strange in the burn of her gaze \\n that I felt her frank spirit was unveiling itself in an utterness of \\n speech. But I have become too much spoilt by mere length of living to be\",\n \"The door was seen from every point in the fog-begirt world. We who \\n worshipped knew not of doubt. Stirred by the rumbling organ tones of \\n causes and ideas, we immolated our lives gladly. High priests of \\n thought, we swung the censers and rose on the breast of the incense. \\n Ellen and John and myself glorified God and enjoyed Him forever,--God, \\n the Type, the Final Humanity, the giant Body Soul of man. In our hearts\",\n \"about her mouth. Where were you, Herbert? This night will never return. \\n Yet what has been was for you--the more, perhaps, that you seemed away. \\n So it is with lovers. She thinks you love her. \\n \\n \\\"I am sorry for your mood,\\\" she said. \\\"You are holding yourself to \\n account these days in a way I know.\\\" Then she spoke, and I learned with \\n new heaviness of spirit that she does know the way of it. You never \\n thought Hester had much to struggle with? \\n\",\n \"in impatience, in wildness, but last night we awoke the radical in one \\n another. We condemned the system. We placed ourselves outside the \\n régime, refusing aught at its hands, registering our protest, hating the \\n inordinate scheme of things only as hotly as we loved the juster Hand of \\n a future time. \\n \\n It is curious that we, offsprings of parvenue success, should be capable \\n of such repudiation. Barbara accepts the Management without the trouble\",\n \"\\\"Yes, but with no more reason than you for your unhappiness. Since you \\n have come here, you have renewed your demands upon yourself. You wish to \\n go to school with the youngest and find you cannot. You suffer because \\n more seems behind you than before.\\\" Her voice rose as if she were \\n fighting tears. It was different with her, I told her. Nothing was \\n behind her. \\n \\n \\\"You test your work and I test my love. When you are sad, it is because\",\n \"in perfect working order. On the other hand, there is Professor Bidwell, \\n who is likewise correcting proofs. Poor devil, he is in despair. He can \\n do nothing with them. \\\"I positively cannot think,\\\" he complains to me, \\n his hair rumpled and face flushed. He did not answer my knock the other \\n day, and I came upon him with the neglected proofs under his elbows and \\n his absent gaze directed through window and out of doors to some rosy\",\n \"Herbert Wace of six years gone. It is fair that you should know this; \\n fair, also, that you should know the Herbert Wace of six years gone was \\n not quite the lad you deemed him. \\n \\n There is no more pathetic and terrible thing than the prejudice of love. \\n Both you and I have suffered from it. Six years ago, ay, and before \\n that, I felt and resented the growing difference between us. When under \\n your spell, it seemed that I was born to lisp in numbers and devote\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["In what format is the novel written?","Why did the New York Times give the novel a bad review?","In what way was Wace's view on love different than Kempton's?","What literary group were both London and Strunsky apart of?","Of the two witters of the novel which one did George Stirling give a negative review?","What kind of relationship do biographer believe London have with Strunsky?","What kind of relationship did Bessie believe London had with Strunsky?","When did Strunsky publish her memoris?","How many wives is London have?","How would you describe Herbert Wace's character?","How would you describe Dane Kempton's character?","What subject were the two men discussing in their letters?","What character does Jack London play?","What character does Anna Strunsky play?","What does Wace believe love revolves around?","What does Wace believe is NOT needed in a relationship?","What types of women does Jack London describe?","How did critics respond to the letters?","How is the novel structured?","What is the name of the radical San Francisco literary group?","Who writes Herbert Wace's letters?","What are the perpectives of the two letters?","Who writes Dane Kempton's letters?","Which of the Letters makes the case for feeling and emotion?","Why is the public's interest initially piqued by the letters?","Why are biographers intrigued by the Kempton-Wace Letters?","What happens to Jack London's marriage with Bessie?","In what year did London die?","What is the title of Strunsky's memoirs?"],"string":"[\n \"In what format is the novel written?\",\n \"Why did the New York Times give the novel a bad review?\",\n \"In what way was Wace's view on love different than Kempton's?\",\n \"What literary group were both London and Strunsky apart of?\",\n \"Of the two witters of the novel which one did George Stirling give a negative review?\",\n \"What kind of relationship do biographer believe London have with Strunsky?\",\n \"What kind of relationship did Bessie believe London had with Strunsky?\",\n \"When did Strunsky publish her memoris?\",\n \"How many wives is London have?\",\n \"How would you describe Herbert Wace's character?\",\n \"How would you describe Dane Kempton's character?\",\n \"What subject were the two men discussing in their letters?\",\n \"What character does Jack London play?\",\n \"What character does Anna Strunsky play?\",\n \"What does Wace believe love revolves around?\",\n \"What does Wace believe is NOT needed in a relationship?\",\n \"What types of women does Jack London describe?\",\n \"How did critics respond to the letters?\",\n \"How is the novel structured?\",\n \"What is the name of the radical San Francisco literary group?\",\n \"Who writes Herbert Wace's letters?\",\n \"What are the perpectives of the two letters?\",\n \"Who writes Dane Kempton's letters?\",\n \"Which of the Letters makes the case for feeling and emotion?\",\n \"Why is the public's interest initially piqued by the letters?\",\n \"Why are biographers intrigued by the Kempton-Wace Letters?\",\n \"What happens to Jack London's marriage with Bessie?\",\n \"In what year did London die?\",\n \"What is the title of Strunsky's memoirs?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["as a series of letters between two people","letter"],["They felt it was an overused topic for a story ","Its claimed nothing aid was new by poet or scientist."],["Wace looked at love emotionally while Kempton looked at it scientifically. ","Wace had a more scientific approach"],["The Crowd","The Crowd"],["Jack London","London's section."],["a potonic one","platonic"],["she belived they were having an affair","only a friendship, not romantic"],["after London's death or in 1917","her memoir was published in 1917"],["two","2"],["A young scientist","analyzes love scientifically"],["A old poet.","uses his emotions and feelings mainly"],["Their different philosophies about love and sex.","love and sex"],["Herbert Wace","Herbert Wace"],["Dane Kempton","Dane Kempton"],["Health, sanity, and compatibility.","reason and intellect"],["Romance","feeling and emotion"],["\"Mother-Woman\" and \"Mate-Woman\"","\"Mother-woman\" and \"Mate-woman\""],["Both positively and negatively.","Initially, there was a good response, but later critics were not impressed."],["As a series of letters.","as a series of letters between two men"],["The Crowd.","The Crowd"],["Jack London.","Jack Landon"],["Science and poetry.","feelings and emotions compared to love"],["Anna Strunsky.","Anna Strunsky"],["Kempton's Letters.","Dane Kempton"],["The anonymity of the writers.","because they were published anonymously "],["For the light they shed on London's life and ideas.","it sheds light on Jack London's life"],["They divorce.","they were divorced"],["1916.","1916"],["The Masses.","The Masses in 1917"]],"string":"[\n [\n \"as a series of letters between two people\",\n \"letter\"\n ],\n [\n \"They felt it was an overused topic for a story \",\n \"Its claimed nothing aid was new by poet or scientist.\"\n ],\n [\n \"Wace looked at love emotionally while Kempton looked at it scientifically. \",\n \"Wace had a more scientific approach\"\n ],\n [\n \"The Crowd\",\n \"The Crowd\"\n ],\n [\n \"Jack London\",\n \"London's section.\"\n ],\n [\n \"a potonic one\",\n \"platonic\"\n ],\n [\n \"she belived they were having an affair\",\n \"only a friendship, not romantic\"\n ],\n [\n \"after London's death or in 1917\",\n \"her memoir was published in 1917\"\n ],\n [\n \"two\",\n \"2\"\n ],\n [\n \"A young scientist\",\n \"analyzes love scientifically\"\n ],\n [\n \"A old poet.\",\n \"uses his emotions and feelings mainly\"\n ],\n [\n \"Their different philosophies about love and sex.\",\n \"love and sex\"\n ],\n [\n \"Herbert Wace\",\n \"Herbert Wace\"\n ],\n [\n \"Dane Kempton\",\n \"Dane Kempton\"\n ],\n [\n \"Health, sanity, and compatibility.\",\n \"reason and intellect\"\n ],\n [\n \"Romance\",\n \"feeling and emotion\"\n ],\n [\n \"\\\"Mother-Woman\\\" and \\\"Mate-Woman\\\"\",\n \"\\\"Mother-woman\\\" and \\\"Mate-woman\\\"\"\n ],\n [\n \"Both positively and negatively.\",\n \"Initially, there was a good response, but later critics were not impressed.\"\n ],\n [\n \"As a series of letters.\",\n \"as a series of letters between two men\"\n ],\n [\n \"The Crowd.\",\n \"The Crowd\"\n ],\n [\n \"Jack London.\",\n \"Jack Landon\"\n ],\n [\n \"Science and poetry.\",\n \"feelings and emotions compared to love\"\n ],\n [\n \"Anna Strunsky.\",\n \"Anna Strunsky\"\n ],\n [\n \"Kempton's Letters.\",\n \"Dane Kempton\"\n ],\n [\n \"The anonymity of the writers.\",\n \"because they were published anonymously \"\n ],\n [\n \"For the light they shed on London's life and ideas.\",\n \"it sheds light on Jack London's life\"\n ],\n [\n \"They divorce.\",\n \"they were divorced\"\n ],\n [\n \"1916.\",\n \"1916\"\n ],\n [\n \"The Masses.\",\n \"The Masses in 1917\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"06b1c16f9343dfe145570e28e0fe81ddc66cf1ea"},"split":{"kind":"string","value":"test"}}},{"rowIdx":50,"cells":{"text":{"kind":"list like","value":[[" Mohammed Ali Paula Abdul Rahim. My main \n nigga! \n \n The two embrace in a warm hug. The White Accountant looks up \n in shock from the card table. His nametag is clearly visible, \n and it reads, \"WHITE ACCOUNTANT.\" He points at Mohammed. \n \n WHITE ACCOUNTANT \n You...you just called him a Kike. \n \n He points to the Hammer. \n"," CHIEF (CONT'D) \n Please. Will you help me? \n \n HAMMER \n I love her sir. If I don't help you, I \n won't be able to make her my wife. \n Mohammed Ali Paula Abdul Rahim has agreed \n to come with me to the North Pole on a \n rescue mission. \n \n Mo, standing in the BG, gives the Chief the fist/chest \n salute."," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," about that crazy white boy who took over \n as Santa? \n \n MOHAMMED \n Oh, most definitely. Got the brothers \n here in full alert mode. \n \n The Hammer looks over at the Brothers smoking weed, making \n out with their girlfriends, etc. Mohammed takes notice. \n \n MOHAMMED (CONT'D) \n Gotta always be cool under pressure. You \n know what I'm sayin. \n"," The front doors bust open, and we DOLLY into the Hammer. \n \n All guns are trained on him. \n \n From behind the frontline of gunmen, MOHAMMED, clearly the \n leader of the operation, pushes his way through. \n \n He walks towards the Hammer. You can feel the tension in the \n room. \n \n MOHAMMED \n The Hebrew Hammer! My main Kike! \n \n HAMMER"," around his waist. The Hammer stops climbing for a second, and \n turns to him. \n \n HAMMER (CONT'D) \n You know, you don't have to hold on to my \n waist. You're tied in. \n \n Mo releases his arms from the Hammer's waist. Indeed, he is \n tied in. \n \n MOHAMMED \n I knew that. \n"," The Hammer wears Tefilon, consisting of leather straps with \n boxes, wrapped around his head and arms. He silently bows his \n head in front of the gigantic wall as he mumbles something to \n himself. Mo nervously scans the area for guards. \n \n MOHAMMED \n What are you doing? \n \n HAMMER \n Just praying to god that we don't kill \n ourselves going over this wall. \n"," Mo and the Hammer run into frame. Mo points to the other end \n of the hall. \n \n MOHAMMED \n There's Tiny Tim. \n \n Tiny Tim spots them and begins to hobble furiously away in \n the other direction. \n \n MOHAMMED (CONT'D) \n I'll take Tiny Tim. You go find your \n woman. \n \n Mo runs down the hallway after Tiny Tim. The Hammer turns"," Realizing that it'd be impossible to outrun him, Tiny Tim \n comes to a stop. \n \n Mo trains his pistol on him. \n \n MOHAMMED \n Now I'm gonna do to you what I should \n have done earlier. \n \n Tiny Tim closes his eyes in anticipation of the worst. \n \n Mo grabs both of his crutches from under his arm and runs \n off. Tiny Tim wobbles a few steps and then slumps down"," He grabs the laptop from the Hammer and looks at the screen. \n \n A picture of TAWANDA making out with a GERMAN man decked out \n in lederhosen on a rural German hillside. The two are \n surrounded by sheep. \n \n Mo gives a sigh of relief. \n \n MOHAMMED (CONT'D) \n Oy vey, that's almost as bad. That's \n Tawanda getting freaky with a notorious"," The sound of the footsteps passes. The Hammer makes the \n silent military \"eyes\" gesture to Mo by pointing two fingers \n at his eyes, indicating for him to check and see if the coast \n is clear. \n \n Mo bends out from the corner to look. Pennies fall from his \n pockets. \n \n MOHAMMED \n It's all clear. Let's go. \n \n The Hammer bends down to pick up the change. \n"," The other Brothers put their guns down and go back to their \n pre-Hammer activities, and the accountant takes his place \n back at the card table. \n \n Mohammed puts his arm around the Hammer. \n \n MOHAMMED \n So Morde-chai, tell me, what brings your \n bad self down to the KLF? \n \n HAMMER \n I'm back on the job for the JDL. You hear"," CUT TO: \n \n ANOTHER ROOM \n \n Mohammed escorts the Hammer through a love beaded doorway \n into a back room. Inside, JAMAL, a black elf, sits on a sofa. \n A blunt hangs from his mouth and his arms are wrapped around \n two GORGEOUS SISTERS. \n \n MOHAMMED (CONT'D) \n Jamal, I'd like for you to meet the"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," really hard on this one. But, please stop \n with the pressure. I'm already tense as \n it is. \n \n MOHAMMED \n It's cool. It's cool. Aveenooh Shalom \n Alechem, brother. \n \n Mohammed pounds his fist against his chest and then raises \n it. The Hammer returns the gesture. \n \n HAMMER \n Alekem Salam. \n"," pass by Sammy Davis Jr. Jr. The Hammer acknowledges him. \n \n HAMMER (CONT'D) \n Sammy Davis Jr. Jr. \n \n SAMMY DAVIS JR. JR. \n You two cats are beautiful. I love you \n guys. You take care babe. \n \n Mo whispers into the Hammer's ear. \n \n MOHAMMED \n What's wrong with him? \n"," pointing to his head. \n \n SANTA (CONT'D) \n Shoot me. Please, just one to the head. \n Put me out of misery. \n \n Mo enters the room. \n \n MOHAMMED \n Hammer, you alright? \n \n HAMMER \n Everything's kosher. Watch him for me. \n"," The two continue on down the hall. The Hammer spots another \n door, violently kicks it open, and enters. Again, the door \n shuts behind him followed by the sound of more INTENSE \n GUNFIRE. \n \n The Hammer exits. \n \n HAMMER (CONT'D) \n C'mon, let's go! \n \n Mo stops and looks at him. \n \n MOHAMMED \n What are you doing?"," HAMMER \n True dat. True dat. So, what's the word \n on the street? \n \n MOHAMMED \n Word is that papa's got a brand new bag, \n and it's velvety red, and it ain't gonna \n be overnight Fed-Exed to Jerusalem. If \n you know what I mean. \n \n This clearly flies over the Hammer's yarmulke. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"],[" nameplates hang from their necks - \"BLITZEN\" and \"RUDOLPH.\" \n \n At the other end of the table from Santa sits his son DAMIAN, \n quite a nasty looking man. \n \n SANTA CLAUS (CONT'D) \n My father, often referred to as St. Nick \n The Nasty, was a tyrannical man. He was \n obsessed with making Christmas the only \n holiday anyone could celebrate before the"," Damian, preoccupied with the cigarette he's attempting to \n light, looks up in response to his name. \n A brown bagged bottle of booze now sits on the table in front \n of him. We can see Santa and the reindeer in silhouette on \n the slide projection screen behind him. \n \n SANTA CLAUS (CONT'D) \n The heir to the Red Suit could be so \n filled with hate. \n \n Santa addresses Damian."," Santa holds a walkie-talkie in hand and we the hear the voice \n of the Salvation Navy Guy. Although behind him hangs a banner \n reading, \"SANTA'S WORKSHOP,\" the interior is a run down \n sweatshop. \n \n SALVATION NAVY GUY (O.S.) \n It's me. He's on his way. \n \n SANTA \n Excellent. Everything is going as \n planned. \n"," SANTA \n Yes maam, loud and clear. \n \n Tiny Tim enters the room. He has a black eye and his clothing \n is torn. \n \n SASSY BLACK PROSTITUTE \n Damn sugar, what happened to you? \n \n TINY TIM \n Santa, I got some really bad news. \n \n EXT. COMPOUND PERIMETER WALL - DAY \n"," Santa, running for his life, rounds the corner. He stops dead \n in his tracks as he spots the Hammer. \n \n The two look at one another for a brief moment, and then \n Santa points at something behind the Hammer. \n \n SANTA \n Hey, what's that over there? Is that a \n bowl of Matzah Ball soup? \n \n The Hammer looks behind him. Nothing. He turns back to find \n Santa long gone. \n"," attempting to make their way past the red curtain to see \n Santa. A huge 'Citizen Kane'/Big Brother style poster with a \n menacing picture of Santa looms behind them. It reads, \"SANTA \n CLAUS: HE KNOWS IF YOU'VE BEEN NAUGHTY OR NICE.\" \n \n Santa's staging area is very Studio 54. Both Tony and Mikey \n are decked out in Addidas warm up pants, gold chains, etc."," Damian walks over to the newly deceased Santa, takes his \n bloodstained Santa's hat, and put it on his own head. From \n this point on in the screenplay, Damian will now be referred \n to as SANTA. \n \n The elves in the room, in various stages of shock, stare at \n their new master in horror. \n \n SANTA \n What are you fucking midgets looking at!?"," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," Santa today, so why don't you just turn \n around and high tail it home. \n \n The kid begins to sob uncontrollably. \n \n FRECKLE FACED GENTILE BOY \n But I've been waiting to see Santa all \n year. \n \n Tony apes him. \n \n TONY \n But I've been waiting to see Santa all \n year. \n"," the Hammer blows it out of his hand. \n \n It lands on the other side of the room. Santa looks up from \n his empty hand. \n \n SANTA \n Get him boys! \n \n Santa's Elf Thugs open a CHEST filled with LARGE SUB-MACHINE \n GUNS. The chest is labeled \"HEAVY ARTILLERY.\" With great \n difficulty, they struggle to pull the heavy machinery out of \n the box. \n"," been a very good boy this year. Run along \n now Jimmy. \n \n Bambi and Tawni escort Jimmy out, and re-enter with Esther \n and the Hammer. Santa's confused. \n \n SANTA (CONT'D) \n Sorry folks, I don't do couples. \n \n HAMMER \n If you keep your mouth shut and come with \n me, you won't get hurt. \n \n SANTA"," SANTA \n Yeah. This is a sweatshop. And since you \n elves aren't willing to do the work, I \n made arrangements to have some Taiwanese \n children shipped over. And I might add, \n they're more than willing to work for \n peanuts. \n \n Santa performs the two fingered whistle. \n \n SANTA (CONT'D) \n Come on in boys! \n"," Santa sits at the head of his conference table. Tawni and \n Bambi sit on his lap. A cigarette dangles from his mouth, and \n he holds a giant glass of eggnog in his hand. Rudolph stands \n in the corner of the room. \n \n SANTA \n Rudolph, more egg nog! \n \n Rudolph, equipped with a tray around his neck holding a glass \n of egg nog, walks over. Santa stares at him antagonistically"," More scared reindeer faces. Comet furtively motions towards \n Rudolph with his antlers. Santa sees this, marches quickly up \n to Rudolph, and gets in his face. \n \n SANTA (CONT'D) \n What's your major malfunction, dumbfuck!? \n \n Rudolph's scared shitless. \n \n SANTA (CONT'D) \n Step forward son! \n"," Santa puts the walkie-talkie down, and addresses somebody \n O.S. \n \n SANTA (CONT'D) \n With the Hebrew Hammer out of the \n picture, Hanukkah will be nothing more \n than a confusing and hard to pronounce \n word. I want to thank you very much Jamal \n for all of your help. \n \n We cut to the other side to reveal whom he's speaking to."," MRS. CARVER \n I forgot to ask you, who'd they put in \n charge as the new Santa Claus? \n \n HAMMER \n Since Santa will be living out the rest \n of his days at a home for the \n religionally insane and because he had no \n blood heirs, the Kwanzaa Liberation Front \n and the Jewish Defense League agreed to \n make the whole Santa Claus process a"," his right. Below the picture frame is a plaque reading \"St. \n Nick the Nervous. 1871-1941\", we continue a slow DOLLY to the \n right on to the next picture. \n \n We see another Santa Claus, much more treacherous in his \n appearance. His eyes are fixed menacingly on the picture of \n Santa to his left. The plaque below his picture read, \"St. \n Nick The Nasty 1941-1970.\""," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," SANTA CLAUS (CONT'D) \n Damian, when I learned of your ludicrous \n scheme to wipe out Hanukkah, my first \n reaction was one of disgust. Now, I'm \n only filled with sadness and \n disappointment. Disappointed that I \n failed to teach you the true meaning of \n Christmas. What do you have to say for \n yourself? \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."],[" SANTA CLAUS (CONT'D) \n Damian, when I learned of your ludicrous \n scheme to wipe out Hanukkah, my first \n reaction was one of disgust. Now, I'm \n only filled with sadness and \n disappointment. Disappointed that I \n failed to teach you the true meaning of \n Christmas. What do you have to say for \n yourself? \n"," Damian, preoccupied with the cigarette he's attempting to \n light, looks up in response to his name. \n A brown bagged bottle of booze now sits on the table in front \n of him. We can see Santa and the reindeer in silhouette on \n the slide projection screen behind him. \n \n SANTA CLAUS (CONT'D) \n The heir to the Red Suit could be so \n filled with hate. \n \n Santa addresses Damian."," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," that 'Dreidel, dreidel, dreidel' and 'I'm \n dreaming of a bright Kwanzaa' be taught \n and sung in elementary schools along with \n the Christmas standards 'Frosty The \n Snowman', and 'Deck The Halls.' \n Which is why upon examination of my \n annual naughty and nice list it shocked \n me to discover that my own son, Damian... \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," Tiny Tim, walkie-talkie in hand, surveys this Christmas \n Wonderland with smug satisfaction. He spots a small, barely \n visible Hanukkah decoration poking out from beneath one of \n the other Christmas decorations. \n \n He rips it from the wall and tosses it into a small trashcan \n bonfire. \n \n Tiny Tim speaks into his the walkie-talkie. \n \n TINY TIM"," Damian walks over to the newly deceased Santa, takes his \n bloodstained Santa's hat, and put it on his own head. From \n this point on in the screenplay, Damian will now be referred \n to as SANTA. \n \n The elves in the room, in various stages of shock, stare at \n their new master in horror. \n \n SANTA \n What are you fucking midgets looking at!?"," nameplates hang from their necks - \"BLITZEN\" and \"RUDOLPH.\" \n \n At the other end of the table from Santa sits his son DAMIAN, \n quite a nasty looking man. \n \n SANTA CLAUS (CONT'D) \n My father, often referred to as St. Nick \n The Nasty, was a tyrannical man. He was \n obsessed with making Christmas the only \n holiday anyone could celebrate before the"," We being a SLOW PUSH into Damian as he ponders the question. \n The cigarette dangles from his lips. \n \n Rudolph nods to Blitzen. Blitzen returns the gesture with a \n nod of acknowledgment. \n \n With a slow and measured pace Damian says... \n \n DAMIAN \n Ho. Ho. Ho. \n \n On the slide projector screen behind Damian, we see the"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," one day of the year pretend to forgive \n him for all the horrible things he did to \n me as a young boy when my mommy wasn't \n looking? \n \n SANTA \n No dipshit, I want you to kill him. \n \n He thinks about it. \n \n TINY TIM \n Oh. \n \n SANTA \n Santa's gonna take the sled back to the"," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," We TILT down to reveal a BLUE GLOWING SUBSTANCE in its base. \n \n Santa comes back on screen. \n \n SANTA (CONT'D) \n Once I extract the Judeum from the clock, \n the Jewish Calendar will cease to exist, \n forever eradicating Hanukkah. In less \n than twenty four hours, which by your \n Jewish Calendar is approximately... \n"," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"," Hey everybody. How's it hangin'? \n \n SANTA \n In fact, he's just informed me that he \n personally plans on cancelling Christmas \n this year. \n \n The Hammer and Esther look to one another. This riles the \n masses. Trouble. \n \n SANTA (CONT'D) \n Why don't we show him how that makes us \n feel. \n"," The fate of Hanukkah. Right. Right. Yeah, \n Got it. Will do. Okay, bye now. \n \n He hangs up and leaves. \n \n STAR OF DAVID WIPE TO: \n \n INT. MALL OF AMERICA - DAY \n \n 'Merry Christmas' decorations and signage dominate the \n landscape of the establishing shot of the Mall. \n"," silhouetted images of Blitzen and Rudolph goring Santa \n through the chest with their antlers. Damian cringes. \n \n Blood trickles from Santa's mouth, and with his last breath \n he utters the words... \n \n SANTA CLAUS \n Et tu, Blitzen? \n \n Santa falls out of frame with a thud. Standing behind him \n with bloodied antlers is Blitzen. \n"," Sabbath. C'mon, get up. We've got him \n beat. \n \n The Hammer's POV as Santa and his thugs approach him \n cautiously. \n \n SANTA (CONT'D) \n Well, well, well. It looks as if the \n Hebrew Hammer's got a weakness after all. \n \n Santa turns to his thugs. \n \n SANTA (CONT'D)"," What time is it? \n \n TINY TIM \n I don't know. About sundown I guess. \n \n Santa makes the connection. \n \n SANTA \n Why didn't I think of this? It's the \n Sabbath. \n \n A blank look from Tiny Tim. \n \n SANTA (CONT'D) \n The day of rest. He can't fight on the"," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"],[" really hard on this one. But, please stop \n with the pressure. I'm already tense as \n it is. \n \n MOHAMMED \n It's cool. It's cool. Aveenooh Shalom \n Alechem, brother. \n \n Mohammed pounds his fist against his chest and then raises \n it. The Hammer returns the gesture. \n \n HAMMER \n Alekem Salam. \n"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," What time is it? \n \n TINY TIM \n I don't know. About sundown I guess. \n \n Santa makes the connection. \n \n SANTA \n Why didn't I think of this? It's the \n Sabbath. \n \n A blank look from Tiny Tim. \n \n SANTA (CONT'D) \n The day of rest. He can't fight on the"," the blessings I've received over the past \n year. A beautiful fiancee... \n \n Esther smiles. \n \n HAMMER (CONT'D) \n ...a wonderful mother... \n \n Mrs. Carver is as proud as can be... \n \n HAMMER (CONT'D) \n ...and the opportunity to help my \n brothers and sisters in the Jewish \n community. \n \n MRS. CARVER"," Americans could all observe their \n respective holidays in harmony. \n \n We see a slide of THE HEBREW HAMMER, an African American man \n (Mohammed), and Santa Claus arm in arm below a banner in a \n mall reading \"HAPPY HOLIDAYS!\" \n \n SANTA CLAUS (CONT'D) \n I was responsible for pushing the Happy \n Holidays Ordinance, in which all Merry"," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"," CHIEF \n The time for action is now. We predict \n that the St. Nick Day Massacre will put \n Hanukkah-Christmas relations back at \n least a hundred years. With this \n meshuggena new Santa Claus in power, \n Hanukkah is in jeopardy. Our first order \n of business is to put into motion a plan \n to create goodwill towards the Jewish \n Community. Mr. Chairman of the Worldwide"," Christmas signage was replaced by the \n Trans-relgious and inoffensive phrase \n 'Happy Holidays.' \n \n We see another slide in which an assembly of SCHOOLCHILDREN \n are singing. \n \n SANTA CLAUS (CONT'D) \n It was nearly a decade ago, in \n conjunction with our friends in the \n Jewish and African American communities \n that I supported a bill that mandated"," Yeah, yeah, that's right. We were just \n about to leave. C'mon Teddy. \n \n The two run off. \n \n The Hammer looks down to Shlomo. His spirit seems broken. \n \n HAMMER \n You alright? \n \n SHLOMO \n I guess. Sometimes I wonder why I even \n bother praying to one god. \n \n HAMMER"," Afterwards they'll make the decision as \n to whether or not they'd like to continue \n their religious studies in Israel. \n Because, hey, after all we'll have \n practiced the highly effective assertive \n democratic style of child rearing, \n sprinkled with a healthy dose of \n liberalism. \n \n She's on fire for him. \n \n ESTHER"," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," This puts the Hammer into a neurotic fit. \n \n HAMMER \n Oh. Oh, What. So, all of a sudden my \n saving Hanukkah's not good enough for \n you? Is that what your saying? \n \n Mrs. Carver throws her arms up in resignation. \n \n MRS. CARVER \n I don't want to argue with you. Let's \n just eat in peace. \n"," The other Brothers put their guns down and go back to their \n pre-Hammer activities, and the accountant takes his place \n back at the card table. \n \n Mohammed puts his arm around the Hammer. \n \n MOHAMMED \n So Morde-chai, tell me, what brings your \n bad self down to the KLF? \n \n HAMMER \n I'm back on the job for the JDL. You hear"," belong. Fuck Christmas. I'm all about \n smoking blunts and pimpin' bitches. I'm \n all about Kwanzaa nigga! \n \n Mohammed and the Hammer head towards the door. \n \n MOHAMMED \n He's new. He's still got a long way to go \n before he understands the true meaning of \n Kwanzaa. \n \n HAMMER"," The sound of the footsteps passes. The Hammer makes the \n silent military \"eyes\" gesture to Mo by pointing two fingers \n at his eyes, indicating for him to check and see if the coast \n is clear. \n \n Mo bends out from the corner to look. Pennies fall from his \n pockets. \n \n MOHAMMED \n It's all clear. Let's go. \n \n The Hammer bends down to pick up the change. \n"," Gentleman! Please! \n \n Still chaos. He flips a light switch on and off a few times \n as he says... \n \n CHIEF (CONT'D) \n Sheket B'vakasha! Sheket B'vakasha! \n \n The entire hall responds in unison... \n \n HALL \n Hey! \n \n The room falls silent. Every member of the JDL sits straight \n up with their hands folded in front of them."," the twelve should be, followed by \"Passover\", etc. In the \n center of the face, an odometer-like gauge reveals the year \n '5734.' At its base, the brilliant blue Judeum glows \n brightly. \n \n Santa barks out orders. \n \n SANTA (CONT'D) \n Get moving! We've got work to do! \n \n One of the thugs pushes play on a ghetto blaster and the song"," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"," similar sign reading, \"KYKES GO HOME\" is turned outwards by \n ANOTHER CLERK. He continues past yet another building as a \n sign reading, \"MONOTHEISTS NEED NOT APPLY\" is displayed by a \n THIRD CLERK for Morty's benefit. \n \n Morty looks across the street. \n \n A sign hangs from a storefront reading \"JEWS OK FOR ABOUT 5"],[" Realizing that it'd be impossible to outrun him, Tiny Tim \n comes to a stop. \n \n Mo trains his pistol on him. \n \n MOHAMMED \n Now I'm gonna do to you what I should \n have done earlier. \n \n Tiny Tim closes his eyes in anticipation of the worst. \n \n Mo grabs both of his crutches from under his arm and runs \n off. Tiny Tim wobbles a few steps and then slumps down"," We do another QUICK PUSH into the Hammer as he turns towards \n Tiny Tim. \n \n Tiny Tim, standing alone with his crutches tucked under his \n arms, looks like a deer caught in headlights. \n \n The Hammer grins mischievously. \n \n TINY TIM \n Uh oh. \n \n The Hammer begins firing. \n \n In SLOW-MOTION, Tiny Tim hobbles as fast as he can towards an"," towards the other direction to find... \n \n TWO ELVES on multi-colored MOPEDS comin' right for him. \n \n The Hammer stands motionless as the Elves gain ground. \n \n Right before they reach him, the Hammer quickly pulls his \n Talis off of his neck and holds it outstretched, \n clotheslining the two off of their mopeds. \n \n The elves are out cold. The Hammer admires his work. \n"," sound of SHOTGUNS BLASTING and then the sounds of intense \n FIGHTING. A few seconds of the fighting sounds pass. \n \n Suddenly, the front doors bust open and a few bloodied \n Skinheads fall out onto the ground, followed by the Hammer. \n He's untouched, and he carries the bottle of Manischewitz in \n one hand and a shotgun in the other. \n \n He stops in the MIDGROUND, and pours the Manischewitz out on"," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"," Mo and the Hammer run into frame. Mo points to the other end \n of the hall. \n \n MOHAMMED \n There's Tiny Tim. \n \n Tiny Tim spots them and begins to hobble furiously away in \n the other direction. \n \n MOHAMMED (CONT'D) \n I'll take Tiny Tim. You go find your \n woman. \n \n Mo runs down the hallway after Tiny Tim. The Hammer turns"," the astroturf lawn in a methodical manner. \n \n He approaches FOREGROUND, and pulls out something from his \n jacket pocket. \n \n We see a CU of the same matchbook the elf gave him. \"DUKE'S - \n WHERE SKIN IS IN.\" \n \n He lights a match and tosses it over his shoulder. We hear \n the sounds of bursting flames. \n \n The Hammer puts his sunglasses on, and walks straight past \n the camera."," THRONG (O.S.) \n Where'd they go? I saw them go down that \n hallway. C'mon, let's get em'! \n \n Hammer turns to Esther defeated. \n \n HAMMER \n It's over. We're doomed. \n \n The barely audible sound of a gospelized version of the \n Biblical slave song, \"Let My People Go\" sounds as if it's"," He turns his attention to Esther. \n \n HAMMER (CONT'D) \n Alone. \n \n The Hammer exits. Esther is dejected. \n \n CHIEF \n Tail him. He's gonna need the help. \n \n STAR OF DAVID WIPE TO: \n \n EXT. BEN GURION AIRPORT - ISRAEL - DAY \n"," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," CUT TO: \n \n AN EMPTY SECTION OF THE MALL - MOMENTS LATER \n \n We hold a few beats on a shot of this fairly untrafficked \n portion of the mall. \n \n Suddenly, Esther and the Hammer haul ass around the corner, \n running for their lives. \n \n A second or two pass, and an ANGRY MOB of about twenty \n Gentile children round the corner after them. They're"," BACK to reveal the Hammer throttling a monstrous HARLEY \n CHOPPER MOTORCYCLE. \n \n The Hammer's Talis flaps wildly in the wind. His Shtreml \n helmet is strapped on tight over his goggles. \n \n The scenery, oddly enough, resembles the Mojave Desert. \n \n We cut to a sign reading \"THE WEST BANK PALMS: A GATED"," What are we going to do? We're at least \n an hour from the front. \n \n HAMMER \n C'mon follow me. \n \n The two make their way up to the front of the line. They pass \n a man who looks eerily like ex-rapping god, MC HAMMER. \n \n ESTHER \n (To Hammer) \n Is that...? No, couldn't be. \n \n TONY"," The Chief shakes his head yes. \n \n HAMMER (CONT'D) \n There won't be any need for that sir. \n \n CHIEF \n Hammer, the fate of my daughter rests \n solely in your hands. \n \n HAMMER \n I know sir. I won't let you down. \n \n The Hammer motions to Mo, and the two begin to leave. They"," We cut back to the Hammer. The speed with which he shoots \n begins to slow. \n \n Esther, checking the clock for damage calls to him. \n \n ESTHER \n What's the matter? \n \n HAMMER \n I don't know. I'm feeling kind of tired. \n \n We cut back to Santa and Tiny Tim underneath the table. We \n HEAR the shooting continue to slow, until finally it ceases"," altogether. Santa and Tiny Tim exchange looks. \n \n SANTA \n What's going on? Why'd he stop? \n \n TINY TIM \n Maybe he ran out of ammo. \n \n SANTA \n Take a look. \n \n Tiny Tim pokes his head over the table to see... \n \n The Hammer and Esther lie together slumped up against the \n wall. They look exhausted. \n"," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," The sound of the footsteps passes. The Hammer makes the \n silent military \"eyes\" gesture to Mo by pointing two fingers \n at his eyes, indicating for him to check and see if the coast \n is clear. \n \n Mo bends out from the corner to look. Pennies fall from his \n pockets. \n \n MOHAMMED \n It's all clear. Let's go. \n \n The Hammer bends down to pick up the change. \n"," The front doors bust open, and we DOLLY into the Hammer. \n \n All guns are trained on him. \n \n From behind the frontline of gunmen, MOHAMMED, clearly the \n leader of the operation, pushes his way through. \n \n He walks towards the Hammer. You can feel the tension in the \n room. \n \n MOHAMMED \n The Hebrew Hammer! My main Kike! \n \n HAMMER"],[" Damian, preoccupied with the cigarette he's attempting to \n light, looks up in response to his name. \n A brown bagged bottle of booze now sits on the table in front \n of him. We can see Santa and the reindeer in silhouette on \n the slide projection screen behind him. \n \n SANTA CLAUS (CONT'D) \n The heir to the Red Suit could be so \n filled with hate. \n \n Santa addresses Damian."," Damian walks over to the newly deceased Santa, takes his \n bloodstained Santa's hat, and put it on his own head. From \n this point on in the screenplay, Damian will now be referred \n to as SANTA. \n \n The elves in the room, in various stages of shock, stare at \n their new master in horror. \n \n SANTA \n What are you fucking midgets looking at!?"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," We being a SLOW PUSH into Damian as he ponders the question. \n The cigarette dangles from his lips. \n \n Rudolph nods to Blitzen. Blitzen returns the gesture with a \n nod of acknowledgment. \n \n With a slow and measured pace Damian says... \n \n DAMIAN \n Ho. Ho. Ho. \n \n On the slide projector screen behind Damian, we see the"," SANTA CLAUS (CONT'D) \n Damian, when I learned of your ludicrous \n scheme to wipe out Hanukkah, my first \n reaction was one of disgust. Now, I'm \n only filled with sadness and \n disappointment. Disappointed that I \n failed to teach you the true meaning of \n Christmas. What do you have to say for \n yourself? \n"," Oh Mordechai, you know how I detest gore. \n \n HAMMER \n Well then maybe you should have thought \n about that before you ran with him. \n C'mon, let's get you back to Washington. \n \n And we PULL out as the three make their way down the hallway. \n \n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \n"," Realizing that it'd be impossible to outrun him, Tiny Tim \n comes to a stop. \n \n Mo trains his pistol on him. \n \n MOHAMMED \n Now I'm gonna do to you what I should \n have done earlier. \n \n Tiny Tim closes his eyes in anticipation of the worst. \n \n Mo grabs both of his crutches from under his arm and runs \n off. Tiny Tim wobbles a few steps and then slumps down"," silhouetted images of Blitzen and Rudolph goring Santa \n through the chest with their antlers. Damian cringes. \n \n Blood trickles from Santa's mouth, and with his last breath \n he utters the words... \n \n SANTA CLAUS \n Et tu, Blitzen? \n \n Santa falls out of frame with a thud. Standing behind him \n with bloodied antlers is Blitzen. \n"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," HAMMER \n Damn! \n \n He takes off down the hall after Santa. \n \n CUT TO: \n \n ANOTHER CORRIDOR \n \n Mo catches up to the hobbling Tiny Tim, and begins to mock \n the manner and speed at which he runs, running side by side \n with him, circling around him as he attempts to get away, \n etc. \n"," nameplates hang from their necks - \"BLITZEN\" and \"RUDOLPH.\" \n \n At the other end of the table from Santa sits his son DAMIAN, \n quite a nasty looking man. \n \n SANTA CLAUS (CONT'D) \n My father, often referred to as St. Nick \n The Nasty, was a tyrannical man. He was \n obsessed with making Christmas the only \n holiday anyone could celebrate before the"," The Hammer's confused. \n \n HAMMER \n But if I kill you, then you'll be dead. \n \n Santa thinks about this for a couple seconds. \n \n SANTA \n Good point. \n \n The Hammer looks up from his interrogation and spots a sign \n taped to a door directly behind Santa. It reads, \"THE ROOM \n WHERE THE HEBREW HAMMER'S GIRLFRIEND IS.\" \n"," his right. Below the picture frame is a plaque reading \"St. \n Nick the Nervous. 1871-1941\", we continue a slow DOLLY to the \n right on to the next picture. \n \n We see another Santa Claus, much more treacherous in his \n appearance. His eyes are fixed menacingly on the picture of \n Santa to his left. The plaque below his picture read, \"St. \n Nick The Nasty 1941-1970.\""," We cut back to the Hammer. The speed with which he shoots \n begins to slow. \n \n Esther, checking the clock for damage calls to him. \n \n ESTHER \n What's the matter? \n \n HAMMER \n I don't know. I'm feeling kind of tired. \n \n We cut back to Santa and Tiny Tim underneath the table. We \n HEAR the shooting continue to slow, until finally it ceases"," The kid is a pathetic mess. \n \n TONY (CONT'D) \n You heard me. Get moving punk! \n \n CUT TO: \n \n The Hammer and Esther scope out the area. The Hammer is \n disguised terribly, consisting of a baseball hat on top of \n his Shtreml, and a Jesus Fish T-shirt worn over his black \n suit. Esther's visibly nervous. \n \n ESTHER"," The other Teenage Gentile excitedly extends his hands to \n catch, but right before it reaches him another hand comes \n into frame and snatches it. He looks up, and we cut to his... \n \n POV as we tilt up to reveal The Hammer. He looks pretty damn \n big and pissed off from this angle. \n \n The Teenage Gentile begins to shake and stammer. \n \n TEENAGE GENTILE (CONT'D)"," We pull back into a SPINNING OVERHEAD to reveal flames in the \n shape of the STAR OF DAVID burning on the lawn. \n \n FADE TO BLACK. \n \n PUSHERMAN MONTAGE \n \n Curtis Mayfield's 'Pusherman' FADES UP, and we cut into a \n STILL PHOTO of Tiny Tim with his arms around two Hasidic boys"," We do another QUICK PUSH into the Hammer as he turns towards \n Tiny Tim. \n \n Tiny Tim, standing alone with his crutches tucked under his \n arms, looks like a deer caught in headlights. \n \n The Hammer grins mischievously. \n \n TINY TIM \n Uh oh. \n \n The Hammer begins firing. \n \n In SLOW-MOTION, Tiny Tim hobbles as fast as he can towards an"," Mo and the Hammer run into frame. Mo points to the other end \n of the hall. \n \n MOHAMMED \n There's Tiny Tim. \n \n Tiny Tim spots them and begins to hobble furiously away in \n the other direction. \n \n MOHAMMED (CONT'D) \n I'll take Tiny Tim. You go find your \n woman. \n \n Mo runs down the hallway after Tiny Tim. The Hammer turns"," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"],[" Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," gun. He raises it at the Hammer, ready to fire. \n \n ESTHER \n Mordechai! Behind you! \n \n The Hammer turns and nails the elf just in time. \n \n Esther, gun drawn, backs up into frame with the Hammer, and \n the two fire off rounds. \n \n HAMMER \n What are you doing here? \n \n ESTHER"," North Pole and celebrate his victory with \n his new stocking stuffer. \n \n Santa grabs Esther and attempts to pull her up. The Hammer \n holds on tightly to her other hand, but isn't strong enough \n to resist Santa's might. Esther's hand is pulled from his \n firm grip, and Santa takes her into his arms. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai!"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," Wow, that was amazing. \n \n The Hammer gives her ass a smack, and then picks up a \n container filled with some kind of WHITE POWDER. \n He snorts a bit of it off of the Star Of David chain that \n hangs from his neck, and places the container of white powder \n back in its place by the menorah. \n \n Esther is mortified. \n \n ESTHER (CONT'D) \n What did you just snort? \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," with one another, arm in arm. \n \n CHAIM FEYGELE (CONT'D) \n The name's Feygele. Chaim Feygele. \n \n This guy is clearly making the Hammer nervous. \n \n HAMMER \n Mordechai. My friends call me Morty. \n \n CHAIM FEYGELE \n So Morty, I just love a man in a black \n suit. Care to dance."," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," You mean like disco dancing or doing the \n funky chicke...Oh. I get it. \n \n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \n clearly outlined through her blouse. Now, the Hammer's really \n getting it. \n \n HAMMER (CONT'D) \n Now we're talking Boobola. \n \n ESTHER \n Mordechai? \n"],[" MINUTES.\" The FOURTH CLERK gives him the thumbs up. \n \n Morty finds a spot on the sidewalk outside the building and \n pulls out his dreidel. \n \n He spins it, and we hold on the spinning top for a few beats \n as Morty stares at in wonderment. \n \n Suddenly, a huge black boot comes crashing down into frame \n and smashes the little dreidel. Mordechai slowly looks up. \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," appears genuinely concerned by the teasing Mordechai has \n weathered. She walks over to comfort him. \n \n MRS. HIGHSMITH \n Now, now class let's not make fun of \n Mordechai's spinning top. We need to all \n learn the importance of tolerance and \n understanding. Isn't that right \n Mordechai? \n \n MORDECHAI \n Yes Mrs. Highsmith. \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," GENTILE BOY 1 \n Hey everybody! Look what Mordechai got. \n Nice spinning top Morty. \n \n The other children take notice of Mordechai's gift and begin \n to laugh. \n \n Mordechai is crushed. MRS. HIGHSMITH (40's), an incredibly \n Waspy teacher puts down her copy of 'Modern W.A.S.P.,' and"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," neck dripping with gold chains, steps up to the Hammer. He's \n got a huge phoney smile plastered across his face. \n \n CHAIM FEYGELE \n Well Shalom there mister! \n \n HAMMER \n Do we know each other? \n \n CHAIM FEYGELE \n No, but we have mutual friends. \n \n Chaim points to the dance floor. Another shot of men dancing"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," We cut to a SLOW-MOTION CU of Gentile Girl 1. She wears an \"I \n Love Jesus\" T-shirt and holds an adorable dog with a bow \n affixed to its head in her arms. It licks her on the face. \n \n We cut back to Mordechai. He looks down at his pathetic \n excuse for a present. He's on the verge of tears. \n \n Gentile Boy 1 calls to Mordechai as he drives his ATC. "," lunchbox tightly as he looks off into the distance. He's got \n quite a large bulge in his pants for a child his age. \n \n We see a menacing, EXTREMELY WIDE ANGLE shot of the school. \n Superimposed over the picture are the words, \"ST. PETER, \n PAUL, AND MARY PUBLIC ELEMENTARY SCHOOL.\" \n \n Mordechai takes a deep breath, and walks towards the school. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," The sound of the footsteps passes. The Hammer makes the \n silent military \"eyes\" gesture to Mo by pointing two fingers \n at his eyes, indicating for him to check and see if the coast \n is clear. \n \n Mo bends out from the corner to look. Pennies fall from his \n pockets. \n \n MOHAMMED \n It's all clear. Let's go. \n \n The Hammer bends down to pick up the change. \n"," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"],[" CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," Esther lifts her skirt a few inches. \n \n ESTHER \n Perhaps I can persuade him. \n \n STAR OF DAVID WIPE TO: \n \n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \n \n A shoddy low-rent office replete with Film Noirish lighting \n via the blinds. The Hammer fiddles with a dreidel as he sits"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," BANDLEADER notices the two walk in... \n \n BANDLEADER \n Hey! The Hebrew Hammer everybody! \n \n The Hammer raises his hand in acknowledgment. The entire bar \n cheers and applauds. \n \n Hammer escorts Esther to a table on the woman's side of the \n wall, and then walks around to the other side of the divider \n where he takes a seat opposite the wall from her. \n"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," TIKVA \n I understand that. I just thought that \n you might want to know. \n \n HAMMER \n (Beat) \n I'll be in my office. \n \n The Hammer walks into his private office and shuts the \n frosted glass door. We hold on what's stenciled on the \n outside of the door. The lettering reads, \"Mordechai"," MINUTES.\" The FOURTH CLERK gives him the thumbs up. \n \n Morty finds a spot on the sidewalk outside the building and \n pulls out his dreidel. \n \n He spins it, and we hold on the spinning top for a few beats \n as Morty stares at in wonderment. \n \n Suddenly, a huge black boot comes crashing down into frame \n and smashes the little dreidel. Mordechai slowly looks up. \n"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"],[" MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," her way to the front. A black skirt covers every inch of her \n sexy figure. \n \n ESTHER \n What about Mordechai Jefferson Carver? \n \n The hall fills with hushed voices as the various members of \n the JDL whisper to one another. \n \n CHIEF \n The Hebrew Hammer? No. No way. After the \n way he handled that situation in the West \n Bank? He's the only Jew in the world too"," We start CLOSE on a gift wrapped Hanukkah present. We pull \n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \n HAMMER, a baaad Jewish brother spins the package in his hands \n as he saunters down the street past a latke stand. He's a \n Semitic super stud straight out of a 70's Blaxploitation"," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," it. A COMPUTERIZED VOICE begins... \n \n COMPUTERIZED VOICE \n Jew Confirmation Test initiated. \n \n He's clearly irritated by this. \n \n HAMMER \n You've gotta be kidding me. They're still \n doing this? \n \n COMPUTERIZED VOICE \n Please state your full Hebrew name. \n \n HAMMER"," TIKVA \n I understand that. I just thought that \n you might want to know. \n \n HAMMER \n (Beat) \n I'll be in my office. \n \n The Hammer walks into his private office and shuts the \n frosted glass door. We hold on what's stenciled on the \n outside of the door. The lettering reads, \"Mordechai"," appears genuinely concerned by the teasing Mordechai has \n weathered. She walks over to comfort him. \n \n MRS. HIGHSMITH \n Now, now class let's not make fun of \n Mordechai's spinning top. We need to all \n learn the importance of tolerance and \n understanding. Isn't that right \n Mordechai? \n \n MORDECHAI \n Yes Mrs. Highsmith. \n"," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," The Hebrew Hammer? I've heard about this \n cat. Your beautiful babe. Keep on keeping \n on. \n \n The Hammer is a bit taken back. \n \n HAMMER \n Alright. I'll, uh, keep doing that. \n \n Sammy's all smiles. \n \n CHIEF \n Sammy, if you'll excuse us, Mordechai and"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," Chosen.\" The Hammer grabs a copy of the Chosen and hands it \n to Shlomo. \n \n SHLOMO \n Chaim Potok's The Chosen? \n \n HAMMER \n Get yourself home and watch this as soon \n as possible. \n \n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \n past the two. One of the ornaments makes a tinkling sound. \n"],[" The Hammer takes out his gun and points it Santa. \n \n HAMMER \n What's your shpiel, Santa? \n \n SANTA \n Whoa, whoa there. C'mon Mordechai, is \n this any way to treat an old family \n friend? Let's cut out all the \n unpleasantness. I admit, I went way \n overboard with the whole Hanukkah thing."," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," dragged away out of frame. \n \n Santa steps towards camera and surveys the room. \n \n SANTA \n The Jewish Atomic Clock. \n \n It's the kind of place where a giant telescope at an \n observatory would be housed. The clock is breathtaking in its \n size. On its face, in place of the standard numerals are the \n names of Jewish holidays. For example, \"Yom Kipur\" is where"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," Santa, running for his life, rounds the corner. He stops dead \n in his tracks as he spots the Hammer. \n \n The two look at one another for a brief moment, and then \n Santa points at something behind the Hammer. \n \n SANTA \n Hey, what's that over there? Is that a \n bowl of Matzah Ball soup? \n \n The Hammer looks behind him. Nothing. He turns back to find \n Santa long gone. \n"," the Hammer blows it out of his hand. \n \n It lands on the other side of the room. Santa looks up from \n his empty hand. \n \n SANTA \n Get him boys! \n \n Santa's Elf Thugs open a CHEST filled with LARGE SUB-MACHINE \n GUNS. The chest is labeled \"HEAVY ARTILLERY.\" With great \n difficulty, they struggle to pull the heavy machinery out of \n the box. \n"," Mo, get him out of my sight. \n \n Mo begins to take Santa away. \n \n The Hammer turns around. \n \n HAMMER (CONT'D) \n No, wait. I need closure here. \n (To Santa) \n I just wanna say one thing. You know \n where you messed up Santa? You \n underestimated the true meaning of \n Hanukkah. \n"," And to top it off, you didn't even have \n the courtesy to give me a proper hello \n when I entered the room. What have I ever \n done to you to be treated with such \n disrespect? \n \n Santa's a wreck. \n \n SANTA \n Please, make it stop. I'll do anything. \n Here take my gun. \n \n He hands his piece to the Hammer and kneels on the ground,"," forcing the reindeer to flinch. \n \n SANTA (CONT'D) \n I didn't think so. \n \n INT. JEWISH ATOMIC CLOCK - MOMENTS LATER \n \n Santa and his gang bust through the front doors, taking the \n TWO GUARDS by surprise. \n \n Santa's men quickly tie them up and duct tape their mouths \n shut as if out of 'Gulliver's travels.' The guards are"," other option but to use the most powerful \n weapon in the Jewish arsenal. \n \n The Hammer closes his eyes and puts his hands together as if \n in meditation. Santa looks around nervously. \n \n SANTA \n What are you doing? \n \n The Hammer meditates for a bit more. Suddenly, his eyes open \n and he begins... \n \n HAMMER \n I shlepped all the way to the North Pole"," INT. JEWISH ATOMIC CLOCK - CONTINUOUS \n \n Inside, Santa and his thugs hear the sound of the Chopper \n growing in strength. The ROAR of the engines is piercingly \n loud! And then nothing. \n \n A beat passes, and then the Hammer's motorcycle busts open \n the front door. \n \n An INSERT of the Hammer's bike skidding to a stop. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," Santa puts the walkie-talkie down, and addresses somebody \n O.S. \n \n SANTA (CONT'D) \n With the Hebrew Hammer out of the \n picture, Hanukkah will be nothing more \n than a confusing and hard to pronounce \n word. I want to thank you very much Jamal \n for all of your help. \n \n We cut to the other side to reveal whom he's speaking to."," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," Santa forces her out the front door, leaving Tiny Tim alone \n with the Hammer. O.S., we hear the sound of Santa's Sled \n taking off. \n \n TINY TIM \n Take a look Hammer. The clock's already \n beginning to power down. \n \n We see a shot of the elves pumping out the Judeum from the \n clock, and then tilt up to reveal its face. \n"," the twelve should be, followed by \"Passover\", etc. In the \n center of the face, an odometer-like gauge reveals the year \n '5734.' At its base, the brilliant blue Judeum glows \n brightly. \n \n Santa barks out orders. \n \n SANTA (CONT'D) \n Get moving! We've got work to do! \n \n One of the thugs pushes play on a ghetto blaster and the song"," Sabbath. C'mon, get up. We've got him \n beat. \n \n The Hammer's POV as Santa and his thugs approach him \n cautiously. \n \n SANTA (CONT'D) \n Well, well, well. It looks as if the \n Hebrew Hammer's got a weakness after all. \n \n Santa turns to his thugs. \n \n SANTA (CONT'D)"],[" Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," gun. He raises it at the Hammer, ready to fire. \n \n ESTHER \n Mordechai! Behind you! \n \n The Hammer turns and nails the elf just in time. \n \n Esther, gun drawn, backs up into frame with the Hammer, and \n the two fire off rounds. \n \n HAMMER \n What are you doing here? \n \n ESTHER"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," TIKVA \n I understand that. I just thought that \n you might want to know. \n \n HAMMER \n (Beat) \n I'll be in my office. \n \n The Hammer walks into his private office and shuts the \n frosted glass door. We hold on what's stenciled on the \n outside of the door. The lettering reads, \"Mordechai"," with one another, arm in arm. \n \n CHAIM FEYGELE (CONT'D) \n The name's Feygele. Chaim Feygele. \n \n This guy is clearly making the Hammer nervous. \n \n HAMMER \n Mordechai. My friends call me Morty. \n \n CHAIM FEYGELE \n So Morty, I just love a man in a black \n suit. Care to dance."],[" Damian, preoccupied with the cigarette he's attempting to \n light, looks up in response to his name. \n A brown bagged bottle of booze now sits on the table in front \n of him. We can see Santa and the reindeer in silhouette on \n the slide projection screen behind him. \n \n SANTA CLAUS (CONT'D) \n The heir to the Red Suit could be so \n filled with hate. \n \n Santa addresses Damian."," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," SANTA CLAUS (CONT'D) \n Damian, when I learned of your ludicrous \n scheme to wipe out Hanukkah, my first \n reaction was one of disgust. Now, I'm \n only filled with sadness and \n disappointment. Disappointed that I \n failed to teach you the true meaning of \n Christmas. What do you have to say for \n yourself? \n"," that 'Dreidel, dreidel, dreidel' and 'I'm \n dreaming of a bright Kwanzaa' be taught \n and sung in elementary schools along with \n the Christmas standards 'Frosty The \n Snowman', and 'Deck The Halls.' \n Which is why upon examination of my \n annual naughty and nice list it shocked \n me to discover that my own son, Damian... \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," nameplates hang from their necks - \"BLITZEN\" and \"RUDOLPH.\" \n \n At the other end of the table from Santa sits his son DAMIAN, \n quite a nasty looking man. \n \n SANTA CLAUS (CONT'D) \n My father, often referred to as St. Nick \n The Nasty, was a tyrannical man. He was \n obsessed with making Christmas the only \n holiday anyone could celebrate before the"," one day of the year pretend to forgive \n him for all the horrible things he did to \n me as a young boy when my mommy wasn't \n looking? \n \n SANTA \n No dipshit, I want you to kill him. \n \n He thinks about it. \n \n TINY TIM \n Oh. \n \n SANTA \n Santa's gonna take the sled back to the"," Tiny Tim, walkie-talkie in hand, surveys this Christmas \n Wonderland with smug satisfaction. He spots a small, barely \n visible Hanukkah decoration poking out from beneath one of \n the other Christmas decorations. \n \n He rips it from the wall and tosses it into a small trashcan \n bonfire. \n \n Tiny Tim speaks into his the walkie-talkie. \n \n TINY TIM"," We being a SLOW PUSH into Damian as he ponders the question. \n The cigarette dangles from his lips. \n \n Rudolph nods to Blitzen. Blitzen returns the gesture with a \n nod of acknowledgment. \n \n With a slow and measured pace Damian says... \n \n DAMIAN \n Ho. Ho. Ho. \n \n On the slide projector screen behind Damian, we see the"," Damian walks over to the newly deceased Santa, takes his \n bloodstained Santa's hat, and put it on his own head. From \n this point on in the screenplay, Damian will now be referred \n to as SANTA. \n \n The elves in the room, in various stages of shock, stare at \n their new master in horror. \n \n SANTA \n What are you fucking midgets looking at!?"," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," belong. Fuck Christmas. I'm all about \n smoking blunts and pimpin' bitches. I'm \n all about Kwanzaa nigga! \n \n Mohammed and the Hammer head towards the door. \n \n MOHAMMED \n He's new. He's still got a long way to go \n before he understands the true meaning of \n Kwanzaa. \n \n HAMMER"," silhouetted images of Blitzen and Rudolph goring Santa \n through the chest with their antlers. Damian cringes. \n \n Blood trickles from Santa's mouth, and with his last breath \n he utters the words... \n \n SANTA CLAUS \n Et tu, Blitzen? \n \n Santa falls out of frame with a thud. Standing behind him \n with bloodied antlers is Blitzen. \n"," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"," I do know that it does have something to \n do with...dreidels, and... \n \n Esther chimes in. \n \n ESTHER \n ...and latkes. \n \n HAMMER \n And latkes! And some miracle oil that \n lasted eight days. And that my friend, \n should've been enough for you. Take him \n away Mo. \n \n Mo drags Santa out of the room. \n"," Go.\" Scribbled on the wall is the graffiti phrase, \"HANUKKAH \n NOW!\" \n \n The door opens, and the obnoxiously loud music spills out \n into the street. The Hammer and Esther exit, close the door, \n and push their way past the turnstiles into the alley. \n \n HAMMER \n That got annoying fairly quickly. \n \n ESTHER \n Yeah, no kidding. \n"," that motherfucker kills his own pops, \n then he start talkin' 'bout bustin a cap \n in Hanukkah's ass. Next, the racist \n motherfucker kick my ass out the \n workshop, sayin' that there ain't no room \n for no little colored elves like me. Can \n you believe that shit? Yo, if it wasn't \n for the arthritis in my joints, you best"," What time is it? \n \n TINY TIM \n I don't know. About sundown I guess. \n \n Santa makes the connection. \n \n SANTA \n Why didn't I think of this? It's the \n Sabbath. \n \n A blank look from Tiny Tim. \n \n SANTA (CONT'D) \n The day of rest. He can't fight on the"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," her to try and recruit me back to save \n Hanukkah for them. What she doesn't seem \n to understand is that nothing, not even \n god himself could convince me to ever \n work for them again. \n \n ESTHER \n But Hanukkah's in dan... \n \n The Hammer cuts her off. \n \n HAMMER \n Not my problem. If you'll excuse me now,"],[" Jamal, the same black 'elf' from the Kwanzaa Liberation Front \n sits at the table across from Santa. \n \n JAMAL \n Pfff. Shit nigga, ain't no thang. Hey, yo \n Santy Claus, so does this mean that you \n gonna make me an official elf now? \n \n SANTA \n Can you believe this guy Tiny Tim? \n"," belong. Fuck Christmas. I'm all about \n smoking blunts and pimpin' bitches. I'm \n all about Kwanzaa nigga! \n \n Mohammed and the Hammer head towards the door. \n \n MOHAMMED \n He's new. He's still got a long way to go \n before he understands the true meaning of \n Kwanzaa. \n \n HAMMER"," Pro-Kwanzaa propaganda hang on the walls of the room, machine \n guns rest idly against sofas, blunts are passed around. \n We're talking Black Panthers here. A WHITE ACCOUNTANT counts \n money at a card table to the side of the room. \n \n The black teenager enters breathlessly. \n \n BLACK TEENAGER \n Hey, yo, we got ourselves a visitor. \n"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," We hear the sounds of a whole lot of GUNS being COCKED. \n \n Tiny Tim turns around to see the ENTIRE KWANZAA LIBERATION \n FRONT with their guns raised at him. Jamal, standing next to \n Mohammed, flashes Tiny Tim a smile. \n \n JAMAL \n Merry Kwanzaa nigga! \n \n STAR OF DAVID WIPE TO: \n"," Americans could all observe their \n respective holidays in harmony. \n \n We see a slide of THE HEBREW HAMMER, an African American man \n (Mohammed), and Santa Claus arm in arm below a banner in a \n mall reading \"HAPPY HOLIDAYS!\" \n \n SANTA CLAUS (CONT'D) \n I was responsible for pushing the Happy \n Holidays Ordinance, in which all Merry"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," that 'Dreidel, dreidel, dreidel' and 'I'm \n dreaming of a bright Kwanzaa' be taught \n and sung in elementary schools along with \n the Christmas standards 'Frosty The \n Snowman', and 'Deck The Halls.' \n Which is why upon examination of my \n annual naughty and nice list it shocked \n me to discover that my own son, Damian... \n"," MRS. CARVER \n I forgot to ask you, who'd they put in \n charge as the new Santa Claus? \n \n HAMMER \n Since Santa will be living out the rest \n of his days at a home for the \n religionally insane and because he had no \n blood heirs, the Kwanzaa Liberation Front \n and the Jewish Defense League agreed to \n make the whole Santa Claus process a"," EXT. GHETTO STREETS - DAY \n \n We see various shots of the Hammer's Caddy. The grill, the \n white wall tires, the fuzzy dreidel hanging from the rear \n view mirror, etc. Very 'Superfly.' \n \n EXT. KWANZAA LIBERATION FRONT - DAY \n \n We start on an incredibly impressive looking building. Over \n this we see the words \"KWANZAA LIBERATION FRONT\" typed out"," Thanks little brother, you've been a big \n help. \n \n JAMAL \n Shit fool, ain't no thang. If it wasn't \n for my real brothers here at the K.L.F., \n I'd be shining shoes at the train station \n or getting my afro tossed up against a \n velcro wall in some redneck bar \n somewhere. I finally gots a place where I"," that motherfucker kills his own pops, \n then he start talkin' 'bout bustin a cap \n in Hanukkah's ass. Next, the racist \n motherfucker kick my ass out the \n workshop, sayin' that there ain't no room \n for no little colored elves like me. Can \n you believe that shit? Yo, if it wasn't \n for the arthritis in my joints, you best"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," The Hammer's Caddy pulls up to a stop right at camera, giving \n us a full view of the license plate. It reads, \"LCHAIM.\" \n \n INT. KWANZAA LIBERATION FRONT HQ - MOMENTS LATER \n \n A handful of BAAAD BROTHERS, decked out in a mixture of \n African clothing and combat gear relax to the sounds of \n mellow Blaxploitation music. 'KWANZAA NOW!' posters and other"," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," Usually we don't serve your kind. But \n since you had the balls to walk in here, \n Kike, I'll pour you one last drink before \n we lynch you. \n \n The bartender reaches for a bottle of cherry flavored \n Manischewitz wine. The Hammer interrupts him by clearing his \n throat. \n \n HAMMER \n Actually, can I have the black label? \n"," the blessings I've received over the past \n year. A beautiful fiancee... \n \n Esther smiles. \n \n HAMMER (CONT'D) \n ...a wonderful mother... \n \n Mrs. Carver is as proud as can be... \n \n HAMMER (CONT'D) \n ...and the opportunity to help my \n brothers and sisters in the Jewish \n community. \n \n MRS. CARVER"," Christmas signage was replaced by the \n Trans-relgious and inoffensive phrase \n 'Happy Holidays.' \n \n We see another slide in which an assembly of SCHOOLCHILDREN \n are singing. \n \n SANTA CLAUS (CONT'D) \n It was nearly a decade ago, in \n conjunction with our friends in the \n Jewish and African American communities \n that I supported a bill that mandated"," SANTA CLAUS (CONT'D) \n Lights please. \n \n As Rudolph's nose dims, so do the lights in the room. Santa \n picks up a remote in his hand, and turns on a SLIDE \n PROJECTOR. \n \n SANTA CLAUS (CONT'D) \n Over the course of my career as Santa \n Claus, I've made it my mission to ensure \n that Jews, Christians, and African"," Santa puts the walkie-talkie down, and addresses somebody \n O.S. \n \n SANTA (CONT'D) \n With the Hebrew Hammer out of the \n picture, Hanukkah will be nothing more \n than a confusing and hard to pronounce \n word. I want to thank you very much Jamal \n for all of your help. \n \n We cut to the other side to reveal whom he's speaking to."],[" The fate of Hanukkah rests squarely on \n your shoulders. \n \n A beat passes, and then the Hammer walks back in. \n \n HAMMER \n Okay. You guys have seriously got to stop \n with that stuff. That's a lot of pressure \n to put on one Jew. I'm only human you \n know. I'm already shvitzing about the \n whole thing. You know, believe it or not,"," I do know that it does have something to \n do with...dreidels, and... \n \n Esther chimes in. \n \n ESTHER \n ...and latkes. \n \n HAMMER \n And latkes! And some miracle oil that \n lasted eight days. And that my friend, \n should've been enough for you. Take him \n away Mo. \n \n Mo drags Santa out of the room. \n"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," have to help me. \n \n MRS. CARVER \n Hanukkah, Shmanukkah. It isn't even one \n of the high holidays. What concerns me \n more is that my boychick is almost \n thirty, and has yet to settle down with a \n nice Jewish girl. \n (Beat) \n I'll make you a deal. I'll help you with \n your little Hanukkah problem if you help"," flick. He tosses the gift to MACCABEE, a young Hasidic boy. \n \n HAMMER \n Happy Hanukkah Maccabee. \n \n Macabee tears open the wrapping paper and holds up the gift - \n a Hebrew Hammer action figure. He beams. \n \n We cut back to the Hammer as he smiles back. From O.C., we \n hear Maccabee say... \n"," We start CLOSE on a gift wrapped Hanukkah present. We pull \n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \n HAMMER, a baaad Jewish brother spins the package in his hands \n as he saunters down the street past a latke stand. He's a \n Semitic super stud straight out of a 70's Blaxploitation"," her to try and recruit me back to save \n Hanukkah for them. What she doesn't seem \n to understand is that nothing, not even \n god himself could convince me to ever \n work for them again. \n \n ESTHER \n But Hanukkah's in dan... \n \n The Hammer cuts her off. \n \n HAMMER \n Not my problem. If you'll excuse me now,"," CHIEF \n The time for action is now. We predict \n that the St. Nick Day Massacre will put \n Hanukkah-Christmas relations back at \n least a hundred years. With this \n meshuggena new Santa Claus in power, \n Hanukkah is in jeopardy. Our first order \n of business is to put into motion a plan \n to create goodwill towards the Jewish \n Community. Mr. Chairman of the Worldwide"," Go.\" Scribbled on the wall is the graffiti phrase, \"HANUKKAH \n NOW!\" \n \n The door opens, and the obnoxiously loud music spills out \n into the street. The Hammer and Esther exit, close the door, \n and push their way past the turnstiles into the alley. \n \n HAMMER \n That got annoying fairly quickly. \n \n ESTHER \n Yeah, no kidding. \n"," INT. THE JEWISH DEFENSE LEAGUE - DAY \n \n A smoky chamber reminiscent of the Senate or the United \n Nations. A GIANT BANNER reading \"HANUKKAH NOW!,\" illustrated \n with a Hasid in silhouette with his fist raised, covers the \n back wall behind the men. \n \n As with the Senate House Committee, various factions of the \n JDL sit behind plaques describing the group they represent."," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," doing here. So all of a sudden Hanukkah's \n not good enough for you, is that right? \n \n We get a shot of Mrs. Carver. She's a master of the art of \n pleasant non-listening. \n \n HAMMER (CONT'D) \n Well I have news for you mom. It is good \n enough...I'm good enough and I won't \n leave here until I hear you tell me... \n"," The fate of Hanukkah. Right. Right. Yeah, \n Got it. Will do. Okay, bye now. \n \n He hangs up and leaves. \n \n STAR OF DAVID WIPE TO: \n \n INT. MALL OF AMERICA - DAY \n \n 'Merry Christmas' decorations and signage dominate the \n landscape of the establishing shot of the Mall. \n"," The Adolescent Hasid finally gets the tree into the house, \n and turns to see the rest of his family staring at him, \n mouths agape. \n \n ADOLESCENT HASIDIC BOY \n What? It's a Hanukkah bush. \n \n The family remains expressionless. \n \n The glass in his mother's hand, slips from her grasp and \n shatters on the kitchen floor. \n"," He looks to his right. A GROUP of HASIDIC kids sing Christmas \n Carols. \n \n The Hammer looks through his front windshield. A kid is \n standing right in the middle of the road! \n \n The Hammer slams on his breaks, skidding to a stop just \n inches from the kid. It's Shlomo (remember the kid the Hammer \n helped with the Yarmulke earlier?), and he has a strange"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," This puts the Hammer into a neurotic fit. \n \n HAMMER \n Oh. Oh, What. So, all of a sudden my \n saving Hanukkah's not good enough for \n you? Is that what your saying? \n \n Mrs. Carver throws her arms up in resignation. \n \n MRS. CARVER \n I don't want to argue with you. Let's \n just eat in peace. \n"," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," CUT TO: \n \n INT. JEWISH HOME - DAY \n \n Maccabee, the same kid the Hammer gave the Hanukkah present \n to earlier in the film, sits glued to his television set. \n O.S. from the television we hear someone approximating Zuzu \n from the film 'It's A Wonderful Life' say... \n \n TELEVISION SET \n Papa, Papa! Mommy says that every time"],[" EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," appears genuinely concerned by the teasing Mordechai has \n weathered. She walks over to comfort him. \n \n MRS. HIGHSMITH \n Now, now class let's not make fun of \n Mordechai's spinning top. We need to all \n learn the importance of tolerance and \n understanding. Isn't that right \n Mordechai? \n \n MORDECHAI \n Yes Mrs. Highsmith. \n"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," MINUTES.\" The FOURTH CLERK gives him the thumbs up. \n \n Morty finds a spot on the sidewalk outside the building and \n pulls out his dreidel. \n \n He spins it, and we hold on the spinning top for a few beats \n as Morty stares at in wonderment. \n \n Suddenly, a huge black boot comes crashing down into frame \n and smashes the little dreidel. Mordechai slowly looks up. \n"," GENTILE BOY 1 \n Hey everybody! Look what Mordechai got. \n Nice spinning top Morty. \n \n The other children take notice of Mordechai's gift and begin \n to laugh. \n \n Mordechai is crushed. MRS. HIGHSMITH (40's), an incredibly \n Waspy teacher puts down her copy of 'Modern W.A.S.P.,' and"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," We cut to a SLOW-MOTION CU of Gentile Girl 1. She wears an \"I \n Love Jesus\" T-shirt and holds an adorable dog with a bow \n affixed to its head in her arms. It licks her on the face. \n \n We cut back to Mordechai. He looks down at his pathetic \n excuse for a present. He's on the verge of tears. \n \n Gentile Boy 1 calls to Mordechai as he drives his ATC. "," We start CLOSE on a gift wrapped Hanukkah present. We pull \n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \n HAMMER, a baaad Jewish brother spins the package in his hands \n as he saunters down the street past a latke stand. He's a \n Semitic super stud straight out of a 70's Blaxploitation"," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," Mazel Tov! That's right! Mommy loves you! \n Such a good boy you are! \n \n This gets the Hammer going. \n \n HAMMER \n Oh, I get it. To you, the cat pooping in \n his diaper is somehow better than my \n saving a Jewish holiday. \n (Giving up) \n Forget it. \n \n MRS. CARVER"," Esther lifts her skirt a few inches. \n \n ESTHER \n Perhaps I can persuade him. \n \n STAR OF DAVID WIPE TO: \n \n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \n \n A shoddy low-rent office replete with Film Noirish lighting \n via the blinds. The Hammer fiddles with a dreidel as he sits"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," flick. He tosses the gift to MACCABEE, a young Hasidic boy. \n \n HAMMER \n Happy Hanukkah Maccabee. \n \n Macabee tears open the wrapping paper and holds up the gift - \n a Hebrew Hammer action figure. He beams. \n \n We cut back to the Hammer as he smiles back. From O.C., we \n hear Maccabee say... \n"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," HAMMER \n Beitzah, Charoset, Chazeret, Karpas, \n Maror, and Zeroa. \n \n The second door slides open, and Morty steps forward into the \n next room. Inside this room lies a single violin in a case. \n \n COMPUTERIZED VOICE \n Please demonstrate musical aptitude. \n \n The Hammer picks up the violin and begins to play 'Hava"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," neck dripping with gold chains, steps up to the Hammer. He's \n got a huge phoney smile plastered across his face. \n \n CHAIM FEYGELE \n Well Shalom there mister! \n \n HAMMER \n Do we know each other? \n \n CHAIM FEYGELE \n No, but we have mutual friends. \n \n Chaim points to the dance floor. Another shot of men dancing"],[" More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," sound of SHOTGUNS BLASTING and then the sounds of intense \n FIGHTING. A few seconds of the fighting sounds pass. \n \n Suddenly, the front doors bust open and a few bloodied \n Skinheads fall out onto the ground, followed by the Hammer. \n He's untouched, and he carries the bottle of Manischewitz in \n one hand and a shotgun in the other. \n \n He stops in the MIDGROUND, and pours the Manischewitz out on"," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," He turns his attention to Esther. \n \n HAMMER (CONT'D) \n Alone. \n \n The Hammer exits. Esther is dejected. \n \n CHIEF \n Tail him. He's gonna need the help. \n \n STAR OF DAVID WIPE TO: \n \n EXT. BEN GURION AIRPORT - ISRAEL - DAY \n"," The front doors bust open, and we DOLLY into the Hammer. \n \n All guns are trained on him. \n \n From behind the frontline of gunmen, MOHAMMED, clearly the \n leader of the operation, pushes his way through. \n \n He walks towards the Hammer. You can feel the tension in the \n room. \n \n MOHAMMED \n The Hebrew Hammer! My main Kike! \n \n HAMMER"," Oh Mordechai, you know how I detest gore. \n \n HAMMER \n Well then maybe you should have thought \n about that before you ran with him. \n C'mon, let's get you back to Washington. \n \n And we PULL out as the three make their way down the hallway. \n \n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \n"," gun. He raises it at the Hammer, ready to fire. \n \n ESTHER \n Mordechai! Behind you! \n \n The Hammer turns and nails the elf just in time. \n \n Esther, gun drawn, backs up into frame with the Hammer, and \n the two fire off rounds. \n \n HAMMER \n What are you doing here? \n \n ESTHER"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," 'Santa Claus Is Coming To Town' begins to play. \n \n A few of the thugs insert a bicycle pump into the Judeum \n clock base and begin pumping. \n \n EXT. ISRAELI HIGHWAY - LATE AFTERNOON \n \n The Hammer is moments away from the J.A.C. compound. He spots \n the motorcycle ramp, and then guns his engine. He's close! \n"," Damian, preoccupied with the cigarette he's attempting to \n light, looks up in response to his name. \n A brown bagged bottle of booze now sits on the table in front \n of him. We can see Santa and the reindeer in silhouette on \n the slide projection screen behind him. \n \n SANTA CLAUS (CONT'D) \n The heir to the Red Suit could be so \n filled with hate. \n \n Santa addresses Damian."," TIKVA \n I understand that. I just thought that \n you might want to know. \n \n HAMMER \n (Beat) \n I'll be in my office. \n \n The Hammer walks into his private office and shuts the \n frosted glass door. We hold on what's stenciled on the \n outside of the door. The lettering reads, \"Mordechai"," CUT TO: \n \n AN EMPTY SECTION OF THE MALL - MOMENTS LATER \n \n We hold a few beats on a shot of this fairly untrafficked \n portion of the mall. \n \n Suddenly, Esther and the Hammer haul ass around the corner, \n running for their lives. \n \n A second or two pass, and an ANGRY MOB of about twenty \n Gentile children round the corner after them. They're"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," North Pole and celebrate his victory with \n his new stocking stuffer. \n \n Santa grabs Esther and attempts to pull her up. The Hammer \n holds on tightly to her other hand, but isn't strong enough \n to resist Santa's might. Esther's hand is pulled from his \n firm grip, and Santa takes her into his arms. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai!"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"],[" Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," Esther lifts her skirt a few inches. \n \n ESTHER \n Perhaps I can persuade him. \n \n STAR OF DAVID WIPE TO: \n \n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \n \n A shoddy low-rent office replete with Film Noirish lighting \n via the blinds. The Hammer fiddles with a dreidel as he sits"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," BANDLEADER notices the two walk in... \n \n BANDLEADER \n Hey! The Hebrew Hammer everybody! \n \n The Hammer raises his hand in acknowledgment. The entire bar \n cheers and applauds. \n \n Hammer escorts Esther to a table on the woman's side of the \n wall, and then walks around to the other side of the divider \n where he takes a seat opposite the wall from her. \n"," TIKVA \n I understand that. I just thought that \n you might want to know. \n \n HAMMER \n (Beat) \n I'll be in my office. \n \n The Hammer walks into his private office and shuts the \n frosted glass door. We hold on what's stenciled on the \n outside of the door. The lettering reads, \"Mordechai"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," Wow, that was amazing. \n \n The Hammer gives her ass a smack, and then picks up a \n container filled with some kind of WHITE POWDER. \n He snorts a bit of it off of the Star Of David chain that \n hangs from his neck, and places the container of white powder \n back in its place by the menorah. \n \n Esther is mortified. \n \n ESTHER (CONT'D) \n What did you just snort? \n"],[" MRS. HIGHSMITH \n So class, in honor of Mordechai's special \n day, I'd like for all of us to wish Morty \n a heartfelt Merry... \n \n She looks to Mordechai for confirmation on the word. \n \n MRS. HIGHSMITH (CONT'D) \n (Stumbling) \n \tCha-noo-kuh Day 7. \n"," MRS. HIGHSMITH (CONT'D) \n Happy Chanoo-juah-kah Day 7 Morty. \n \n A reaction shot of the mortified Morty. \n \n CUT TO: \n \n EXT. GHETTO STREET - NIGHT \n \n A sullen Mordechai wanders the streets. Absurd XMAS \n DECORATIONS, horrific in their appearance blanket the street. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," I do know that it does have something to \n do with...dreidels, and... \n \n Esther chimes in. \n \n ESTHER \n ...and latkes. \n \n HAMMER \n And latkes! And some miracle oil that \n lasted eight days. And that my friend, \n should've been enough for you. Take him \n away Mo. \n \n Mo drags Santa out of the room. \n"," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," Oh Mordechai, you know how I detest gore. \n \n HAMMER \n Well then maybe you should have thought \n about that before you ran with him. \n C'mon, let's get you back to Washington. \n \n And we PULL out as the three make their way down the hallway. \n \n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," Tiny Tim, walkie-talkie in hand, surveys this Christmas \n Wonderland with smug satisfaction. He spots a small, barely \n visible Hanukkah decoration poking out from beneath one of \n the other Christmas decorations. \n \n He rips it from the wall and tosses it into a small trashcan \n bonfire. \n \n Tiny Tim speaks into his the walkie-talkie. \n \n TINY TIM"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," Chosen.\" The Hammer grabs a copy of the Chosen and hands it \n to Shlomo. \n \n SHLOMO \n Chaim Potok's The Chosen? \n \n HAMMER \n Get yourself home and watch this as soon \n as possible. \n \n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \n past the two. One of the ornaments makes a tinkling sound. \n"," What time is it? \n \n TINY TIM \n I don't know. About sundown I guess. \n \n Santa makes the connection. \n \n SANTA \n Why didn't I think of this? It's the \n Sabbath. \n \n A blank look from Tiny Tim. \n \n SANTA (CONT'D) \n The day of rest. He can't fight on the"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," The Hammer takes out his gun and points it Santa. \n \n HAMMER \n What's your shpiel, Santa? \n \n SANTA \n Whoa, whoa there. C'mon Mordechai, is \n this any way to treat an old family \n friend? Let's cut out all the \n unpleasantness. I admit, I went way \n overboard with the whole Hanukkah thing."," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"," He looks to his right. A GROUP of HASIDIC kids sing Christmas \n Carols. \n \n The Hammer looks through his front windshield. A kid is \n standing right in the middle of the road! \n \n The Hammer slams on his breaks, skidding to a stop just \n inches from the kid. It's Shlomo (remember the kid the Hammer \n helped with the Yarmulke earlier?), and he has a strange"],[" I do know that it does have something to \n do with...dreidels, and... \n \n Esther chimes in. \n \n ESTHER \n ...and latkes. \n \n HAMMER \n And latkes! And some miracle oil that \n lasted eight days. And that my friend, \n should've been enough for you. Take him \n away Mo. \n \n Mo drags Santa out of the room. \n"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," MRS. HIGHSMITH \n So class, in honor of Mordechai's special \n day, I'd like for all of us to wish Morty \n a heartfelt Merry... \n \n She looks to Mordechai for confirmation on the word. \n \n MRS. HIGHSMITH (CONT'D) \n (Stumbling) \n \tCha-noo-kuh Day 7. \n"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," MRS. HIGHSMITH (CONT'D) \n Happy Chanoo-juah-kah Day 7 Morty. \n \n A reaction shot of the mortified Morty. \n \n CUT TO: \n \n EXT. GHETTO STREET - NIGHT \n \n A sullen Mordechai wanders the streets. Absurd XMAS \n DECORATIONS, horrific in their appearance blanket the street. \n"," New Year. \n Since his death, I've prided myself on \n ensuring that the Christmas season is one \n of tolerance and understanding between \n all races and religions. It's always been \n my belief that Hanukkah and Kwanzaa \n deserve the same respect as Christmas. \n \n Damian whispers to an elf on his right hand side, and then \n makes the JERKING OFF motion with his hand. \n"," We start CLOSE on a gift wrapped Hanukkah present. We pull \n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \n HAMMER, a baaad Jewish brother spins the package in his hands \n as he saunters down the street past a latke stand. He's a \n Semitic super stud straight out of a 70's Blaxploitation"," The fate of Hanukkah. Right. Right. Yeah, \n Got it. Will do. Okay, bye now. \n \n He hangs up and leaves. \n \n STAR OF DAVID WIPE TO: \n \n INT. MALL OF AMERICA - DAY \n \n 'Merry Christmas' decorations and signage dominate the \n landscape of the establishing shot of the Mall. \n"," Thanks again Mo, you always deliver the \n goods. \n \n MOHAMMED \n You watch your back Hammer. Hanukkah \n might just be his first move. For all we \n know Kwanzaa could be next. There's a lot \n of brothers counting on you. If you \n fail... \n \n HAMMER \n Okay, look. I'm going to work really,"," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," What time is it? \n \n TINY TIM \n I don't know. About sundown I guess. \n \n Santa makes the connection. \n \n SANTA \n Why didn't I think of this? It's the \n Sabbath. \n \n A blank look from Tiny Tim. \n \n SANTA (CONT'D) \n The day of rest. He can't fight on the"," He looks to his right. A GROUP of HASIDIC kids sing Christmas \n Carols. \n \n The Hammer looks through his front windshield. A kid is \n standing right in the middle of the road! \n \n The Hammer slams on his breaks, skidding to a stop just \n inches from the kid. It's Shlomo (remember the kid the Hammer \n helped with the Yarmulke earlier?), and he has a strange"," The fate of Hanukkah rests squarely on \n your shoulders. \n \n A beat passes, and then the Hammer walks back in. \n \n HAMMER \n Okay. You guys have seriously got to stop \n with that stuff. That's a lot of pressure \n to put on one Jew. I'm only human you \n know. I'm already shvitzing about the \n whole thing. You know, believe it or not,"," Chosen.\" The Hammer grabs a copy of the Chosen and hands it \n to Shlomo. \n \n SHLOMO \n Chaim Potok's The Chosen? \n \n HAMMER \n Get yourself home and watch this as soon \n as possible. \n \n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \n past the two. One of the ornaments makes a tinkling sound. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," The dial slowly spins past 'Yom Kippur', 'Passover', \n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \n Spring Sale.' \n \n Tiny Tim raises his gun point blank at the Hammer. \n \n TINY TIM (CONT'D) \n Ah. What's the matter? No more snappy one \n liners. \n \n It seems all is lost when... \n"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," Americans could all observe their \n respective holidays in harmony. \n \n We see a slide of THE HEBREW HAMMER, an African American man \n (Mohammed), and Santa Claus arm in arm below a banner in a \n mall reading \"HAPPY HOLIDAYS!\" \n \n SANTA CLAUS (CONT'D) \n I was responsible for pushing the Happy \n Holidays Ordinance, in which all Merry"],[" Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," gun. He raises it at the Hammer, ready to fire. \n \n ESTHER \n Mordechai! Behind you! \n \n The Hammer turns and nails the elf just in time. \n \n Esther, gun drawn, backs up into frame with the Hammer, and \n the two fire off rounds. \n \n HAMMER \n What are you doing here? \n \n ESTHER"," Jamal holds the reigns and waves down at Mordechai and \n company. \n \n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \n wave back. The Hammer Jewxploitation theme music begins to \n fade up. \n \n HAMMER (CONT'D) \n Merry Christmas Jamal. \n \n JAMAL \n Merry Christmas Niggas! \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," with one another, arm in arm. \n \n CHAIM FEYGELE (CONT'D) \n The name's Feygele. Chaim Feygele. \n \n This guy is clearly making the Hammer nervous. \n \n HAMMER \n Mordechai. My friends call me Morty. \n \n CHAIM FEYGELE \n So Morty, I just love a man in a black \n suit. Care to dance."," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"," You mean like disco dancing or doing the \n funky chicke...Oh. I get it. \n \n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \n clearly outlined through her blouse. Now, the Hammer's really \n getting it. \n \n HAMMER (CONT'D) \n Now we're talking Boobola. \n \n ESTHER \n Mordechai? \n"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," North Pole and celebrate his victory with \n his new stocking stuffer. \n \n Santa grabs Esther and attempts to pull her up. The Hammer \n holds on tightly to her other hand, but isn't strong enough \n to resist Santa's might. Esther's hand is pulled from his \n firm grip, and Santa takes her into his arms. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai!"],[" What can I do for you? \n \n ESTHER \n My name is Esther. Chief \n Bloomenbergensteinenthal from the Jewish \n Defense League desperately needs to speak \n with you. \n \n HAMMER \n How is old Chief \n Bloomenbergensteinenthal? \n Is he still shtooping every girl he can \n get his hands on? \n \n ESTHER"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," Mrs. Carver places her tongue into Esther's ear canal as a \n sign of affection, forcing Esther to break the embrace. Mrs. \n Carver and Esther look at one another strangely for an \n awkward few moments. \n \n MRS. CARVER (CONT'D) \n So. Do you have a name? \n \n ESTHER \n It's Esther. \n \n MRS. CARVER"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," the blessings I've received over the past \n year. A beautiful fiancee... \n \n Esther smiles. \n \n HAMMER (CONT'D) \n ...a wonderful mother... \n \n Mrs. Carver is as proud as can be... \n \n HAMMER (CONT'D) \n ...and the opportunity to help my \n brothers and sisters in the Jewish \n community. \n \n MRS. CARVER"," SANTA \n I'm sorry. I see the light now. I was \n wrong. I'm... \n \n And Santa's gone. \n \n The Hammer turns to Esther, and gets down on one knee. He \n places a ring on her finger. \n \n HAMMER \n Esther Bloomenbergensteinenthal, will you \n marry me? \n \n She glows. \n \n ESTHER"," An elderly Jewish woman, HARRIET TUBBELMAN, appears from out \n of the doorway. She smokes a corncob pipe. \n \n HARRIET TUBBELMAN \n Psst. Hammer, Esther. This way. Hurry! \n \n Harriet escorts the two into the passageway, and the door \n slides shut behind them. \n \n INT. CAVERNOUS ROOM - MOMENTS LATER \n"," When did you guys have this conversation? \n When I was in the bathroom? What else did \n she have to say? \n \n ESTHER \n Relax Morty, I think your mom is \n wonderful. She cares so much about you. \n Get this, while you were gone she said \n she'd help me get you to work with the \n JDL if I'd come eat by you once in \n awhile. Like I needed any incentive to be"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," The Hammer and Esther grasp their stomachs which protrude \n from underneath their slightly unbuttoned shirts. Plates of \n half-eaten food are everywhere. On the table, on the dining \n room furniture behind them, etc. \n \n HAMMER \n Oy vey, I'm stuffed. \n \n ESTHER \n I don't think I could eat another latke \n if you paid me. \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," He's a lawyer. We're looking for heros \n people. \n \n HARVEY WEINSTEIN \n David Copperfield? \n \n CHIEF \n What's he gonna do, make Santa disappear? \n Think people think. We need a hard \n hittin' Hebe on this one. \n \n At the back of the room, ESTHER (25), a Semitic siren, pushes"," with you. She's so... \n \n The Hammer goes into a fit. \n \n HAMMER \n What? You made a deal with my mother to \n sleep with me if I'd help you?! \n \n ESTHER \n No. Of course... \n \n HAMMER \n What does that make you? What does that \n make me? And my mother. What does that \n make her? \n"," Afterwards they'll make the decision as \n to whether or not they'd like to continue \n their religious studies in Israel. \n Because, hey, after all we'll have \n practiced the highly effective assertive \n democratic style of child rearing, \n sprinkled with a healthy dose of \n liberalism. \n \n She's on fire for him. \n \n ESTHER"," You mean like disco dancing or doing the \n funky chicke...Oh. I get it. \n \n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \n clearly outlined through her blouse. Now, the Hammer's really \n getting it. \n \n HAMMER (CONT'D) \n Now we're talking Boobola. \n \n ESTHER \n Mordechai? \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," large crucifix chain hangs around her neck, nestled in \n between the mounds of silicone. We hear the requisite DING as \n it sparkles. \n \n The Hammer is released from the sexual spell of the Gentile \n Seductress. \n \n HAMMER \n Sorry Santa. I like my women like my \n matzah. Unleavened. \n \n The girls move away from the Hammer. Esther smiles at the"],[" What can I do for you? \n \n ESTHER \n My name is Esther. Chief \n Bloomenbergensteinenthal from the Jewish \n Defense League desperately needs to speak \n with you. \n \n HAMMER \n How is old Chief \n Bloomenbergensteinenthal? \n Is he still shtooping every girl he can \n get his hands on? \n \n ESTHER"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," ESTHER \n I'm not leaving your side until I get you \n to agree to come speak with my father. \n \n It's obvious the Hammer's amused by her persistence. \n \n HAMMER \n Be my guest. But I have to warn you, I'm \n going to my mother's for dinner tonight. \n And if you think I'm difficult, wait till \n you meet her. \n"," the blessings I've received over the past \n year. A beautiful fiancee... \n \n Esther smiles. \n \n HAMMER (CONT'D) \n ...a wonderful mother... \n \n Mrs. Carver is as proud as can be... \n \n HAMMER (CONT'D) \n ...and the opportunity to help my \n brothers and sisters in the Jewish \n community. \n \n MRS. CARVER"," father wants is to just speak with... \n \n HAMMER \n I hate to cut you short, but in an hour \n the sun goes down, and then it's \n officially the Sabbath. I can't work on \n the Sabbath. This is where we're going to \n have to part ways boobola. \n \n The Hammer grabs his overcoat from the coat rack. Esther gets \n up as well. \n"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," SANTA \n I'm sorry. I see the light now. I was \n wrong. I'm... \n \n And Santa's gone. \n \n The Hammer turns to Esther, and gets down on one knee. He \n places a ring on her finger. \n \n HAMMER \n Esther Bloomenbergensteinenthal, will you \n marry me? \n \n She glows. \n \n ESTHER"," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," The Hammer and Esther grasp their stomachs which protrude \n from underneath their slightly unbuttoned shirts. Plates of \n half-eaten food are everywhere. On the table, on the dining \n room furniture behind them, etc. \n \n HAMMER \n Oy vey, I'm stuffed. \n \n ESTHER \n I don't think I could eat another latke \n if you paid me. \n"," Afterwards they'll make the decision as \n to whether or not they'd like to continue \n their religious studies in Israel. \n Because, hey, after all we'll have \n practiced the highly effective assertive \n democratic style of child rearing, \n sprinkled with a healthy dose of \n liberalism. \n \n She's on fire for him. \n \n ESTHER"," When did you guys have this conversation? \n When I was in the bathroom? What else did \n she have to say? \n \n ESTHER \n Relax Morty, I think your mom is \n wonderful. She cares so much about you. \n Get this, while you were gone she said \n she'd help me get you to work with the \n JDL if I'd come eat by you once in \n awhile. Like I needed any incentive to be"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," An elderly Jewish woman, HARRIET TUBBELMAN, appears from out \n of the doorway. She smokes a corncob pipe. \n \n HARRIET TUBBELMAN \n Psst. Hammer, Esther. This way. Hurry! \n \n Harriet escorts the two into the passageway, and the door \n slides shut behind them. \n \n INT. CAVERNOUS ROOM - MOMENTS LATER \n"," Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," neck dripping with gold chains, steps up to the Hammer. He's \n got a huge phoney smile plastered across his face. \n \n CHAIM FEYGELE \n Well Shalom there mister! \n \n HAMMER \n Do we know each other? \n \n CHAIM FEYGELE \n No, but we have mutual friends. \n \n Chaim points to the dance floor. Another shot of men dancing"," with you. She's so... \n \n The Hammer goes into a fit. \n \n HAMMER \n What? You made a deal with my mother to \n sleep with me if I'd help you?! \n \n ESTHER \n No. Of course... \n \n HAMMER \n What does that make you? What does that \n make me? And my mother. What does that \n make her? \n"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"],[" Mordechai is flustered. \n \n HAMMER \n Uhhh. You know, I...have to go to the \n bathroom. I'll be right back. \n \n The Hammer gets up quickly and leaves. \n \n We cut to Esther's side of the wall. The Hammer walks behind \n her while she checks out the band on stage. \n \n HAMMER (CONT'D) \n Hey there. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," me with my Mordechai. \n \n ESTHER \n (Confused) \n What do you want me to do? \n \n MRS. CARVER \n He works too much. God forbid he should \n have a nice Jewish girl come eat by him \n once in a while. Take his mind off his \n work. Maybe a blowjob here and there. \n \n Esther begins to choke again. \n"," MOHAMMED \n Asalam Alekem. \n \n CHIEF \n (To Mo) \n You're a mench. Thank you. \n (To Hammer) \n Mordechai, by any means necessary, you \n bring my Esther back to me. Even if it \n requires using Judaism's most powerful \n weapon. \n \n HAMMER \n Oh no, not the... \n"," Mordechai, I love you. I couldn't let you \n do this alone. \n \n HAMMER \n I love you too. I'm sorry about freaking \n out yesterday. I was wrong. \n \n ESTHER \n I forgive you. \n \n HAMMER \n Go check on the clock. I'll finish up \n here. \n"," I need to use the bathroom. \n \n He stands and leaves. \n \n Mrs. Carver stares lovingly at Esther. \n \n MRS. CARVER \n You like my Mordechai, yes? \n \n ESTHER \n He's...he's very nice. \t \n (Desperately) \n But Mrs. Carver, the fate of Hanukkah \n rests solely in his hands. Please, you"," The door opens to reveal a long denim skirt covering every \n possible inch of flesh. We tilt up the length of the skirt to \n reveal Esther. She is breathtakingly sexy. \n \n The Hammer quickly removes his feet from the table. Esther \n approaches his desk and sits. \n \n ESTHER \n Mr. Jefferson Carver? \n \n HAMMER \n Please, call me Mordechai. \n"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," the Hammer continues to rant. The meter bars go from red to \n yellow in color. \n \n HAMMER (CONT'D) \n I am so unhappy with this situation. Why \n Mordechai? Why do you always feel it \n necessary to do what other people want \n you to do? Why can't you be your own \n man... \n \n CHIEF \n Come on. Come on. \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," MRS. CARVER (CONT'D) \n Mordechai!? \n (Beat) \n So, Esther, how did you and Mordechai \n meet. You know they call him the Hebrew \n Hammer for a reason. \n \n Esther coughs up some of her food. The Hammer interjects. \n \n HAMMER \n Mom! Esther works for the JDL. They sent"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," appears genuinely concerned by the teasing Mordechai has \n weathered. She walks over to comfort him. \n \n MRS. HIGHSMITH \n Now, now class let's not make fun of \n Mordechai's spinning top. We need to all \n learn the importance of tolerance and \n understanding. Isn't that right \n Mordechai? \n \n MORDECHAI \n Yes Mrs. Highsmith. \n"," eat latkes and spin dreidels, and light \n the menorah with the knowl... \n \n MRS. CARVER \n (Interrupting) \n ...So you saved Hanukkah Mr. Big Shot. \n I mean, let's be honest Mordechai, it \n isn't even one of the high holidays. \n \n Mordechai looks to Esther. She shrugs her shoulders in \n encouragement. \n"," I have business to attend to. \n \n SAMMY DAVIS JR. JR. \n You two cats keeps purrin'. \n \n INT. THE CHIEF'S OFFICE - DAY \n \n Your standard 70's TV police Chief's office. The Hammer \n enters and the Chief shuts the door behind him. \n \n CHIEF \n Alright Mordechai, now that we're alone I"," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," charismatic package of the following qualities rolled into \n human female form: intense, judgmental, overbearing, \n manipulative, lacking boundaries, yet fiercely involved, \n loving, and protective of her children. Got it? \n \n MRS. CARVER \n Mordechai! Shabat Shalom! \n \n The Hammer pulls a bottle of wine out from a paper bag. \n \n HAMMER \n Shabat Shalom mama. I brought some"," INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \n LATER \n \n The Hammer kicks open the door. \n \n HAMMER \n Esther! \n \n ESTHER \n Mordechai! \n \n She is restrained to a chair. The Hammer quickly unties her, \n and the two kiss. \n"],[" the blessings I've received over the past \n year. A beautiful fiancee... \n \n Esther smiles. \n \n HAMMER (CONT'D) \n ...a wonderful mother... \n \n Mrs. Carver is as proud as can be... \n \n HAMMER (CONT'D) \n ...and the opportunity to help my \n brothers and sisters in the Jewish \n community. \n \n MRS. CARVER"," EXT. SCHOOLYARD - MOMENTS LATER \n \n Mordechai walks past a row of bleachers occupied by FOUR \n GENTILE CHILDREN. \n \n GENTILE BOY 1 \n Hey Mordechai, look. I dropped a penny. \n \n He drops a penny. The other children cackle. \n \n The Gentile Girl next to him holds up a bag of bagels. \n"," Hey, hey! Be proud of who you are. You're \n a bad, bold, big-nosed, biblical brother. \n You feelin' me? \n \n The kid's morale is boosted. \n \n SHLOMO \n Yeah. You're right. \n \n HAMMER \n Aveenooh Shalom Alechem little brother. \n \n The Hammer pounds his fist into his chest ala the Black"," BANDLEADER notices the two walk in... \n \n BANDLEADER \n Hey! The Hebrew Hammer everybody! \n \n The Hammer raises his hand in acknowledgment. The entire bar \n cheers and applauds. \n \n Hammer escorts Esther to a table on the woman's side of the \n wall, and then walks around to the other side of the divider \n where he takes a seat opposite the wall from her. \n"," her way to the front. A black skirt covers every inch of her \n sexy figure. \n \n ESTHER \n What about Mordechai Jefferson Carver? \n \n The hall fills with hushed voices as the various members of \n the JDL whisper to one another. \n \n CHIEF \n The Hebrew Hammer? No. No way. After the \n way he handled that situation in the West \n Bank? He's the only Jew in the world too"," neck dripping with gold chains, steps up to the Hammer. He's \n got a huge phoney smile plastered across his face. \n \n CHAIM FEYGELE \n Well Shalom there mister! \n \n HAMMER \n Do we know each other? \n \n CHAIM FEYGELE \n No, but we have mutual friends. \n \n Chaim points to the dance floor. Another shot of men dancing"," In unison, the class attempts to repeat the words, but all \n suffer various degrees of pronunciation problems. \n \n MRS. HIGHSMITH (CONT'D) \n Very good class. I hope you've all \n learned an important lesson today. Just \n because Mordechai's people are different \n from us...just because they might appear \n strange to us with their furry hats, \n their beady eyes, and their long"," it. A COMPUTERIZED VOICE begins... \n \n COMPUTERIZED VOICE \n Jew Confirmation Test initiated. \n \n He's clearly irritated by this. \n \n HAMMER \n You've gotta be kidding me. They're still \n doing this? \n \n COMPUTERIZED VOICE \n Please state your full Hebrew name. \n \n HAMMER"," You mean you want us to make copies of \n Yentl, Fiddler On The Roof, and Chaim \n Potok's The Chosen? \n \n HAMMER \n That'll work. Get them out to the Jewish \n community stat. We got an epidemic on our \n hands. \n \n CHIEF \n We're on it Hammer. How'd you do with \n Santa? \n"," is illustrated with a picture of a Hasidic Jew squatting a \n dumbbell a la Gold's Gym. The Chief opens the door. \n \n INT. KARATE ROOM - CONTINUOUS \n \n Inside, about FIVE or so HASIDS decked out in white Karate \n gi's stand facing the door. By the front door, A GROUP \n LEADER, notices the Hammer, and walks towards the door. He"," HAMMER \n Yeah. Maybe next time Joshua. Take it \n easy. \n \n As Joshua leaves, we get a WIDER shot of the Hammer's table. \n A LONG LINE OF MEN leads up to it. \n \n CHAIM FEYGELE, an effeminate slick Hasidic man, chest hair \n spilling out of his loosely buttoned butterfly collar shirt,"," Mordechai Jefferson Carver. \n \n Bambi speaks with a thick Southern drawl. \n \n BAMBI \n Oh, I declare I just love Jewish men. \n They're so sensitive and well read. \n \n Esther is clearly jealous. \n \n The Hammer's enjoying the attention. He looks down at Bambi's \n breasts. We're talking HUGE, obviously augmented boobolas. A"," Hasidic Animatronic puppets sing of thousands of years of \n Jewish oppression and persecution in an educational, yet \n oddly entertaining way. \n \n The Hammer puts his arm around Esther and continues to check \n out the attraction in wonderment. \n \n Esther secretly glances at him affectionately. It's clear \n she's falling for him. \n \n We cut to a wide shot as we watch the craft disappear down"," The band begins a rousing version of \"Hava Nagila.\" A good \n majority of the men in the bar rush to the dance floor and \n begin dancing zealously with one another. \n \n Esther shouts over the wall in an attempt to overcome the din \n of the bar. \n \n ESTHER \n So, do you come here often!? \n \n The Hammer struggles to hear. He shouts back to her. \n \n HAMMER"," A HASIDIC BAR PATRON approaches the Hammer and smiles. \n \n HASIDIC BAR PATRON \n Would you like to dance? \n \n We get another shot of the men dancing together, arm in arm, \n on the dance floor. \n \n HAMMER \n I'm okay right now. Thanks though. \n \n As the Patron leaves, JOSHUA, another Hasidic man standing"," EXT. PUBLIC ELEMENTARY SCHOOL - DAY \n \n We start on JESUS ON A CRUCIFIX, and then violently CRANE \n down to reveal MORDECHAI (10), a timid little Hasidic boy \n standing nervously at the foot of the statue. \n \n Behind Morty is a wall with the graffiti phrase \"HANUKKAH IS \n 4 HOMOS\" scrawled across it. He clutches his Sandy Koufax"," Hammer, you're the baaddest Hebe this \n side of Tel Aviv. \n \n The Hammer stops for a second and smiles at the compliment. \n \n HAMMER \n (To himself) \n Shabat Shalom! \n \n He walks off frame. \n \n EXT. GHETTO ALLEY - MOMENTS LATER \n \n Some TEENAGE GENTILE BOYS play keep away with a yarmulke"," We start CLOSE on a gift wrapped Hanukkah present. We pull \n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \n HAMMER, a baaad Jewish brother spins the package in his hands \n as he saunters down the street past a latke stand. He's a \n Semitic super stud straight out of a 70's Blaxploitation"," The Hebrew Hammer? I've heard about this \n cat. Your beautiful babe. Keep on keeping \n on. \n \n The Hammer is a bit taken back. \n \n HAMMER \n Alright. I'll, uh, keep doing that. \n \n Sammy's all smiles. \n \n CHIEF \n Sammy, if you'll excuse us, Mordechai and"," Gentleman! Please! \n \n Still chaos. He flips a light switch on and off a few times \n as he says... \n \n CHIEF (CONT'D) \n Sheket B'vakasha! Sheket B'vakasha! \n \n The entire hall responds in unison... \n \n HALL \n Hey! \n \n The room falls silent. Every member of the JDL sits straight \n up with their hands folded in front of them."],[" The Hammer takes out his gun and points it Santa. \n \n HAMMER \n What's your shpiel, Santa? \n \n SANTA \n Whoa, whoa there. C'mon Mordechai, is \n this any way to treat an old family \n friend? Let's cut out all the \n unpleasantness. I admit, I went way \n overboard with the whole Hanukkah thing."," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," Mo, get him out of my sight. \n \n Mo begins to take Santa away. \n \n The Hammer turns around. \n \n HAMMER (CONT'D) \n No, wait. I need closure here. \n (To Santa) \n I just wanna say one thing. You know \n where you messed up Santa? You \n underestimated the true meaning of \n Hanukkah. \n"," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," follows the O.S. Santa. \n \n Suddenly, Santa charges right back into frame, and places his \n drawn gun to Rudolph's temple. \n \n SANTA (CONT'D) \n You eyeballin' me son!? \n \n Rudolph quickly looks away. Santa puts his gun back into his \n belt, and then adjusts his suit and hat as if to regain his \n composure. \n \n Without warning, Santa throws a fake punch at Rudolph's face,"," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," Santa puts the walkie-talkie down, and addresses somebody \n O.S. \n \n SANTA (CONT'D) \n With the Hebrew Hammer out of the \n picture, Hanukkah will be nothing more \n than a confusing and hard to pronounce \n word. I want to thank you very much Jamal \n for all of your help. \n \n We cut to the other side to reveal whom he's speaking to."," the twelve should be, followed by \"Passover\", etc. In the \n center of the face, an odometer-like gauge reveals the year \n '5734.' At its base, the brilliant blue Judeum glows \n brightly. \n \n Santa barks out orders. \n \n SANTA (CONT'D) \n Get moving! We've got work to do! \n \n One of the thugs pushes play on a ghetto blaster and the song"," Excuse me? Do I know you, friend? Take a \n look around you. Do you even know who I \n am? \n \n The Hammer rips off his baseball hat and T-shirt. Santa \n gasps. \n \n HAMMER \n Let me guess, you're the goy who stole \n Hanukkah. \n \n SANTA \n The Hebrew Hammer! You're alive. \n"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," Santa, running for his life, rounds the corner. He stops dead \n in his tracks as he spots the Hammer. \n \n The two look at one another for a brief moment, and then \n Santa points at something behind the Hammer. \n \n SANTA \n Hey, what's that over there? Is that a \n bowl of Matzah Ball soup? \n \n The Hammer looks behind him. Nothing. He turns back to find \n Santa long gone. \n"," What are you doing? \n \n SANTA \n I'm just calming the kiddies. \n (To children) \n There's no need to worry about Santa. \n He's just having a peaceful, adult \n conversation with his nice Jewish friend, \n The Hebrew Hammer. \n \n The Hammer plays along, raising his hand to keep the children \n calm. \n \n HAMMER"," More scared reindeer faces. Comet furtively motions towards \n Rudolph with his antlers. Santa sees this, marches quickly up \n to Rudolph, and gets in his face. \n \n SANTA (CONT'D) \n What's your major malfunction, dumbfuck!? \n \n Rudolph's scared shitless. \n \n SANTA (CONT'D) \n Step forward son! \n"," Sabbath. C'mon, get up. We've got him \n beat. \n \n The Hammer's POV as Santa and his thugs approach him \n cautiously. \n \n SANTA (CONT'D) \n Well, well, well. It looks as if the \n Hebrew Hammer's got a weakness after all. \n \n Santa turns to his thugs. \n \n SANTA (CONT'D)"," Santa holds a walkie-talkie in hand and we the hear the voice \n of the Salvation Navy Guy. Although behind him hangs a banner \n reading, \"SANTA'S WORKSHOP,\" the interior is a run down \n sweatshop. \n \n SALVATION NAVY GUY (O.S.) \n It's me. He's on his way. \n \n SANTA \n Excellent. Everything is going as \n planned. \n"," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," And to top it off, you didn't even have \n the courtesy to give me a proper hello \n when I entered the room. What have I ever \n done to you to be treated with such \n disrespect? \n \n Santa's a wreck. \n \n SANTA \n Please, make it stop. I'll do anything. \n Here take my gun. \n \n He hands his piece to the Hammer and kneels on the ground,"," dragged away out of frame. \n \n Santa steps towards camera and surveys the room. \n \n SANTA \n The Jewish Atomic Clock. \n \n It's the kind of place where a giant telescope at an \n observatory would be housed. The clock is breathtaking in its \n size. On its face, in place of the standard numerals are the \n names of Jewish holidays. For example, \"Yom Kipur\" is where"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "],[" The Hammer takes out his gun and points it Santa. \n \n HAMMER \n What's your shpiel, Santa? \n \n SANTA \n Whoa, whoa there. C'mon Mordechai, is \n this any way to treat an old family \n friend? Let's cut out all the \n unpleasantness. I admit, I went way \n overboard with the whole Hanukkah thing."," More screaming from Esther behind the door. \n \n SANTA (CONT'D) \n And you won't even be able to say goodbye \n to your Esther. So sad. So long \n Mordechai. Give my father my regards. \n \n Santa readies to fire. \n \n HAMMER \n Wait! I didn't want it to come to this, \n but you leave me no choice. I have no"," JOSEPH LIEBERMAN \n Mordechai! Thank god you're here. \n \n Esther looks at the Hammer curiously. \n \n ESTHER \n You two know each other? \n \n HAMMER \n We go to the same temple. \n \n All three step back into Santa's Conference Room. Mo \n continues to hold Santa at gunpoint. \n \n HAMMER (CONT'D)"," We hear Esther screaming from inside the room. \n \n ESTHER (O.S.) \n Mordechai! I'm in here! Help! \n \n The Hammer turns towards the sound. \n \n Suddenly, Santa kicks the Hammer's gun out of his hand, and \n then draws a pistol from behind his belt and points it at \n him. \n \n SANTA \n Looks like the tables have turned once \n again Hammer. \n"," Santa, running for his life, rounds the corner. He stops dead \n in his tracks as he spots the Hammer. \n \n The two look at one another for a brief moment, and then \n Santa points at something behind the Hammer. \n \n SANTA \n Hey, what's that over there? Is that a \n bowl of Matzah Ball soup? \n \n The Hammer looks behind him. Nothing. He turns back to find \n Santa long gone. \n"," CHIEF \n That's wonderful! \n \n The Chief notices the Hammer's dejected look. \n \n CHIEF (CONT'D) \n So why the long face? \n \n HAMMER \n It's Esther. Santa's got her. \n \n CHIEF \n My Esther! Oh Mordechai. \n \n The Chief, overcome by sadness, slumps down into a chair. "," Santa's a broken man. He gets on his knees and inquires \n earnestly... \n \n SANTA \n Please tell me. What is the true meaning \n of Hanukkah? \n \n The Hammer thinks about this for a second. He's drawing a \n blank. He looks to Esther, and she shrugs back at him. \n \n HAMMER \n That's...that's a very good question. And"," Sabbath. C'mon, get up. We've got him \n beat. \n \n The Hammer's POV as Santa and his thugs approach him \n cautiously. \n \n SANTA (CONT'D) \n Well, well, well. It looks as if the \n Hebrew Hammer's got a weakness after all. \n \n Santa turns to his thugs. \n \n SANTA (CONT'D)"," Mo, get him out of my sight. \n \n Mo begins to take Santa away. \n \n The Hammer turns around. \n \n HAMMER (CONT'D) \n No, wait. I need closure here. \n (To Santa) \n I just wanna say one thing. You know \n where you messed up Santa? You \n underestimated the true meaning of \n Hanukkah. \n"," dragged away out of frame. \n \n Santa steps towards camera and surveys the room. \n \n SANTA \n The Jewish Atomic Clock. \n \n It's the kind of place where a giant telescope at an \n observatory would be housed. The clock is breathtaking in its \n size. On its face, in place of the standard numerals are the \n names of Jewish holidays. For example, \"Yom Kipur\" is where"," (Annoyed) \n Actually, his days of marital infidelity \n have long since past. Now he just shtoops \n my mother exclusively. \n \n The Hammer makes the realization. \n \n HAMMER \n Your mother? Oh. Whoops. \n \n ESTHER \n Mordechai, Santa Claus has been rubbed \n out by his son Damian. The man's a demon."," the twelve should be, followed by \"Passover\", etc. In the \n center of the face, an odometer-like gauge reveals the year \n '5734.' At its base, the brilliant blue Judeum glows \n brightly. \n \n Santa barks out orders. \n \n SANTA (CONT'D) \n Get moving! We've got work to do! \n \n One of the thugs pushes play on a ghetto blaster and the song"," Excuse me? Do I know you, friend? Take a \n look around you. Do you even know who I \n am? \n \n The Hammer rips off his baseball hat and T-shirt. Santa \n gasps. \n \n HAMMER \n Let me guess, you're the goy who stole \n Hanukkah. \n \n SANTA \n The Hebrew Hammer! You're alive. \n"," Any sign of Santa? \n \n HAMMER \n He must be behind that curtain. Relax. \n We're undercover. We need to give off the \n appearance of calm. You see Esther, the \n trick to undercover work is to try and \n blend in. Act as a Gentile would. \n \n The two pass a samples booth. The FREE SAMPLES WOMAN solicits \n the Hammer. \n"," his right. Below the picture frame is a plaque reading \"St. \n Nick the Nervous. 1871-1941\", we continue a slow DOLLY to the \n right on to the next picture. \n \n We see another Santa Claus, much more treacherous in his \n appearance. His eyes are fixed menacingly on the picture of \n Santa to his left. The plaque below his picture read, \"St. \n Nick The Nasty 1941-1970.\""," assistants, two busty blondes named BAMBI and TAWNI, flank \n his chair. \n \n SANTA \n And what do the Jewish people do during \n Hanukkah? \n \n JIMMY \n They worship the devil and sacrifice \n small Gentile children like me in \n bizarre, sadistic rituals. \n \n SANTA \n That's right. Santa can tell that you've"," forcing the reindeer to flinch. \n \n SANTA (CONT'D) \n I didn't think so. \n \n INT. JEWISH ATOMIC CLOCK - MOMENTS LATER \n \n Santa and his gang bust through the front doors, taking the \n TWO GUARDS by surprise. \n \n Santa's men quickly tie them up and duct tape their mouths \n shut as if out of 'Gulliver's travels.' The guards are"," CHIEF \n The time for action is now. We predict \n that the St. Nick Day Massacre will put \n Hanukkah-Christmas relations back at \n least a hundred years. With this \n meshuggena new Santa Claus in power, \n Hanukkah is in jeopardy. Our first order \n of business is to put into motion a plan \n to create goodwill towards the Jewish \n Community. Mr. Chairman of the Worldwide"," Santa puts the walkie-talkie down, and addresses somebody \n O.S. \n \n SANTA (CONT'D) \n With the Hebrew Hammer out of the \n picture, Hanukkah will be nothing more \n than a confusing and hard to pronounce \n word. I want to thank you very much Jamal \n for all of your help. \n \n We cut to the other side to reveal whom he's speaking to."," pointing to his head. \n \n SANTA (CONT'D) \n Shoot me. Please, just one to the head. \n Put me out of misery. \n \n Mo enters the room. \n \n MOHAMMED \n Hammer, you alright? \n \n HAMMER \n Everything's kosher. Watch him for me. \n"]],"string":"[\n [\n \" Mohammed Ali Paula Abdul Rahim. My main \\n nigga! \\n \\n The two embrace in a warm hug. The White Accountant looks up \\n in shock from the card table. His nametag is clearly visible, \\n and it reads, \\\"WHITE ACCOUNTANT.\\\" He points at Mohammed. \\n \\n WHITE ACCOUNTANT \\n You...you just called him a Kike. \\n \\n He points to the Hammer. \\n\",\n \" CHIEF (CONT'D) \\n Please. Will you help me? \\n \\n HAMMER \\n I love her sir. If I don't help you, I \\n won't be able to make her my wife. \\n Mohammed Ali Paula Abdul Rahim has agreed \\n to come with me to the North Pole on a \\n rescue mission. \\n \\n Mo, standing in the BG, gives the Chief the fist/chest \\n salute.\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" about that crazy white boy who took over \\n as Santa? \\n \\n MOHAMMED \\n Oh, most definitely. Got the brothers \\n here in full alert mode. \\n \\n The Hammer looks over at the Brothers smoking weed, making \\n out with their girlfriends, etc. Mohammed takes notice. \\n \\n MOHAMMED (CONT'D) \\n Gotta always be cool under pressure. You \\n know what I'm sayin. \\n\",\n \" The front doors bust open, and we DOLLY into the Hammer. \\n \\n All guns are trained on him. \\n \\n From behind the frontline of gunmen, MOHAMMED, clearly the \\n leader of the operation, pushes his way through. \\n \\n He walks towards the Hammer. You can feel the tension in the \\n room. \\n \\n MOHAMMED \\n The Hebrew Hammer! My main Kike! \\n \\n HAMMER\",\n \" around his waist. The Hammer stops climbing for a second, and \\n turns to him. \\n \\n HAMMER (CONT'D) \\n You know, you don't have to hold on to my \\n waist. You're tied in. \\n \\n Mo releases his arms from the Hammer's waist. Indeed, he is \\n tied in. \\n \\n MOHAMMED \\n I knew that. \\n\",\n \" The Hammer wears Tefilon, consisting of leather straps with \\n boxes, wrapped around his head and arms. He silently bows his \\n head in front of the gigantic wall as he mumbles something to \\n himself. Mo nervously scans the area for guards. \\n \\n MOHAMMED \\n What are you doing? \\n \\n HAMMER \\n Just praying to god that we don't kill \\n ourselves going over this wall. \\n\",\n \" Mo and the Hammer run into frame. Mo points to the other end \\n of the hall. \\n \\n MOHAMMED \\n There's Tiny Tim. \\n \\n Tiny Tim spots them and begins to hobble furiously away in \\n the other direction. \\n \\n MOHAMMED (CONT'D) \\n I'll take Tiny Tim. You go find your \\n woman. \\n \\n Mo runs down the hallway after Tiny Tim. The Hammer turns\",\n \" Realizing that it'd be impossible to outrun him, Tiny Tim \\n comes to a stop. \\n \\n Mo trains his pistol on him. \\n \\n MOHAMMED \\n Now I'm gonna do to you what I should \\n have done earlier. \\n \\n Tiny Tim closes his eyes in anticipation of the worst. \\n \\n Mo grabs both of his crutches from under his arm and runs \\n off. Tiny Tim wobbles a few steps and then slumps down\",\n \" He grabs the laptop from the Hammer and looks at the screen. \\n \\n A picture of TAWANDA making out with a GERMAN man decked out \\n in lederhosen on a rural German hillside. The two are \\n surrounded by sheep. \\n \\n Mo gives a sigh of relief. \\n \\n MOHAMMED (CONT'D) \\n Oy vey, that's almost as bad. That's \\n Tawanda getting freaky with a notorious\",\n \" The sound of the footsteps passes. The Hammer makes the \\n silent military \\\"eyes\\\" gesture to Mo by pointing two fingers \\n at his eyes, indicating for him to check and see if the coast \\n is clear. \\n \\n Mo bends out from the corner to look. Pennies fall from his \\n pockets. \\n \\n MOHAMMED \\n It's all clear. Let's go. \\n \\n The Hammer bends down to pick up the change. \\n\",\n \" The other Brothers put their guns down and go back to their \\n pre-Hammer activities, and the accountant takes his place \\n back at the card table. \\n \\n Mohammed puts his arm around the Hammer. \\n \\n MOHAMMED \\n So Morde-chai, tell me, what brings your \\n bad self down to the KLF? \\n \\n HAMMER \\n I'm back on the job for the JDL. You hear\",\n \" CUT TO: \\n \\n ANOTHER ROOM \\n \\n Mohammed escorts the Hammer through a love beaded doorway \\n into a back room. Inside, JAMAL, a black elf, sits on a sofa. \\n A blunt hangs from his mouth and his arms are wrapped around \\n two GORGEOUS SISTERS. \\n \\n MOHAMMED (CONT'D) \\n Jamal, I'd like for you to meet the\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" really hard on this one. But, please stop \\n with the pressure. I'm already tense as \\n it is. \\n \\n MOHAMMED \\n It's cool. It's cool. Aveenooh Shalom \\n Alechem, brother. \\n \\n Mohammed pounds his fist against his chest and then raises \\n it. The Hammer returns the gesture. \\n \\n HAMMER \\n Alekem Salam. \\n\",\n \" pass by Sammy Davis Jr. Jr. The Hammer acknowledges him. \\n \\n HAMMER (CONT'D) \\n Sammy Davis Jr. Jr. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats are beautiful. I love you \\n guys. You take care babe. \\n \\n Mo whispers into the Hammer's ear. \\n \\n MOHAMMED \\n What's wrong with him? \\n\",\n \" pointing to his head. \\n \\n SANTA (CONT'D) \\n Shoot me. Please, just one to the head. \\n Put me out of misery. \\n \\n Mo enters the room. \\n \\n MOHAMMED \\n Hammer, you alright? \\n \\n HAMMER \\n Everything's kosher. Watch him for me. \\n\",\n \" The two continue on down the hall. The Hammer spots another \\n door, violently kicks it open, and enters. Again, the door \\n shuts behind him followed by the sound of more INTENSE \\n GUNFIRE. \\n \\n The Hammer exits. \\n \\n HAMMER (CONT'D) \\n C'mon, let's go! \\n \\n Mo stops and looks at him. \\n \\n MOHAMMED \\n What are you doing?\",\n \" HAMMER \\n True dat. True dat. So, what's the word \\n on the street? \\n \\n MOHAMMED \\n Word is that papa's got a brand new bag, \\n and it's velvety red, and it ain't gonna \\n be overnight Fed-Exed to Jerusalem. If \\n you know what I mean. \\n \\n This clearly flies over the Hammer's yarmulke. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\"\n ],\n [\n \" nameplates hang from their necks - \\\"BLITZEN\\\" and \\\"RUDOLPH.\\\" \\n \\n At the other end of the table from Santa sits his son DAMIAN, \\n quite a nasty looking man. \\n \\n SANTA CLAUS (CONT'D) \\n My father, often referred to as St. Nick \\n The Nasty, was a tyrannical man. He was \\n obsessed with making Christmas the only \\n holiday anyone could celebrate before the\",\n \" Damian, preoccupied with the cigarette he's attempting to \\n light, looks up in response to his name. \\n A brown bagged bottle of booze now sits on the table in front \\n of him. We can see Santa and the reindeer in silhouette on \\n the slide projection screen behind him. \\n \\n SANTA CLAUS (CONT'D) \\n The heir to the Red Suit could be so \\n filled with hate. \\n \\n Santa addresses Damian.\",\n \" Santa holds a walkie-talkie in hand and we the hear the voice \\n of the Salvation Navy Guy. Although behind him hangs a banner \\n reading, \\\"SANTA'S WORKSHOP,\\\" the interior is a run down \\n sweatshop. \\n \\n SALVATION NAVY GUY (O.S.) \\n It's me. He's on his way. \\n \\n SANTA \\n Excellent. Everything is going as \\n planned. \\n\",\n \" SANTA \\n Yes maam, loud and clear. \\n \\n Tiny Tim enters the room. He has a black eye and his clothing \\n is torn. \\n \\n SASSY BLACK PROSTITUTE \\n Damn sugar, what happened to you? \\n \\n TINY TIM \\n Santa, I got some really bad news. \\n \\n EXT. COMPOUND PERIMETER WALL - DAY \\n\",\n \" Santa, running for his life, rounds the corner. He stops dead \\n in his tracks as he spots the Hammer. \\n \\n The two look at one another for a brief moment, and then \\n Santa points at something behind the Hammer. \\n \\n SANTA \\n Hey, what's that over there? Is that a \\n bowl of Matzah Ball soup? \\n \\n The Hammer looks behind him. Nothing. He turns back to find \\n Santa long gone. \\n\",\n \" attempting to make their way past the red curtain to see \\n Santa. A huge 'Citizen Kane'/Big Brother style poster with a \\n menacing picture of Santa looms behind them. It reads, \\\"SANTA \\n CLAUS: HE KNOWS IF YOU'VE BEEN NAUGHTY OR NICE.\\\" \\n \\n Santa's staging area is very Studio 54. Both Tony and Mikey \\n are decked out in Addidas warm up pants, gold chains, etc.\",\n \" Damian walks over to the newly deceased Santa, takes his \\n bloodstained Santa's hat, and put it on his own head. From \\n this point on in the screenplay, Damian will now be referred \\n to as SANTA. \\n \\n The elves in the room, in various stages of shock, stare at \\n their new master in horror. \\n \\n SANTA \\n What are you fucking midgets looking at!?\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" Santa today, so why don't you just turn \\n around and high tail it home. \\n \\n The kid begins to sob uncontrollably. \\n \\n FRECKLE FACED GENTILE BOY \\n But I've been waiting to see Santa all \\n year. \\n \\n Tony apes him. \\n \\n TONY \\n But I've been waiting to see Santa all \\n year. \\n\",\n \" the Hammer blows it out of his hand. \\n \\n It lands on the other side of the room. Santa looks up from \\n his empty hand. \\n \\n SANTA \\n Get him boys! \\n \\n Santa's Elf Thugs open a CHEST filled with LARGE SUB-MACHINE \\n GUNS. The chest is labeled \\\"HEAVY ARTILLERY.\\\" With great \\n difficulty, they struggle to pull the heavy machinery out of \\n the box. \\n\",\n \" been a very good boy this year. Run along \\n now Jimmy. \\n \\n Bambi and Tawni escort Jimmy out, and re-enter with Esther \\n and the Hammer. Santa's confused. \\n \\n SANTA (CONT'D) \\n Sorry folks, I don't do couples. \\n \\n HAMMER \\n If you keep your mouth shut and come with \\n me, you won't get hurt. \\n \\n SANTA\",\n \" SANTA \\n Yeah. This is a sweatshop. And since you \\n elves aren't willing to do the work, I \\n made arrangements to have some Taiwanese \\n children shipped over. And I might add, \\n they're more than willing to work for \\n peanuts. \\n \\n Santa performs the two fingered whistle. \\n \\n SANTA (CONT'D) \\n Come on in boys! \\n\",\n \" Santa sits at the head of his conference table. Tawni and \\n Bambi sit on his lap. A cigarette dangles from his mouth, and \\n he holds a giant glass of eggnog in his hand. Rudolph stands \\n in the corner of the room. \\n \\n SANTA \\n Rudolph, more egg nog! \\n \\n Rudolph, equipped with a tray around his neck holding a glass \\n of egg nog, walks over. Santa stares at him antagonistically\",\n \" More scared reindeer faces. Comet furtively motions towards \\n Rudolph with his antlers. Santa sees this, marches quickly up \\n to Rudolph, and gets in his face. \\n \\n SANTA (CONT'D) \\n What's your major malfunction, dumbfuck!? \\n \\n Rudolph's scared shitless. \\n \\n SANTA (CONT'D) \\n Step forward son! \\n\",\n \" Santa puts the walkie-talkie down, and addresses somebody \\n O.S. \\n \\n SANTA (CONT'D) \\n With the Hebrew Hammer out of the \\n picture, Hanukkah will be nothing more \\n than a confusing and hard to pronounce \\n word. I want to thank you very much Jamal \\n for all of your help. \\n \\n We cut to the other side to reveal whom he's speaking to.\",\n \" MRS. CARVER \\n I forgot to ask you, who'd they put in \\n charge as the new Santa Claus? \\n \\n HAMMER \\n Since Santa will be living out the rest \\n of his days at a home for the \\n religionally insane and because he had no \\n blood heirs, the Kwanzaa Liberation Front \\n and the Jewish Defense League agreed to \\n make the whole Santa Claus process a\",\n \" his right. Below the picture frame is a plaque reading \\\"St. \\n Nick the Nervous. 1871-1941\\\", we continue a slow DOLLY to the \\n right on to the next picture. \\n \\n We see another Santa Claus, much more treacherous in his \\n appearance. His eyes are fixed menacingly on the picture of \\n Santa to his left. The plaque below his picture read, \\\"St. \\n Nick The Nasty 1941-1970.\\\"\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" SANTA CLAUS (CONT'D) \\n Damian, when I learned of your ludicrous \\n scheme to wipe out Hanukkah, my first \\n reaction was one of disgust. Now, I'm \\n only filled with sadness and \\n disappointment. Disappointed that I \\n failed to teach you the true meaning of \\n Christmas. What do you have to say for \\n yourself? \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\"\n ],\n [\n \" SANTA CLAUS (CONT'D) \\n Damian, when I learned of your ludicrous \\n scheme to wipe out Hanukkah, my first \\n reaction was one of disgust. Now, I'm \\n only filled with sadness and \\n disappointment. Disappointed that I \\n failed to teach you the true meaning of \\n Christmas. What do you have to say for \\n yourself? \\n\",\n \" Damian, preoccupied with the cigarette he's attempting to \\n light, looks up in response to his name. \\n A brown bagged bottle of booze now sits on the table in front \\n of him. We can see Santa and the reindeer in silhouette on \\n the slide projection screen behind him. \\n \\n SANTA CLAUS (CONT'D) \\n The heir to the Red Suit could be so \\n filled with hate. \\n \\n Santa addresses Damian.\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" that 'Dreidel, dreidel, dreidel' and 'I'm \\n dreaming of a bright Kwanzaa' be taught \\n and sung in elementary schools along with \\n the Christmas standards 'Frosty The \\n Snowman', and 'Deck The Halls.' \\n Which is why upon examination of my \\n annual naughty and nice list it shocked \\n me to discover that my own son, Damian... \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" Tiny Tim, walkie-talkie in hand, surveys this Christmas \\n Wonderland with smug satisfaction. He spots a small, barely \\n visible Hanukkah decoration poking out from beneath one of \\n the other Christmas decorations. \\n \\n He rips it from the wall and tosses it into a small trashcan \\n bonfire. \\n \\n Tiny Tim speaks into his the walkie-talkie. \\n \\n TINY TIM\",\n \" Damian walks over to the newly deceased Santa, takes his \\n bloodstained Santa's hat, and put it on his own head. From \\n this point on in the screenplay, Damian will now be referred \\n to as SANTA. \\n \\n The elves in the room, in various stages of shock, stare at \\n their new master in horror. \\n \\n SANTA \\n What are you fucking midgets looking at!?\",\n \" nameplates hang from their necks - \\\"BLITZEN\\\" and \\\"RUDOLPH.\\\" \\n \\n At the other end of the table from Santa sits his son DAMIAN, \\n quite a nasty looking man. \\n \\n SANTA CLAUS (CONT'D) \\n My father, often referred to as St. Nick \\n The Nasty, was a tyrannical man. He was \\n obsessed with making Christmas the only \\n holiday anyone could celebrate before the\",\n \" We being a SLOW PUSH into Damian as he ponders the question. \\n The cigarette dangles from his lips. \\n \\n Rudolph nods to Blitzen. Blitzen returns the gesture with a \\n nod of acknowledgment. \\n \\n With a slow and measured pace Damian says... \\n \\n DAMIAN \\n Ho. Ho. Ho. \\n \\n On the slide projector screen behind Damian, we see the\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" one day of the year pretend to forgive \\n him for all the horrible things he did to \\n me as a young boy when my mommy wasn't \\n looking? \\n \\n SANTA \\n No dipshit, I want you to kill him. \\n \\n He thinks about it. \\n \\n TINY TIM \\n Oh. \\n \\n SANTA \\n Santa's gonna take the sled back to the\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" We TILT down to reveal a BLUE GLOWING SUBSTANCE in its base. \\n \\n Santa comes back on screen. \\n \\n SANTA (CONT'D) \\n Once I extract the Judeum from the clock, \\n the Jewish Calendar will cease to exist, \\n forever eradicating Hanukkah. In less \\n than twenty four hours, which by your \\n Jewish Calendar is approximately... \\n\",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\",\n \" Hey everybody. How's it hangin'? \\n \\n SANTA \\n In fact, he's just informed me that he \\n personally plans on cancelling Christmas \\n this year. \\n \\n The Hammer and Esther look to one another. This riles the \\n masses. Trouble. \\n \\n SANTA (CONT'D) \\n Why don't we show him how that makes us \\n feel. \\n\",\n \" The fate of Hanukkah. Right. Right. Yeah, \\n Got it. Will do. Okay, bye now. \\n \\n He hangs up and leaves. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. MALL OF AMERICA - DAY \\n \\n 'Merry Christmas' decorations and signage dominate the \\n landscape of the establishing shot of the Mall. \\n\",\n \" silhouetted images of Blitzen and Rudolph goring Santa \\n through the chest with their antlers. Damian cringes. \\n \\n Blood trickles from Santa's mouth, and with his last breath \\n he utters the words... \\n \\n SANTA CLAUS \\n Et tu, Blitzen? \\n \\n Santa falls out of frame with a thud. Standing behind him \\n with bloodied antlers is Blitzen. \\n\",\n \" Sabbath. C'mon, get up. We've got him \\n beat. \\n \\n The Hammer's POV as Santa and his thugs approach him \\n cautiously. \\n \\n SANTA (CONT'D) \\n Well, well, well. It looks as if the \\n Hebrew Hammer's got a weakness after all. \\n \\n Santa turns to his thugs. \\n \\n SANTA (CONT'D)\",\n \" What time is it? \\n \\n TINY TIM \\n I don't know. About sundown I guess. \\n \\n Santa makes the connection. \\n \\n SANTA \\n Why didn't I think of this? It's the \\n Sabbath. \\n \\n A blank look from Tiny Tim. \\n \\n SANTA (CONT'D) \\n The day of rest. He can't fight on the\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\"\n ],\n [\n \" really hard on this one. But, please stop \\n with the pressure. I'm already tense as \\n it is. \\n \\n MOHAMMED \\n It's cool. It's cool. Aveenooh Shalom \\n Alechem, brother. \\n \\n Mohammed pounds his fist against his chest and then raises \\n it. The Hammer returns the gesture. \\n \\n HAMMER \\n Alekem Salam. \\n\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" What time is it? \\n \\n TINY TIM \\n I don't know. About sundown I guess. \\n \\n Santa makes the connection. \\n \\n SANTA \\n Why didn't I think of this? It's the \\n Sabbath. \\n \\n A blank look from Tiny Tim. \\n \\n SANTA (CONT'D) \\n The day of rest. He can't fight on the\",\n \" the blessings I've received over the past \\n year. A beautiful fiancee... \\n \\n Esther smiles. \\n \\n HAMMER (CONT'D) \\n ...a wonderful mother... \\n \\n Mrs. Carver is as proud as can be... \\n \\n HAMMER (CONT'D) \\n ...and the opportunity to help my \\n brothers and sisters in the Jewish \\n community. \\n \\n MRS. CARVER\",\n \" Americans could all observe their \\n respective holidays in harmony. \\n \\n We see a slide of THE HEBREW HAMMER, an African American man \\n (Mohammed), and Santa Claus arm in arm below a banner in a \\n mall reading \\\"HAPPY HOLIDAYS!\\\" \\n \\n SANTA CLAUS (CONT'D) \\n I was responsible for pushing the Happy \\n Holidays Ordinance, in which all Merry\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\",\n \" CHIEF \\n The time for action is now. We predict \\n that the St. Nick Day Massacre will put \\n Hanukkah-Christmas relations back at \\n least a hundred years. With this \\n meshuggena new Santa Claus in power, \\n Hanukkah is in jeopardy. Our first order \\n of business is to put into motion a plan \\n to create goodwill towards the Jewish \\n Community. Mr. Chairman of the Worldwide\",\n \" Christmas signage was replaced by the \\n Trans-relgious and inoffensive phrase \\n 'Happy Holidays.' \\n \\n We see another slide in which an assembly of SCHOOLCHILDREN \\n are singing. \\n \\n SANTA CLAUS (CONT'D) \\n It was nearly a decade ago, in \\n conjunction with our friends in the \\n Jewish and African American communities \\n that I supported a bill that mandated\",\n \" Yeah, yeah, that's right. We were just \\n about to leave. C'mon Teddy. \\n \\n The two run off. \\n \\n The Hammer looks down to Shlomo. His spirit seems broken. \\n \\n HAMMER \\n You alright? \\n \\n SHLOMO \\n I guess. Sometimes I wonder why I even \\n bother praying to one god. \\n \\n HAMMER\",\n \" Afterwards they'll make the decision as \\n to whether or not they'd like to continue \\n their religious studies in Israel. \\n Because, hey, after all we'll have \\n practiced the highly effective assertive \\n democratic style of child rearing, \\n sprinkled with a healthy dose of \\n liberalism. \\n \\n She's on fire for him. \\n \\n ESTHER\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" This puts the Hammer into a neurotic fit. \\n \\n HAMMER \\n Oh. Oh, What. So, all of a sudden my \\n saving Hanukkah's not good enough for \\n you? Is that what your saying? \\n \\n Mrs. Carver throws her arms up in resignation. \\n \\n MRS. CARVER \\n I don't want to argue with you. Let's \\n just eat in peace. \\n\",\n \" The other Brothers put their guns down and go back to their \\n pre-Hammer activities, and the accountant takes his place \\n back at the card table. \\n \\n Mohammed puts his arm around the Hammer. \\n \\n MOHAMMED \\n So Morde-chai, tell me, what brings your \\n bad self down to the KLF? \\n \\n HAMMER \\n I'm back on the job for the JDL. You hear\",\n \" belong. Fuck Christmas. I'm all about \\n smoking blunts and pimpin' bitches. I'm \\n all about Kwanzaa nigga! \\n \\n Mohammed and the Hammer head towards the door. \\n \\n MOHAMMED \\n He's new. He's still got a long way to go \\n before he understands the true meaning of \\n Kwanzaa. \\n \\n HAMMER\",\n \" The sound of the footsteps passes. The Hammer makes the \\n silent military \\\"eyes\\\" gesture to Mo by pointing two fingers \\n at his eyes, indicating for him to check and see if the coast \\n is clear. \\n \\n Mo bends out from the corner to look. Pennies fall from his \\n pockets. \\n \\n MOHAMMED \\n It's all clear. Let's go. \\n \\n The Hammer bends down to pick up the change. \\n\",\n \" Gentleman! Please! \\n \\n Still chaos. He flips a light switch on and off a few times \\n as he says... \\n \\n CHIEF (CONT'D) \\n Sheket B'vakasha! Sheket B'vakasha! \\n \\n The entire hall responds in unison... \\n \\n HALL \\n Hey! \\n \\n The room falls silent. Every member of the JDL sits straight \\n up with their hands folded in front of them.\",\n \" the twelve should be, followed by \\\"Passover\\\", etc. In the \\n center of the face, an odometer-like gauge reveals the year \\n '5734.' At its base, the brilliant blue Judeum glows \\n brightly. \\n \\n Santa barks out orders. \\n \\n SANTA (CONT'D) \\n Get moving! We've got work to do! \\n \\n One of the thugs pushes play on a ghetto blaster and the song\",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\",\n \" similar sign reading, \\\"KYKES GO HOME\\\" is turned outwards by \\n ANOTHER CLERK. He continues past yet another building as a \\n sign reading, \\\"MONOTHEISTS NEED NOT APPLY\\\" is displayed by a \\n THIRD CLERK for Morty's benefit. \\n \\n Morty looks across the street. \\n \\n A sign hangs from a storefront reading \\\"JEWS OK FOR ABOUT 5\"\n ],\n [\n \" Realizing that it'd be impossible to outrun him, Tiny Tim \\n comes to a stop. \\n \\n Mo trains his pistol on him. \\n \\n MOHAMMED \\n Now I'm gonna do to you what I should \\n have done earlier. \\n \\n Tiny Tim closes his eyes in anticipation of the worst. \\n \\n Mo grabs both of his crutches from under his arm and runs \\n off. Tiny Tim wobbles a few steps and then slumps down\",\n \" We do another QUICK PUSH into the Hammer as he turns towards \\n Tiny Tim. \\n \\n Tiny Tim, standing alone with his crutches tucked under his \\n arms, looks like a deer caught in headlights. \\n \\n The Hammer grins mischievously. \\n \\n TINY TIM \\n Uh oh. \\n \\n The Hammer begins firing. \\n \\n In SLOW-MOTION, Tiny Tim hobbles as fast as he can towards an\",\n \" towards the other direction to find... \\n \\n TWO ELVES on multi-colored MOPEDS comin' right for him. \\n \\n The Hammer stands motionless as the Elves gain ground. \\n \\n Right before they reach him, the Hammer quickly pulls his \\n Talis off of his neck and holds it outstretched, \\n clotheslining the two off of their mopeds. \\n \\n The elves are out cold. The Hammer admires his work. \\n\",\n \" sound of SHOTGUNS BLASTING and then the sounds of intense \\n FIGHTING. A few seconds of the fighting sounds pass. \\n \\n Suddenly, the front doors bust open and a few bloodied \\n Skinheads fall out onto the ground, followed by the Hammer. \\n He's untouched, and he carries the bottle of Manischewitz in \\n one hand and a shotgun in the other. \\n \\n He stops in the MIDGROUND, and pours the Manischewitz out on\",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\",\n \" Mo and the Hammer run into frame. Mo points to the other end \\n of the hall. \\n \\n MOHAMMED \\n There's Tiny Tim. \\n \\n Tiny Tim spots them and begins to hobble furiously away in \\n the other direction. \\n \\n MOHAMMED (CONT'D) \\n I'll take Tiny Tim. You go find your \\n woman. \\n \\n Mo runs down the hallway after Tiny Tim. The Hammer turns\",\n \" the astroturf lawn in a methodical manner. \\n \\n He approaches FOREGROUND, and pulls out something from his \\n jacket pocket. \\n \\n We see a CU of the same matchbook the elf gave him. \\\"DUKE'S - \\n WHERE SKIN IS IN.\\\" \\n \\n He lights a match and tosses it over his shoulder. We hear \\n the sounds of bursting flames. \\n \\n The Hammer puts his sunglasses on, and walks straight past \\n the camera.\",\n \" THRONG (O.S.) \\n Where'd they go? I saw them go down that \\n hallway. C'mon, let's get em'! \\n \\n Hammer turns to Esther defeated. \\n \\n HAMMER \\n It's over. We're doomed. \\n \\n The barely audible sound of a gospelized version of the \\n Biblical slave song, \\\"Let My People Go\\\" sounds as if it's\",\n \" He turns his attention to Esther. \\n \\n HAMMER (CONT'D) \\n Alone. \\n \\n The Hammer exits. Esther is dejected. \\n \\n CHIEF \\n Tail him. He's gonna need the help. \\n \\n STAR OF DAVID WIPE TO: \\n \\n EXT. BEN GURION AIRPORT - ISRAEL - DAY \\n\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" CUT TO: \\n \\n AN EMPTY SECTION OF THE MALL - MOMENTS LATER \\n \\n We hold a few beats on a shot of this fairly untrafficked \\n portion of the mall. \\n \\n Suddenly, Esther and the Hammer haul ass around the corner, \\n running for their lives. \\n \\n A second or two pass, and an ANGRY MOB of about twenty \\n Gentile children round the corner after them. They're\",\n \" BACK to reveal the Hammer throttling a monstrous HARLEY \\n CHOPPER MOTORCYCLE. \\n \\n The Hammer's Talis flaps wildly in the wind. His Shtreml \\n helmet is strapped on tight over his goggles. \\n \\n The scenery, oddly enough, resembles the Mojave Desert. \\n \\n We cut to a sign reading \\\"THE WEST BANK PALMS: A GATED\",\n \" What are we going to do? We're at least \\n an hour from the front. \\n \\n HAMMER \\n C'mon follow me. \\n \\n The two make their way up to the front of the line. They pass \\n a man who looks eerily like ex-rapping god, MC HAMMER. \\n \\n ESTHER \\n (To Hammer) \\n Is that...? No, couldn't be. \\n \\n TONY\",\n \" The Chief shakes his head yes. \\n \\n HAMMER (CONT'D) \\n There won't be any need for that sir. \\n \\n CHIEF \\n Hammer, the fate of my daughter rests \\n solely in your hands. \\n \\n HAMMER \\n I know sir. I won't let you down. \\n \\n The Hammer motions to Mo, and the two begin to leave. They\",\n \" We cut back to the Hammer. The speed with which he shoots \\n begins to slow. \\n \\n Esther, checking the clock for damage calls to him. \\n \\n ESTHER \\n What's the matter? \\n \\n HAMMER \\n I don't know. I'm feeling kind of tired. \\n \\n We cut back to Santa and Tiny Tim underneath the table. We \\n HEAR the shooting continue to slow, until finally it ceases\",\n \" altogether. Santa and Tiny Tim exchange looks. \\n \\n SANTA \\n What's going on? Why'd he stop? \\n \\n TINY TIM \\n Maybe he ran out of ammo. \\n \\n SANTA \\n Take a look. \\n \\n Tiny Tim pokes his head over the table to see... \\n \\n The Hammer and Esther lie together slumped up against the \\n wall. They look exhausted. \\n\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" The sound of the footsteps passes. The Hammer makes the \\n silent military \\\"eyes\\\" gesture to Mo by pointing two fingers \\n at his eyes, indicating for him to check and see if the coast \\n is clear. \\n \\n Mo bends out from the corner to look. Pennies fall from his \\n pockets. \\n \\n MOHAMMED \\n It's all clear. Let's go. \\n \\n The Hammer bends down to pick up the change. \\n\",\n \" The front doors bust open, and we DOLLY into the Hammer. \\n \\n All guns are trained on him. \\n \\n From behind the frontline of gunmen, MOHAMMED, clearly the \\n leader of the operation, pushes his way through. \\n \\n He walks towards the Hammer. You can feel the tension in the \\n room. \\n \\n MOHAMMED \\n The Hebrew Hammer! My main Kike! \\n \\n HAMMER\"\n ],\n [\n \" Damian, preoccupied with the cigarette he's attempting to \\n light, looks up in response to his name. \\n A brown bagged bottle of booze now sits on the table in front \\n of him. We can see Santa and the reindeer in silhouette on \\n the slide projection screen behind him. \\n \\n SANTA CLAUS (CONT'D) \\n The heir to the Red Suit could be so \\n filled with hate. \\n \\n Santa addresses Damian.\",\n \" Damian walks over to the newly deceased Santa, takes his \\n bloodstained Santa's hat, and put it on his own head. From \\n this point on in the screenplay, Damian will now be referred \\n to as SANTA. \\n \\n The elves in the room, in various stages of shock, stare at \\n their new master in horror. \\n \\n SANTA \\n What are you fucking midgets looking at!?\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" We being a SLOW PUSH into Damian as he ponders the question. \\n The cigarette dangles from his lips. \\n \\n Rudolph nods to Blitzen. Blitzen returns the gesture with a \\n nod of acknowledgment. \\n \\n With a slow and measured pace Damian says... \\n \\n DAMIAN \\n Ho. Ho. Ho. \\n \\n On the slide projector screen behind Damian, we see the\",\n \" SANTA CLAUS (CONT'D) \\n Damian, when I learned of your ludicrous \\n scheme to wipe out Hanukkah, my first \\n reaction was one of disgust. Now, I'm \\n only filled with sadness and \\n disappointment. Disappointed that I \\n failed to teach you the true meaning of \\n Christmas. What do you have to say for \\n yourself? \\n\",\n \" Oh Mordechai, you know how I detest gore. \\n \\n HAMMER \\n Well then maybe you should have thought \\n about that before you ran with him. \\n C'mon, let's get you back to Washington. \\n \\n And we PULL out as the three make their way down the hallway. \\n \\n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \\n\",\n \" Realizing that it'd be impossible to outrun him, Tiny Tim \\n comes to a stop. \\n \\n Mo trains his pistol on him. \\n \\n MOHAMMED \\n Now I'm gonna do to you what I should \\n have done earlier. \\n \\n Tiny Tim closes his eyes in anticipation of the worst. \\n \\n Mo grabs both of his crutches from under his arm and runs \\n off. Tiny Tim wobbles a few steps and then slumps down\",\n \" silhouetted images of Blitzen and Rudolph goring Santa \\n through the chest with their antlers. Damian cringes. \\n \\n Blood trickles from Santa's mouth, and with his last breath \\n he utters the words... \\n \\n SANTA CLAUS \\n Et tu, Blitzen? \\n \\n Santa falls out of frame with a thud. Standing behind him \\n with bloodied antlers is Blitzen. \\n\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" HAMMER \\n Damn! \\n \\n He takes off down the hall after Santa. \\n \\n CUT TO: \\n \\n ANOTHER CORRIDOR \\n \\n Mo catches up to the hobbling Tiny Tim, and begins to mock \\n the manner and speed at which he runs, running side by side \\n with him, circling around him as he attempts to get away, \\n etc. \\n\",\n \" nameplates hang from their necks - \\\"BLITZEN\\\" and \\\"RUDOLPH.\\\" \\n \\n At the other end of the table from Santa sits his son DAMIAN, \\n quite a nasty looking man. \\n \\n SANTA CLAUS (CONT'D) \\n My father, often referred to as St. Nick \\n The Nasty, was a tyrannical man. He was \\n obsessed with making Christmas the only \\n holiday anyone could celebrate before the\",\n \" The Hammer's confused. \\n \\n HAMMER \\n But if I kill you, then you'll be dead. \\n \\n Santa thinks about this for a couple seconds. \\n \\n SANTA \\n Good point. \\n \\n The Hammer looks up from his interrogation and spots a sign \\n taped to a door directly behind Santa. It reads, \\\"THE ROOM \\n WHERE THE HEBREW HAMMER'S GIRLFRIEND IS.\\\" \\n\",\n \" his right. Below the picture frame is a plaque reading \\\"St. \\n Nick the Nervous. 1871-1941\\\", we continue a slow DOLLY to the \\n right on to the next picture. \\n \\n We see another Santa Claus, much more treacherous in his \\n appearance. His eyes are fixed menacingly on the picture of \\n Santa to his left. The plaque below his picture read, \\\"St. \\n Nick The Nasty 1941-1970.\\\"\",\n \" We cut back to the Hammer. The speed with which he shoots \\n begins to slow. \\n \\n Esther, checking the clock for damage calls to him. \\n \\n ESTHER \\n What's the matter? \\n \\n HAMMER \\n I don't know. I'm feeling kind of tired. \\n \\n We cut back to Santa and Tiny Tim underneath the table. We \\n HEAR the shooting continue to slow, until finally it ceases\",\n \" The kid is a pathetic mess. \\n \\n TONY (CONT'D) \\n You heard me. Get moving punk! \\n \\n CUT TO: \\n \\n The Hammer and Esther scope out the area. The Hammer is \\n disguised terribly, consisting of a baseball hat on top of \\n his Shtreml, and a Jesus Fish T-shirt worn over his black \\n suit. Esther's visibly nervous. \\n \\n ESTHER\",\n \" The other Teenage Gentile excitedly extends his hands to \\n catch, but right before it reaches him another hand comes \\n into frame and snatches it. He looks up, and we cut to his... \\n \\n POV as we tilt up to reveal The Hammer. He looks pretty damn \\n big and pissed off from this angle. \\n \\n The Teenage Gentile begins to shake and stammer. \\n \\n TEENAGE GENTILE (CONT'D)\",\n \" We pull back into a SPINNING OVERHEAD to reveal flames in the \\n shape of the STAR OF DAVID burning on the lawn. \\n \\n FADE TO BLACK. \\n \\n PUSHERMAN MONTAGE \\n \\n Curtis Mayfield's 'Pusherman' FADES UP, and we cut into a \\n STILL PHOTO of Tiny Tim with his arms around two Hasidic boys\",\n \" We do another QUICK PUSH into the Hammer as he turns towards \\n Tiny Tim. \\n \\n Tiny Tim, standing alone with his crutches tucked under his \\n arms, looks like a deer caught in headlights. \\n \\n The Hammer grins mischievously. \\n \\n TINY TIM \\n Uh oh. \\n \\n The Hammer begins firing. \\n \\n In SLOW-MOTION, Tiny Tim hobbles as fast as he can towards an\",\n \" Mo and the Hammer run into frame. Mo points to the other end \\n of the hall. \\n \\n MOHAMMED \\n There's Tiny Tim. \\n \\n Tiny Tim spots them and begins to hobble furiously away in \\n the other direction. \\n \\n MOHAMMED (CONT'D) \\n I'll take Tiny Tim. You go find your \\n woman. \\n \\n Mo runs down the hallway after Tiny Tim. The Hammer turns\",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\"\n ],\n [\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" gun. He raises it at the Hammer, ready to fire. \\n \\n ESTHER \\n Mordechai! Behind you! \\n \\n The Hammer turns and nails the elf just in time. \\n \\n Esther, gun drawn, backs up into frame with the Hammer, and \\n the two fire off rounds. \\n \\n HAMMER \\n What are you doing here? \\n \\n ESTHER\",\n \" North Pole and celebrate his victory with \\n his new stocking stuffer. \\n \\n Santa grabs Esther and attempts to pull her up. The Hammer \\n holds on tightly to her other hand, but isn't strong enough \\n to resist Santa's might. Esther's hand is pulled from his \\n firm grip, and Santa takes her into his arms. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai!\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" Wow, that was amazing. \\n \\n The Hammer gives her ass a smack, and then picks up a \\n container filled with some kind of WHITE POWDER. \\n He snorts a bit of it off of the Star Of David chain that \\n hangs from his neck, and places the container of white powder \\n back in its place by the menorah. \\n \\n Esther is mortified. \\n \\n ESTHER (CONT'D) \\n What did you just snort? \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" with one another, arm in arm. \\n \\n CHAIM FEYGELE (CONT'D) \\n The name's Feygele. Chaim Feygele. \\n \\n This guy is clearly making the Hammer nervous. \\n \\n HAMMER \\n Mordechai. My friends call me Morty. \\n \\n CHAIM FEYGELE \\n So Morty, I just love a man in a black \\n suit. Care to dance.\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" You mean like disco dancing or doing the \\n funky chicke...Oh. I get it. \\n \\n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \\n clearly outlined through her blouse. Now, the Hammer's really \\n getting it. \\n \\n HAMMER (CONT'D) \\n Now we're talking Boobola. \\n \\n ESTHER \\n Mordechai? \\n\"\n ],\n [\n \" MINUTES.\\\" The FOURTH CLERK gives him the thumbs up. \\n \\n Morty finds a spot on the sidewalk outside the building and \\n pulls out his dreidel. \\n \\n He spins it, and we hold on the spinning top for a few beats \\n as Morty stares at in wonderment. \\n \\n Suddenly, a huge black boot comes crashing down into frame \\n and smashes the little dreidel. Mordechai slowly looks up. \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" appears genuinely concerned by the teasing Mordechai has \\n weathered. She walks over to comfort him. \\n \\n MRS. HIGHSMITH \\n Now, now class let's not make fun of \\n Mordechai's spinning top. We need to all \\n learn the importance of tolerance and \\n understanding. Isn't that right \\n Mordechai? \\n \\n MORDECHAI \\n Yes Mrs. Highsmith. \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" GENTILE BOY 1 \\n Hey everybody! Look what Mordechai got. \\n Nice spinning top Morty. \\n \\n The other children take notice of Mordechai's gift and begin \\n to laugh. \\n \\n Mordechai is crushed. MRS. HIGHSMITH (40's), an incredibly \\n Waspy teacher puts down her copy of 'Modern W.A.S.P.,' and\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" neck dripping with gold chains, steps up to the Hammer. He's \\n got a huge phoney smile plastered across his face. \\n \\n CHAIM FEYGELE \\n Well Shalom there mister! \\n \\n HAMMER \\n Do we know each other? \\n \\n CHAIM FEYGELE \\n No, but we have mutual friends. \\n \\n Chaim points to the dance floor. Another shot of men dancing\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" We cut to a SLOW-MOTION CU of Gentile Girl 1. She wears an \\\"I \\n Love Jesus\\\" T-shirt and holds an adorable dog with a bow \\n affixed to its head in her arms. It licks her on the face. \\n \\n We cut back to Mordechai. He looks down at his pathetic \\n excuse for a present. He's on the verge of tears. \\n \\n Gentile Boy 1 calls to Mordechai as he drives his ATC. \",\n \" lunchbox tightly as he looks off into the distance. He's got \\n quite a large bulge in his pants for a child his age. \\n \\n We see a menacing, EXTREMELY WIDE ANGLE shot of the school. \\n Superimposed over the picture are the words, \\\"ST. PETER, \\n PAUL, AND MARY PUBLIC ELEMENTARY SCHOOL.\\\" \\n \\n Mordechai takes a deep breath, and walks towards the school. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" The sound of the footsteps passes. The Hammer makes the \\n silent military \\\"eyes\\\" gesture to Mo by pointing two fingers \\n at his eyes, indicating for him to check and see if the coast \\n is clear. \\n \\n Mo bends out from the corner to look. Pennies fall from his \\n pockets. \\n \\n MOHAMMED \\n It's all clear. Let's go. \\n \\n The Hammer bends down to pick up the change. \\n\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\"\n ],\n [\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" Esther lifts her skirt a few inches. \\n \\n ESTHER \\n Perhaps I can persuade him. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \\n \\n A shoddy low-rent office replete with Film Noirish lighting \\n via the blinds. The Hammer fiddles with a dreidel as he sits\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" BANDLEADER notices the two walk in... \\n \\n BANDLEADER \\n Hey! The Hebrew Hammer everybody! \\n \\n The Hammer raises his hand in acknowledgment. The entire bar \\n cheers and applauds. \\n \\n Hammer escorts Esther to a table on the woman's side of the \\n wall, and then walks around to the other side of the divider \\n where he takes a seat opposite the wall from her. \\n\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" TIKVA \\n I understand that. I just thought that \\n you might want to know. \\n \\n HAMMER \\n (Beat) \\n I'll be in my office. \\n \\n The Hammer walks into his private office and shuts the \\n frosted glass door. We hold on what's stenciled on the \\n outside of the door. The lettering reads, \\\"Mordechai\",\n \" MINUTES.\\\" The FOURTH CLERK gives him the thumbs up. \\n \\n Morty finds a spot on the sidewalk outside the building and \\n pulls out his dreidel. \\n \\n He spins it, and we hold on the spinning top for a few beats \\n as Morty stares at in wonderment. \\n \\n Suddenly, a huge black boot comes crashing down into frame \\n and smashes the little dreidel. Mordechai slowly looks up. \\n\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\"\n ],\n [\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" her way to the front. A black skirt covers every inch of her \\n sexy figure. \\n \\n ESTHER \\n What about Mordechai Jefferson Carver? \\n \\n The hall fills with hushed voices as the various members of \\n the JDL whisper to one another. \\n \\n CHIEF \\n The Hebrew Hammer? No. No way. After the \\n way he handled that situation in the West \\n Bank? He's the only Jew in the world too\",\n \" We start CLOSE on a gift wrapped Hanukkah present. We pull \\n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \\n HAMMER, a baaad Jewish brother spins the package in his hands \\n as he saunters down the street past a latke stand. He's a \\n Semitic super stud straight out of a 70's Blaxploitation\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" it. A COMPUTERIZED VOICE begins... \\n \\n COMPUTERIZED VOICE \\n Jew Confirmation Test initiated. \\n \\n He's clearly irritated by this. \\n \\n HAMMER \\n You've gotta be kidding me. They're still \\n doing this? \\n \\n COMPUTERIZED VOICE \\n Please state your full Hebrew name. \\n \\n HAMMER\",\n \" TIKVA \\n I understand that. I just thought that \\n you might want to know. \\n \\n HAMMER \\n (Beat) \\n I'll be in my office. \\n \\n The Hammer walks into his private office and shuts the \\n frosted glass door. We hold on what's stenciled on the \\n outside of the door. The lettering reads, \\\"Mordechai\",\n \" appears genuinely concerned by the teasing Mordechai has \\n weathered. She walks over to comfort him. \\n \\n MRS. HIGHSMITH \\n Now, now class let's not make fun of \\n Mordechai's spinning top. We need to all \\n learn the importance of tolerance and \\n understanding. Isn't that right \\n Mordechai? \\n \\n MORDECHAI \\n Yes Mrs. Highsmith. \\n\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" The Hebrew Hammer? I've heard about this \\n cat. Your beautiful babe. Keep on keeping \\n on. \\n \\n The Hammer is a bit taken back. \\n \\n HAMMER \\n Alright. I'll, uh, keep doing that. \\n \\n Sammy's all smiles. \\n \\n CHIEF \\n Sammy, if you'll excuse us, Mordechai and\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" Chosen.\\\" The Hammer grabs a copy of the Chosen and hands it \\n to Shlomo. \\n \\n SHLOMO \\n Chaim Potok's The Chosen? \\n \\n HAMMER \\n Get yourself home and watch this as soon \\n as possible. \\n \\n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \\n past the two. One of the ornaments makes a tinkling sound. \\n\"\n ],\n [\n \" The Hammer takes out his gun and points it Santa. \\n \\n HAMMER \\n What's your shpiel, Santa? \\n \\n SANTA \\n Whoa, whoa there. C'mon Mordechai, is \\n this any way to treat an old family \\n friend? Let's cut out all the \\n unpleasantness. I admit, I went way \\n overboard with the whole Hanukkah thing.\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" dragged away out of frame. \\n \\n Santa steps towards camera and surveys the room. \\n \\n SANTA \\n The Jewish Atomic Clock. \\n \\n It's the kind of place where a giant telescope at an \\n observatory would be housed. The clock is breathtaking in its \\n size. On its face, in place of the standard numerals are the \\n names of Jewish holidays. For example, \\\"Yom Kipur\\\" is where\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" Santa, running for his life, rounds the corner. He stops dead \\n in his tracks as he spots the Hammer. \\n \\n The two look at one another for a brief moment, and then \\n Santa points at something behind the Hammer. \\n \\n SANTA \\n Hey, what's that over there? Is that a \\n bowl of Matzah Ball soup? \\n \\n The Hammer looks behind him. Nothing. He turns back to find \\n Santa long gone. \\n\",\n \" the Hammer blows it out of his hand. \\n \\n It lands on the other side of the room. Santa looks up from \\n his empty hand. \\n \\n SANTA \\n Get him boys! \\n \\n Santa's Elf Thugs open a CHEST filled with LARGE SUB-MACHINE \\n GUNS. The chest is labeled \\\"HEAVY ARTILLERY.\\\" With great \\n difficulty, they struggle to pull the heavy machinery out of \\n the box. \\n\",\n \" Mo, get him out of my sight. \\n \\n Mo begins to take Santa away. \\n \\n The Hammer turns around. \\n \\n HAMMER (CONT'D) \\n No, wait. I need closure here. \\n (To Santa) \\n I just wanna say one thing. You know \\n where you messed up Santa? You \\n underestimated the true meaning of \\n Hanukkah. \\n\",\n \" And to top it off, you didn't even have \\n the courtesy to give me a proper hello \\n when I entered the room. What have I ever \\n done to you to be treated with such \\n disrespect? \\n \\n Santa's a wreck. \\n \\n SANTA \\n Please, make it stop. I'll do anything. \\n Here take my gun. \\n \\n He hands his piece to the Hammer and kneels on the ground,\",\n \" forcing the reindeer to flinch. \\n \\n SANTA (CONT'D) \\n I didn't think so. \\n \\n INT. JEWISH ATOMIC CLOCK - MOMENTS LATER \\n \\n Santa and his gang bust through the front doors, taking the \\n TWO GUARDS by surprise. \\n \\n Santa's men quickly tie them up and duct tape their mouths \\n shut as if out of 'Gulliver's travels.' The guards are\",\n \" other option but to use the most powerful \\n weapon in the Jewish arsenal. \\n \\n The Hammer closes his eyes and puts his hands together as if \\n in meditation. Santa looks around nervously. \\n \\n SANTA \\n What are you doing? \\n \\n The Hammer meditates for a bit more. Suddenly, his eyes open \\n and he begins... \\n \\n HAMMER \\n I shlepped all the way to the North Pole\",\n \" INT. JEWISH ATOMIC CLOCK - CONTINUOUS \\n \\n Inside, Santa and his thugs hear the sound of the Chopper \\n growing in strength. The ROAR of the engines is piercingly \\n loud! And then nothing. \\n \\n A beat passes, and then the Hammer's motorcycle busts open \\n the front door. \\n \\n An INSERT of the Hammer's bike skidding to a stop. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" Santa puts the walkie-talkie down, and addresses somebody \\n O.S. \\n \\n SANTA (CONT'D) \\n With the Hebrew Hammer out of the \\n picture, Hanukkah will be nothing more \\n than a confusing and hard to pronounce \\n word. I want to thank you very much Jamal \\n for all of your help. \\n \\n We cut to the other side to reveal whom he's speaking to.\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" Santa forces her out the front door, leaving Tiny Tim alone \\n with the Hammer. O.S., we hear the sound of Santa's Sled \\n taking off. \\n \\n TINY TIM \\n Take a look Hammer. The clock's already \\n beginning to power down. \\n \\n We see a shot of the elves pumping out the Judeum from the \\n clock, and then tilt up to reveal its face. \\n\",\n \" the twelve should be, followed by \\\"Passover\\\", etc. In the \\n center of the face, an odometer-like gauge reveals the year \\n '5734.' At its base, the brilliant blue Judeum glows \\n brightly. \\n \\n Santa barks out orders. \\n \\n SANTA (CONT'D) \\n Get moving! We've got work to do! \\n \\n One of the thugs pushes play on a ghetto blaster and the song\",\n \" Sabbath. C'mon, get up. We've got him \\n beat. \\n \\n The Hammer's POV as Santa and his thugs approach him \\n cautiously. \\n \\n SANTA (CONT'D) \\n Well, well, well. It looks as if the \\n Hebrew Hammer's got a weakness after all. \\n \\n Santa turns to his thugs. \\n \\n SANTA (CONT'D)\"\n ],\n [\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" gun. He raises it at the Hammer, ready to fire. \\n \\n ESTHER \\n Mordechai! Behind you! \\n \\n The Hammer turns and nails the elf just in time. \\n \\n Esther, gun drawn, backs up into frame with the Hammer, and \\n the two fire off rounds. \\n \\n HAMMER \\n What are you doing here? \\n \\n ESTHER\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" TIKVA \\n I understand that. I just thought that \\n you might want to know. \\n \\n HAMMER \\n (Beat) \\n I'll be in my office. \\n \\n The Hammer walks into his private office and shuts the \\n frosted glass door. We hold on what's stenciled on the \\n outside of the door. The lettering reads, \\\"Mordechai\",\n \" with one another, arm in arm. \\n \\n CHAIM FEYGELE (CONT'D) \\n The name's Feygele. Chaim Feygele. \\n \\n This guy is clearly making the Hammer nervous. \\n \\n HAMMER \\n Mordechai. My friends call me Morty. \\n \\n CHAIM FEYGELE \\n So Morty, I just love a man in a black \\n suit. Care to dance.\"\n ],\n [\n \" Damian, preoccupied with the cigarette he's attempting to \\n light, looks up in response to his name. \\n A brown bagged bottle of booze now sits on the table in front \\n of him. We can see Santa and the reindeer in silhouette on \\n the slide projection screen behind him. \\n \\n SANTA CLAUS (CONT'D) \\n The heir to the Red Suit could be so \\n filled with hate. \\n \\n Santa addresses Damian.\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" SANTA CLAUS (CONT'D) \\n Damian, when I learned of your ludicrous \\n scheme to wipe out Hanukkah, my first \\n reaction was one of disgust. Now, I'm \\n only filled with sadness and \\n disappointment. Disappointed that I \\n failed to teach you the true meaning of \\n Christmas. What do you have to say for \\n yourself? \\n\",\n \" that 'Dreidel, dreidel, dreidel' and 'I'm \\n dreaming of a bright Kwanzaa' be taught \\n and sung in elementary schools along with \\n the Christmas standards 'Frosty The \\n Snowman', and 'Deck The Halls.' \\n Which is why upon examination of my \\n annual naughty and nice list it shocked \\n me to discover that my own son, Damian... \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" nameplates hang from their necks - \\\"BLITZEN\\\" and \\\"RUDOLPH.\\\" \\n \\n At the other end of the table from Santa sits his son DAMIAN, \\n quite a nasty looking man. \\n \\n SANTA CLAUS (CONT'D) \\n My father, often referred to as St. Nick \\n The Nasty, was a tyrannical man. He was \\n obsessed with making Christmas the only \\n holiday anyone could celebrate before the\",\n \" one day of the year pretend to forgive \\n him for all the horrible things he did to \\n me as a young boy when my mommy wasn't \\n looking? \\n \\n SANTA \\n No dipshit, I want you to kill him. \\n \\n He thinks about it. \\n \\n TINY TIM \\n Oh. \\n \\n SANTA \\n Santa's gonna take the sled back to the\",\n \" Tiny Tim, walkie-talkie in hand, surveys this Christmas \\n Wonderland with smug satisfaction. He spots a small, barely \\n visible Hanukkah decoration poking out from beneath one of \\n the other Christmas decorations. \\n \\n He rips it from the wall and tosses it into a small trashcan \\n bonfire. \\n \\n Tiny Tim speaks into his the walkie-talkie. \\n \\n TINY TIM\",\n \" We being a SLOW PUSH into Damian as he ponders the question. \\n The cigarette dangles from his lips. \\n \\n Rudolph nods to Blitzen. Blitzen returns the gesture with a \\n nod of acknowledgment. \\n \\n With a slow and measured pace Damian says... \\n \\n DAMIAN \\n Ho. Ho. Ho. \\n \\n On the slide projector screen behind Damian, we see the\",\n \" Damian walks over to the newly deceased Santa, takes his \\n bloodstained Santa's hat, and put it on his own head. From \\n this point on in the screenplay, Damian will now be referred \\n to as SANTA. \\n \\n The elves in the room, in various stages of shock, stare at \\n their new master in horror. \\n \\n SANTA \\n What are you fucking midgets looking at!?\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" belong. Fuck Christmas. I'm all about \\n smoking blunts and pimpin' bitches. I'm \\n all about Kwanzaa nigga! \\n \\n Mohammed and the Hammer head towards the door. \\n \\n MOHAMMED \\n He's new. He's still got a long way to go \\n before he understands the true meaning of \\n Kwanzaa. \\n \\n HAMMER\",\n \" silhouetted images of Blitzen and Rudolph goring Santa \\n through the chest with their antlers. Damian cringes. \\n \\n Blood trickles from Santa's mouth, and with his last breath \\n he utters the words... \\n \\n SANTA CLAUS \\n Et tu, Blitzen? \\n \\n Santa falls out of frame with a thud. Standing behind him \\n with bloodied antlers is Blitzen. \\n\",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\",\n \" I do know that it does have something to \\n do with...dreidels, and... \\n \\n Esther chimes in. \\n \\n ESTHER \\n ...and latkes. \\n \\n HAMMER \\n And latkes! And some miracle oil that \\n lasted eight days. And that my friend, \\n should've been enough for you. Take him \\n away Mo. \\n \\n Mo drags Santa out of the room. \\n\",\n \" Go.\\\" Scribbled on the wall is the graffiti phrase, \\\"HANUKKAH \\n NOW!\\\" \\n \\n The door opens, and the obnoxiously loud music spills out \\n into the street. The Hammer and Esther exit, close the door, \\n and push their way past the turnstiles into the alley. \\n \\n HAMMER \\n That got annoying fairly quickly. \\n \\n ESTHER \\n Yeah, no kidding. \\n\",\n \" that motherfucker kills his own pops, \\n then he start talkin' 'bout bustin a cap \\n in Hanukkah's ass. Next, the racist \\n motherfucker kick my ass out the \\n workshop, sayin' that there ain't no room \\n for no little colored elves like me. Can \\n you believe that shit? Yo, if it wasn't \\n for the arthritis in my joints, you best\",\n \" What time is it? \\n \\n TINY TIM \\n I don't know. About sundown I guess. \\n \\n Santa makes the connection. \\n \\n SANTA \\n Why didn't I think of this? It's the \\n Sabbath. \\n \\n A blank look from Tiny Tim. \\n \\n SANTA (CONT'D) \\n The day of rest. He can't fight on the\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" her to try and recruit me back to save \\n Hanukkah for them. What she doesn't seem \\n to understand is that nothing, not even \\n god himself could convince me to ever \\n work for them again. \\n \\n ESTHER \\n But Hanukkah's in dan... \\n \\n The Hammer cuts her off. \\n \\n HAMMER \\n Not my problem. If you'll excuse me now,\"\n ],\n [\n \" Jamal, the same black 'elf' from the Kwanzaa Liberation Front \\n sits at the table across from Santa. \\n \\n JAMAL \\n Pfff. Shit nigga, ain't no thang. Hey, yo \\n Santy Claus, so does this mean that you \\n gonna make me an official elf now? \\n \\n SANTA \\n Can you believe this guy Tiny Tim? \\n\",\n \" belong. Fuck Christmas. I'm all about \\n smoking blunts and pimpin' bitches. I'm \\n all about Kwanzaa nigga! \\n \\n Mohammed and the Hammer head towards the door. \\n \\n MOHAMMED \\n He's new. He's still got a long way to go \\n before he understands the true meaning of \\n Kwanzaa. \\n \\n HAMMER\",\n \" Pro-Kwanzaa propaganda hang on the walls of the room, machine \\n guns rest idly against sofas, blunts are passed around. \\n We're talking Black Panthers here. A WHITE ACCOUNTANT counts \\n money at a card table to the side of the room. \\n \\n The black teenager enters breathlessly. \\n \\n BLACK TEENAGER \\n Hey, yo, we got ourselves a visitor. \\n\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" We hear the sounds of a whole lot of GUNS being COCKED. \\n \\n Tiny Tim turns around to see the ENTIRE KWANZAA LIBERATION \\n FRONT with their guns raised at him. Jamal, standing next to \\n Mohammed, flashes Tiny Tim a smile. \\n \\n JAMAL \\n Merry Kwanzaa nigga! \\n \\n STAR OF DAVID WIPE TO: \\n\",\n \" Americans could all observe their \\n respective holidays in harmony. \\n \\n We see a slide of THE HEBREW HAMMER, an African American man \\n (Mohammed), and Santa Claus arm in arm below a banner in a \\n mall reading \\\"HAPPY HOLIDAYS!\\\" \\n \\n SANTA CLAUS (CONT'D) \\n I was responsible for pushing the Happy \\n Holidays Ordinance, in which all Merry\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" that 'Dreidel, dreidel, dreidel' and 'I'm \\n dreaming of a bright Kwanzaa' be taught \\n and sung in elementary schools along with \\n the Christmas standards 'Frosty The \\n Snowman', and 'Deck The Halls.' \\n Which is why upon examination of my \\n annual naughty and nice list it shocked \\n me to discover that my own son, Damian... \\n\",\n \" MRS. CARVER \\n I forgot to ask you, who'd they put in \\n charge as the new Santa Claus? \\n \\n HAMMER \\n Since Santa will be living out the rest \\n of his days at a home for the \\n religionally insane and because he had no \\n blood heirs, the Kwanzaa Liberation Front \\n and the Jewish Defense League agreed to \\n make the whole Santa Claus process a\",\n \" EXT. GHETTO STREETS - DAY \\n \\n We see various shots of the Hammer's Caddy. The grill, the \\n white wall tires, the fuzzy dreidel hanging from the rear \\n view mirror, etc. Very 'Superfly.' \\n \\n EXT. KWANZAA LIBERATION FRONT - DAY \\n \\n We start on an incredibly impressive looking building. Over \\n this we see the words \\\"KWANZAA LIBERATION FRONT\\\" typed out\",\n \" Thanks little brother, you've been a big \\n help. \\n \\n JAMAL \\n Shit fool, ain't no thang. If it wasn't \\n for my real brothers here at the K.L.F., \\n I'd be shining shoes at the train station \\n or getting my afro tossed up against a \\n velcro wall in some redneck bar \\n somewhere. I finally gots a place where I\",\n \" that motherfucker kills his own pops, \\n then he start talkin' 'bout bustin a cap \\n in Hanukkah's ass. Next, the racist \\n motherfucker kick my ass out the \\n workshop, sayin' that there ain't no room \\n for no little colored elves like me. Can \\n you believe that shit? Yo, if it wasn't \\n for the arthritis in my joints, you best\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" The Hammer's Caddy pulls up to a stop right at camera, giving \\n us a full view of the license plate. It reads, \\\"LCHAIM.\\\" \\n \\n INT. KWANZAA LIBERATION FRONT HQ - MOMENTS LATER \\n \\n A handful of BAAAD BROTHERS, decked out in a mixture of \\n African clothing and combat gear relax to the sounds of \\n mellow Blaxploitation music. 'KWANZAA NOW!' posters and other\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" Usually we don't serve your kind. But \\n since you had the balls to walk in here, \\n Kike, I'll pour you one last drink before \\n we lynch you. \\n \\n The bartender reaches for a bottle of cherry flavored \\n Manischewitz wine. The Hammer interrupts him by clearing his \\n throat. \\n \\n HAMMER \\n Actually, can I have the black label? \\n\",\n \" the blessings I've received over the past \\n year. A beautiful fiancee... \\n \\n Esther smiles. \\n \\n HAMMER (CONT'D) \\n ...a wonderful mother... \\n \\n Mrs. Carver is as proud as can be... \\n \\n HAMMER (CONT'D) \\n ...and the opportunity to help my \\n brothers and sisters in the Jewish \\n community. \\n \\n MRS. CARVER\",\n \" Christmas signage was replaced by the \\n Trans-relgious and inoffensive phrase \\n 'Happy Holidays.' \\n \\n We see another slide in which an assembly of SCHOOLCHILDREN \\n are singing. \\n \\n SANTA CLAUS (CONT'D) \\n It was nearly a decade ago, in \\n conjunction with our friends in the \\n Jewish and African American communities \\n that I supported a bill that mandated\",\n \" SANTA CLAUS (CONT'D) \\n Lights please. \\n \\n As Rudolph's nose dims, so do the lights in the room. Santa \\n picks up a remote in his hand, and turns on a SLIDE \\n PROJECTOR. \\n \\n SANTA CLAUS (CONT'D) \\n Over the course of my career as Santa \\n Claus, I've made it my mission to ensure \\n that Jews, Christians, and African\",\n \" Santa puts the walkie-talkie down, and addresses somebody \\n O.S. \\n \\n SANTA (CONT'D) \\n With the Hebrew Hammer out of the \\n picture, Hanukkah will be nothing more \\n than a confusing and hard to pronounce \\n word. I want to thank you very much Jamal \\n for all of your help. \\n \\n We cut to the other side to reveal whom he's speaking to.\"\n ],\n [\n \" The fate of Hanukkah rests squarely on \\n your shoulders. \\n \\n A beat passes, and then the Hammer walks back in. \\n \\n HAMMER \\n Okay. You guys have seriously got to stop \\n with that stuff. That's a lot of pressure \\n to put on one Jew. I'm only human you \\n know. I'm already shvitzing about the \\n whole thing. You know, believe it or not,\",\n \" I do know that it does have something to \\n do with...dreidels, and... \\n \\n Esther chimes in. \\n \\n ESTHER \\n ...and latkes. \\n \\n HAMMER \\n And latkes! And some miracle oil that \\n lasted eight days. And that my friend, \\n should've been enough for you. Take him \\n away Mo. \\n \\n Mo drags Santa out of the room. \\n\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" have to help me. \\n \\n MRS. CARVER \\n Hanukkah, Shmanukkah. It isn't even one \\n of the high holidays. What concerns me \\n more is that my boychick is almost \\n thirty, and has yet to settle down with a \\n nice Jewish girl. \\n (Beat) \\n I'll make you a deal. I'll help you with \\n your little Hanukkah problem if you help\",\n \" flick. He tosses the gift to MACCABEE, a young Hasidic boy. \\n \\n HAMMER \\n Happy Hanukkah Maccabee. \\n \\n Macabee tears open the wrapping paper and holds up the gift - \\n a Hebrew Hammer action figure. He beams. \\n \\n We cut back to the Hammer as he smiles back. From O.C., we \\n hear Maccabee say... \\n\",\n \" We start CLOSE on a gift wrapped Hanukkah present. We pull \\n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \\n HAMMER, a baaad Jewish brother spins the package in his hands \\n as he saunters down the street past a latke stand. He's a \\n Semitic super stud straight out of a 70's Blaxploitation\",\n \" her to try and recruit me back to save \\n Hanukkah for them. What she doesn't seem \\n to understand is that nothing, not even \\n god himself could convince me to ever \\n work for them again. \\n \\n ESTHER \\n But Hanukkah's in dan... \\n \\n The Hammer cuts her off. \\n \\n HAMMER \\n Not my problem. If you'll excuse me now,\",\n \" CHIEF \\n The time for action is now. We predict \\n that the St. Nick Day Massacre will put \\n Hanukkah-Christmas relations back at \\n least a hundred years. With this \\n meshuggena new Santa Claus in power, \\n Hanukkah is in jeopardy. Our first order \\n of business is to put into motion a plan \\n to create goodwill towards the Jewish \\n Community. Mr. Chairman of the Worldwide\",\n \" Go.\\\" Scribbled on the wall is the graffiti phrase, \\\"HANUKKAH \\n NOW!\\\" \\n \\n The door opens, and the obnoxiously loud music spills out \\n into the street. The Hammer and Esther exit, close the door, \\n and push their way past the turnstiles into the alley. \\n \\n HAMMER \\n That got annoying fairly quickly. \\n \\n ESTHER \\n Yeah, no kidding. \\n\",\n \" INT. THE JEWISH DEFENSE LEAGUE - DAY \\n \\n A smoky chamber reminiscent of the Senate or the United \\n Nations. A GIANT BANNER reading \\\"HANUKKAH NOW!,\\\" illustrated \\n with a Hasid in silhouette with his fist raised, covers the \\n back wall behind the men. \\n \\n As with the Senate House Committee, various factions of the \\n JDL sit behind plaques describing the group they represent.\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" doing here. So all of a sudden Hanukkah's \\n not good enough for you, is that right? \\n \\n We get a shot of Mrs. Carver. She's a master of the art of \\n pleasant non-listening. \\n \\n HAMMER (CONT'D) \\n Well I have news for you mom. It is good \\n enough...I'm good enough and I won't \\n leave here until I hear you tell me... \\n\",\n \" The fate of Hanukkah. Right. Right. Yeah, \\n Got it. Will do. Okay, bye now. \\n \\n He hangs up and leaves. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. MALL OF AMERICA - DAY \\n \\n 'Merry Christmas' decorations and signage dominate the \\n landscape of the establishing shot of the Mall. \\n\",\n \" The Adolescent Hasid finally gets the tree into the house, \\n and turns to see the rest of his family staring at him, \\n mouths agape. \\n \\n ADOLESCENT HASIDIC BOY \\n What? It's a Hanukkah bush. \\n \\n The family remains expressionless. \\n \\n The glass in his mother's hand, slips from her grasp and \\n shatters on the kitchen floor. \\n\",\n \" He looks to his right. A GROUP of HASIDIC kids sing Christmas \\n Carols. \\n \\n The Hammer looks through his front windshield. A kid is \\n standing right in the middle of the road! \\n \\n The Hammer slams on his breaks, skidding to a stop just \\n inches from the kid. It's Shlomo (remember the kid the Hammer \\n helped with the Yarmulke earlier?), and he has a strange\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" This puts the Hammer into a neurotic fit. \\n \\n HAMMER \\n Oh. Oh, What. So, all of a sudden my \\n saving Hanukkah's not good enough for \\n you? Is that what your saying? \\n \\n Mrs. Carver throws her arms up in resignation. \\n \\n MRS. CARVER \\n I don't want to argue with you. Let's \\n just eat in peace. \\n\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" CUT TO: \\n \\n INT. JEWISH HOME - DAY \\n \\n Maccabee, the same kid the Hammer gave the Hanukkah present \\n to earlier in the film, sits glued to his television set. \\n O.S. from the television we hear someone approximating Zuzu \\n from the film 'It's A Wonderful Life' say... \\n \\n TELEVISION SET \\n Papa, Papa! Mommy says that every time\"\n ],\n [\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" appears genuinely concerned by the teasing Mordechai has \\n weathered. She walks over to comfort him. \\n \\n MRS. HIGHSMITH \\n Now, now class let's not make fun of \\n Mordechai's spinning top. We need to all \\n learn the importance of tolerance and \\n understanding. Isn't that right \\n Mordechai? \\n \\n MORDECHAI \\n Yes Mrs. Highsmith. \\n\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" MINUTES.\\\" The FOURTH CLERK gives him the thumbs up. \\n \\n Morty finds a spot on the sidewalk outside the building and \\n pulls out his dreidel. \\n \\n He spins it, and we hold on the spinning top for a few beats \\n as Morty stares at in wonderment. \\n \\n Suddenly, a huge black boot comes crashing down into frame \\n and smashes the little dreidel. Mordechai slowly looks up. \\n\",\n \" GENTILE BOY 1 \\n Hey everybody! Look what Mordechai got. \\n Nice spinning top Morty. \\n \\n The other children take notice of Mordechai's gift and begin \\n to laugh. \\n \\n Mordechai is crushed. MRS. HIGHSMITH (40's), an incredibly \\n Waspy teacher puts down her copy of 'Modern W.A.S.P.,' and\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" We cut to a SLOW-MOTION CU of Gentile Girl 1. She wears an \\\"I \\n Love Jesus\\\" T-shirt and holds an adorable dog with a bow \\n affixed to its head in her arms. It licks her on the face. \\n \\n We cut back to Mordechai. He looks down at his pathetic \\n excuse for a present. He's on the verge of tears. \\n \\n Gentile Boy 1 calls to Mordechai as he drives his ATC. \",\n \" We start CLOSE on a gift wrapped Hanukkah present. We pull \\n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \\n HAMMER, a baaad Jewish brother spins the package in his hands \\n as he saunters down the street past a latke stand. He's a \\n Semitic super stud straight out of a 70's Blaxploitation\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" Mazel Tov! That's right! Mommy loves you! \\n Such a good boy you are! \\n \\n This gets the Hammer going. \\n \\n HAMMER \\n Oh, I get it. To you, the cat pooping in \\n his diaper is somehow better than my \\n saving a Jewish holiday. \\n (Giving up) \\n Forget it. \\n \\n MRS. CARVER\",\n \" Esther lifts her skirt a few inches. \\n \\n ESTHER \\n Perhaps I can persuade him. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \\n \\n A shoddy low-rent office replete with Film Noirish lighting \\n via the blinds. The Hammer fiddles with a dreidel as he sits\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" flick. He tosses the gift to MACCABEE, a young Hasidic boy. \\n \\n HAMMER \\n Happy Hanukkah Maccabee. \\n \\n Macabee tears open the wrapping paper and holds up the gift - \\n a Hebrew Hammer action figure. He beams. \\n \\n We cut back to the Hammer as he smiles back. From O.C., we \\n hear Maccabee say... \\n\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" HAMMER \\n Beitzah, Charoset, Chazeret, Karpas, \\n Maror, and Zeroa. \\n \\n The second door slides open, and Morty steps forward into the \\n next room. Inside this room lies a single violin in a case. \\n \\n COMPUTERIZED VOICE \\n Please demonstrate musical aptitude. \\n \\n The Hammer picks up the violin and begins to play 'Hava\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" neck dripping with gold chains, steps up to the Hammer. He's \\n got a huge phoney smile plastered across his face. \\n \\n CHAIM FEYGELE \\n Well Shalom there mister! \\n \\n HAMMER \\n Do we know each other? \\n \\n CHAIM FEYGELE \\n No, but we have mutual friends. \\n \\n Chaim points to the dance floor. Another shot of men dancing\"\n ],\n [\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" sound of SHOTGUNS BLASTING and then the sounds of intense \\n FIGHTING. A few seconds of the fighting sounds pass. \\n \\n Suddenly, the front doors bust open and a few bloodied \\n Skinheads fall out onto the ground, followed by the Hammer. \\n He's untouched, and he carries the bottle of Manischewitz in \\n one hand and a shotgun in the other. \\n \\n He stops in the MIDGROUND, and pours the Manischewitz out on\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" He turns his attention to Esther. \\n \\n HAMMER (CONT'D) \\n Alone. \\n \\n The Hammer exits. Esther is dejected. \\n \\n CHIEF \\n Tail him. He's gonna need the help. \\n \\n STAR OF DAVID WIPE TO: \\n \\n EXT. BEN GURION AIRPORT - ISRAEL - DAY \\n\",\n \" The front doors bust open, and we DOLLY into the Hammer. \\n \\n All guns are trained on him. \\n \\n From behind the frontline of gunmen, MOHAMMED, clearly the \\n leader of the operation, pushes his way through. \\n \\n He walks towards the Hammer. You can feel the tension in the \\n room. \\n \\n MOHAMMED \\n The Hebrew Hammer! My main Kike! \\n \\n HAMMER\",\n \" Oh Mordechai, you know how I detest gore. \\n \\n HAMMER \\n Well then maybe you should have thought \\n about that before you ran with him. \\n C'mon, let's get you back to Washington. \\n \\n And we PULL out as the three make their way down the hallway. \\n \\n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \\n\",\n \" gun. He raises it at the Hammer, ready to fire. \\n \\n ESTHER \\n Mordechai! Behind you! \\n \\n The Hammer turns and nails the elf just in time. \\n \\n Esther, gun drawn, backs up into frame with the Hammer, and \\n the two fire off rounds. \\n \\n HAMMER \\n What are you doing here? \\n \\n ESTHER\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" 'Santa Claus Is Coming To Town' begins to play. \\n \\n A few of the thugs insert a bicycle pump into the Judeum \\n clock base and begin pumping. \\n \\n EXT. ISRAELI HIGHWAY - LATE AFTERNOON \\n \\n The Hammer is moments away from the J.A.C. compound. He spots \\n the motorcycle ramp, and then guns his engine. He's close! \\n\",\n \" Damian, preoccupied with the cigarette he's attempting to \\n light, looks up in response to his name. \\n A brown bagged bottle of booze now sits on the table in front \\n of him. We can see Santa and the reindeer in silhouette on \\n the slide projection screen behind him. \\n \\n SANTA CLAUS (CONT'D) \\n The heir to the Red Suit could be so \\n filled with hate. \\n \\n Santa addresses Damian.\",\n \" TIKVA \\n I understand that. I just thought that \\n you might want to know. \\n \\n HAMMER \\n (Beat) \\n I'll be in my office. \\n \\n The Hammer walks into his private office and shuts the \\n frosted glass door. We hold on what's stenciled on the \\n outside of the door. The lettering reads, \\\"Mordechai\",\n \" CUT TO: \\n \\n AN EMPTY SECTION OF THE MALL - MOMENTS LATER \\n \\n We hold a few beats on a shot of this fairly untrafficked \\n portion of the mall. \\n \\n Suddenly, Esther and the Hammer haul ass around the corner, \\n running for their lives. \\n \\n A second or two pass, and an ANGRY MOB of about twenty \\n Gentile children round the corner after them. They're\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" North Pole and celebrate his victory with \\n his new stocking stuffer. \\n \\n Santa grabs Esther and attempts to pull her up. The Hammer \\n holds on tightly to her other hand, but isn't strong enough \\n to resist Santa's might. Esther's hand is pulled from his \\n firm grip, and Santa takes her into his arms. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai!\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\"\n ],\n [\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" Esther lifts her skirt a few inches. \\n \\n ESTHER \\n Perhaps I can persuade him. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. HEBREW HAMMER INVESTIGATIONS - PRIVATE OFFICE - DAY \\n \\n A shoddy low-rent office replete with Film Noirish lighting \\n via the blinds. The Hammer fiddles with a dreidel as he sits\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" BANDLEADER notices the two walk in... \\n \\n BANDLEADER \\n Hey! The Hebrew Hammer everybody! \\n \\n The Hammer raises his hand in acknowledgment. The entire bar \\n cheers and applauds. \\n \\n Hammer escorts Esther to a table on the woman's side of the \\n wall, and then walks around to the other side of the divider \\n where he takes a seat opposite the wall from her. \\n\",\n \" TIKVA \\n I understand that. I just thought that \\n you might want to know. \\n \\n HAMMER \\n (Beat) \\n I'll be in my office. \\n \\n The Hammer walks into his private office and shuts the \\n frosted glass door. We hold on what's stenciled on the \\n outside of the door. The lettering reads, \\\"Mordechai\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" Wow, that was amazing. \\n \\n The Hammer gives her ass a smack, and then picks up a \\n container filled with some kind of WHITE POWDER. \\n He snorts a bit of it off of the Star Of David chain that \\n hangs from his neck, and places the container of white powder \\n back in its place by the menorah. \\n \\n Esther is mortified. \\n \\n ESTHER (CONT'D) \\n What did you just snort? \\n\"\n ],\n [\n \" MRS. HIGHSMITH \\n So class, in honor of Mordechai's special \\n day, I'd like for all of us to wish Morty \\n a heartfelt Merry... \\n \\n She looks to Mordechai for confirmation on the word. \\n \\n MRS. HIGHSMITH (CONT'D) \\n (Stumbling) \\n \\tCha-noo-kuh Day 7. \\n\",\n \" MRS. HIGHSMITH (CONT'D) \\n Happy Chanoo-juah-kah Day 7 Morty. \\n \\n A reaction shot of the mortified Morty. \\n \\n CUT TO: \\n \\n EXT. GHETTO STREET - NIGHT \\n \\n A sullen Mordechai wanders the streets. Absurd XMAS \\n DECORATIONS, horrific in their appearance blanket the street. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" I do know that it does have something to \\n do with...dreidels, and... \\n \\n Esther chimes in. \\n \\n ESTHER \\n ...and latkes. \\n \\n HAMMER \\n And latkes! And some miracle oil that \\n lasted eight days. And that my friend, \\n should've been enough for you. Take him \\n away Mo. \\n \\n Mo drags Santa out of the room. \\n\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" Oh Mordechai, you know how I detest gore. \\n \\n HAMMER \\n Well then maybe you should have thought \\n about that before you ran with him. \\n C'mon, let's get you back to Washington. \\n \\n And we PULL out as the three make their way down the hallway. \\n \\n TITLE CARD: ONE WEEK LATER. CHRISTMAS EVE. \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" Tiny Tim, walkie-talkie in hand, surveys this Christmas \\n Wonderland with smug satisfaction. He spots a small, barely \\n visible Hanukkah decoration poking out from beneath one of \\n the other Christmas decorations. \\n \\n He rips it from the wall and tosses it into a small trashcan \\n bonfire. \\n \\n Tiny Tim speaks into his the walkie-talkie. \\n \\n TINY TIM\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" Chosen.\\\" The Hammer grabs a copy of the Chosen and hands it \\n to Shlomo. \\n \\n SHLOMO \\n Chaim Potok's The Chosen? \\n \\n HAMMER \\n Get yourself home and watch this as soon \\n as possible. \\n \\n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \\n past the two. One of the ornaments makes a tinkling sound. \\n\",\n \" What time is it? \\n \\n TINY TIM \\n I don't know. About sundown I guess. \\n \\n Santa makes the connection. \\n \\n SANTA \\n Why didn't I think of this? It's the \\n Sabbath. \\n \\n A blank look from Tiny Tim. \\n \\n SANTA (CONT'D) \\n The day of rest. He can't fight on the\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" The Hammer takes out his gun and points it Santa. \\n \\n HAMMER \\n What's your shpiel, Santa? \\n \\n SANTA \\n Whoa, whoa there. C'mon Mordechai, is \\n this any way to treat an old family \\n friend? Let's cut out all the \\n unpleasantness. I admit, I went way \\n overboard with the whole Hanukkah thing.\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\",\n \" He looks to his right. A GROUP of HASIDIC kids sing Christmas \\n Carols. \\n \\n The Hammer looks through his front windshield. A kid is \\n standing right in the middle of the road! \\n \\n The Hammer slams on his breaks, skidding to a stop just \\n inches from the kid. It's Shlomo (remember the kid the Hammer \\n helped with the Yarmulke earlier?), and he has a strange\"\n ],\n [\n \" I do know that it does have something to \\n do with...dreidels, and... \\n \\n Esther chimes in. \\n \\n ESTHER \\n ...and latkes. \\n \\n HAMMER \\n And latkes! And some miracle oil that \\n lasted eight days. And that my friend, \\n should've been enough for you. Take him \\n away Mo. \\n \\n Mo drags Santa out of the room. \\n\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" MRS. HIGHSMITH \\n So class, in honor of Mordechai's special \\n day, I'd like for all of us to wish Morty \\n a heartfelt Merry... \\n \\n She looks to Mordechai for confirmation on the word. \\n \\n MRS. HIGHSMITH (CONT'D) \\n (Stumbling) \\n \\tCha-noo-kuh Day 7. \\n\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" MRS. HIGHSMITH (CONT'D) \\n Happy Chanoo-juah-kah Day 7 Morty. \\n \\n A reaction shot of the mortified Morty. \\n \\n CUT TO: \\n \\n EXT. GHETTO STREET - NIGHT \\n \\n A sullen Mordechai wanders the streets. Absurd XMAS \\n DECORATIONS, horrific in their appearance blanket the street. \\n\",\n \" New Year. \\n Since his death, I've prided myself on \\n ensuring that the Christmas season is one \\n of tolerance and understanding between \\n all races and religions. It's always been \\n my belief that Hanukkah and Kwanzaa \\n deserve the same respect as Christmas. \\n \\n Damian whispers to an elf on his right hand side, and then \\n makes the JERKING OFF motion with his hand. \\n\",\n \" We start CLOSE on a gift wrapped Hanukkah present. We pull \\n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \\n HAMMER, a baaad Jewish brother spins the package in his hands \\n as he saunters down the street past a latke stand. He's a \\n Semitic super stud straight out of a 70's Blaxploitation\",\n \" The fate of Hanukkah. Right. Right. Yeah, \\n Got it. Will do. Okay, bye now. \\n \\n He hangs up and leaves. \\n \\n STAR OF DAVID WIPE TO: \\n \\n INT. MALL OF AMERICA - DAY \\n \\n 'Merry Christmas' decorations and signage dominate the \\n landscape of the establishing shot of the Mall. \\n\",\n \" Thanks again Mo, you always deliver the \\n goods. \\n \\n MOHAMMED \\n You watch your back Hammer. Hanukkah \\n might just be his first move. For all we \\n know Kwanzaa could be next. There's a lot \\n of brothers counting on you. If you \\n fail... \\n \\n HAMMER \\n Okay, look. I'm going to work really,\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" What time is it? \\n \\n TINY TIM \\n I don't know. About sundown I guess. \\n \\n Santa makes the connection. \\n \\n SANTA \\n Why didn't I think of this? It's the \\n Sabbath. \\n \\n A blank look from Tiny Tim. \\n \\n SANTA (CONT'D) \\n The day of rest. He can't fight on the\",\n \" He looks to his right. A GROUP of HASIDIC kids sing Christmas \\n Carols. \\n \\n The Hammer looks through his front windshield. A kid is \\n standing right in the middle of the road! \\n \\n The Hammer slams on his breaks, skidding to a stop just \\n inches from the kid. It's Shlomo (remember the kid the Hammer \\n helped with the Yarmulke earlier?), and he has a strange\",\n \" The fate of Hanukkah rests squarely on \\n your shoulders. \\n \\n A beat passes, and then the Hammer walks back in. \\n \\n HAMMER \\n Okay. You guys have seriously got to stop \\n with that stuff. That's a lot of pressure \\n to put on one Jew. I'm only human you \\n know. I'm already shvitzing about the \\n whole thing. You know, believe it or not,\",\n \" Chosen.\\\" The Hammer grabs a copy of the Chosen and hands it \\n to Shlomo. \\n \\n SHLOMO \\n Chaim Potok's The Chosen? \\n \\n HAMMER \\n Get yourself home and watch this as soon \\n as possible. \\n \\n A HASIDIC KID ON A BIKE with a Christmas tree in tow rides \\n past the two. One of the ornaments makes a tinkling sound. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" The dial slowly spins past 'Yom Kippur', 'Passover', \\n 'Hanukkah,' 'Purim', and then finally the 'Macy's 50% Off \\n Spring Sale.' \\n \\n Tiny Tim raises his gun point blank at the Hammer. \\n \\n TINY TIM (CONT'D) \\n Ah. What's the matter? No more snappy one \\n liners. \\n \\n It seems all is lost when... \\n\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" Americans could all observe their \\n respective holidays in harmony. \\n \\n We see a slide of THE HEBREW HAMMER, an African American man \\n (Mohammed), and Santa Claus arm in arm below a banner in a \\n mall reading \\\"HAPPY HOLIDAYS!\\\" \\n \\n SANTA CLAUS (CONT'D) \\n I was responsible for pushing the Happy \\n Holidays Ordinance, in which all Merry\"\n ],\n [\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" gun. He raises it at the Hammer, ready to fire. \\n \\n ESTHER \\n Mordechai! Behind you! \\n \\n The Hammer turns and nails the elf just in time. \\n \\n Esther, gun drawn, backs up into frame with the Hammer, and \\n the two fire off rounds. \\n \\n HAMMER \\n What are you doing here? \\n \\n ESTHER\",\n \" Jamal holds the reigns and waves down at Mordechai and \\n company. \\n \\n From the window, Mordechai, Esther, Mrs. Carver, and Mun Chi \\n wave back. The Hammer Jewxploitation theme music begins to \\n fade up. \\n \\n HAMMER (CONT'D) \\n Merry Christmas Jamal. \\n \\n JAMAL \\n Merry Christmas Niggas! \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" with one another, arm in arm. \\n \\n CHAIM FEYGELE (CONT'D) \\n The name's Feygele. Chaim Feygele. \\n \\n This guy is clearly making the Hammer nervous. \\n \\n HAMMER \\n Mordechai. My friends call me Morty. \\n \\n CHAIM FEYGELE \\n So Morty, I just love a man in a black \\n suit. Care to dance.\",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\",\n \" You mean like disco dancing or doing the \\n funky chicke...Oh. I get it. \\n \\n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \\n clearly outlined through her blouse. Now, the Hammer's really \\n getting it. \\n \\n HAMMER (CONT'D) \\n Now we're talking Boobola. \\n \\n ESTHER \\n Mordechai? \\n\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" North Pole and celebrate his victory with \\n his new stocking stuffer. \\n \\n Santa grabs Esther and attempts to pull her up. The Hammer \\n holds on tightly to her other hand, but isn't strong enough \\n to resist Santa's might. Esther's hand is pulled from his \\n firm grip, and Santa takes her into his arms. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai!\"\n ],\n [\n \" What can I do for you? \\n \\n ESTHER \\n My name is Esther. Chief \\n Bloomenbergensteinenthal from the Jewish \\n Defense League desperately needs to speak \\n with you. \\n \\n HAMMER \\n How is old Chief \\n Bloomenbergensteinenthal? \\n Is he still shtooping every girl he can \\n get his hands on? \\n \\n ESTHER\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" Mrs. Carver places her tongue into Esther's ear canal as a \\n sign of affection, forcing Esther to break the embrace. Mrs. \\n Carver and Esther look at one another strangely for an \\n awkward few moments. \\n \\n MRS. CARVER (CONT'D) \\n So. Do you have a name? \\n \\n ESTHER \\n It's Esther. \\n \\n MRS. CARVER\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" the blessings I've received over the past \\n year. A beautiful fiancee... \\n \\n Esther smiles. \\n \\n HAMMER (CONT'D) \\n ...a wonderful mother... \\n \\n Mrs. Carver is as proud as can be... \\n \\n HAMMER (CONT'D) \\n ...and the opportunity to help my \\n brothers and sisters in the Jewish \\n community. \\n \\n MRS. CARVER\",\n \" SANTA \\n I'm sorry. I see the light now. I was \\n wrong. I'm... \\n \\n And Santa's gone. \\n \\n The Hammer turns to Esther, and gets down on one knee. He \\n places a ring on her finger. \\n \\n HAMMER \\n Esther Bloomenbergensteinenthal, will you \\n marry me? \\n \\n She glows. \\n \\n ESTHER\",\n \" An elderly Jewish woman, HARRIET TUBBELMAN, appears from out \\n of the doorway. She smokes a corncob pipe. \\n \\n HARRIET TUBBELMAN \\n Psst. Hammer, Esther. This way. Hurry! \\n \\n Harriet escorts the two into the passageway, and the door \\n slides shut behind them. \\n \\n INT. CAVERNOUS ROOM - MOMENTS LATER \\n\",\n \" When did you guys have this conversation? \\n When I was in the bathroom? What else did \\n she have to say? \\n \\n ESTHER \\n Relax Morty, I think your mom is \\n wonderful. She cares so much about you. \\n Get this, while you were gone she said \\n she'd help me get you to work with the \\n JDL if I'd come eat by you once in \\n awhile. Like I needed any incentive to be\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" The Hammer and Esther grasp their stomachs which protrude \\n from underneath their slightly unbuttoned shirts. Plates of \\n half-eaten food are everywhere. On the table, on the dining \\n room furniture behind them, etc. \\n \\n HAMMER \\n Oy vey, I'm stuffed. \\n \\n ESTHER \\n I don't think I could eat another latke \\n if you paid me. \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" He's a lawyer. We're looking for heros \\n people. \\n \\n HARVEY WEINSTEIN \\n David Copperfield? \\n \\n CHIEF \\n What's he gonna do, make Santa disappear? \\n Think people think. We need a hard \\n hittin' Hebe on this one. \\n \\n At the back of the room, ESTHER (25), a Semitic siren, pushes\",\n \" with you. She's so... \\n \\n The Hammer goes into a fit. \\n \\n HAMMER \\n What? You made a deal with my mother to \\n sleep with me if I'd help you?! \\n \\n ESTHER \\n No. Of course... \\n \\n HAMMER \\n What does that make you? What does that \\n make me? And my mother. What does that \\n make her? \\n\",\n \" Afterwards they'll make the decision as \\n to whether or not they'd like to continue \\n their religious studies in Israel. \\n Because, hey, after all we'll have \\n practiced the highly effective assertive \\n democratic style of child rearing, \\n sprinkled with a healthy dose of \\n liberalism. \\n \\n She's on fire for him. \\n \\n ESTHER\",\n \" You mean like disco dancing or doing the \\n funky chicke...Oh. I get it. \\n \\n We see a TIGHT MEDIUM SHOT of Esther. Her erect nipples are \\n clearly outlined through her blouse. Now, the Hammer's really \\n getting it. \\n \\n HAMMER (CONT'D) \\n Now we're talking Boobola. \\n \\n ESTHER \\n Mordechai? \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" large crucifix chain hangs around her neck, nestled in \\n between the mounds of silicone. We hear the requisite DING as \\n it sparkles. \\n \\n The Hammer is released from the sexual spell of the Gentile \\n Seductress. \\n \\n HAMMER \\n Sorry Santa. I like my women like my \\n matzah. Unleavened. \\n \\n The girls move away from the Hammer. Esther smiles at the\"\n ],\n [\n \" What can I do for you? \\n \\n ESTHER \\n My name is Esther. Chief \\n Bloomenbergensteinenthal from the Jewish \\n Defense League desperately needs to speak \\n with you. \\n \\n HAMMER \\n How is old Chief \\n Bloomenbergensteinenthal? \\n Is he still shtooping every girl he can \\n get his hands on? \\n \\n ESTHER\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" ESTHER \\n I'm not leaving your side until I get you \\n to agree to come speak with my father. \\n \\n It's obvious the Hammer's amused by her persistence. \\n \\n HAMMER \\n Be my guest. But I have to warn you, I'm \\n going to my mother's for dinner tonight. \\n And if you think I'm difficult, wait till \\n you meet her. \\n\",\n \" the blessings I've received over the past \\n year. A beautiful fiancee... \\n \\n Esther smiles. \\n \\n HAMMER (CONT'D) \\n ...a wonderful mother... \\n \\n Mrs. Carver is as proud as can be... \\n \\n HAMMER (CONT'D) \\n ...and the opportunity to help my \\n brothers and sisters in the Jewish \\n community. \\n \\n MRS. CARVER\",\n \" father wants is to just speak with... \\n \\n HAMMER \\n I hate to cut you short, but in an hour \\n the sun goes down, and then it's \\n officially the Sabbath. I can't work on \\n the Sabbath. This is where we're going to \\n have to part ways boobola. \\n \\n The Hammer grabs his overcoat from the coat rack. Esther gets \\n up as well. \\n\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" SANTA \\n I'm sorry. I see the light now. I was \\n wrong. I'm... \\n \\n And Santa's gone. \\n \\n The Hammer turns to Esther, and gets down on one knee. He \\n places a ring on her finger. \\n \\n HAMMER \\n Esther Bloomenbergensteinenthal, will you \\n marry me? \\n \\n She glows. \\n \\n ESTHER\",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" The Hammer and Esther grasp their stomachs which protrude \\n from underneath their slightly unbuttoned shirts. Plates of \\n half-eaten food are everywhere. On the table, on the dining \\n room furniture behind them, etc. \\n \\n HAMMER \\n Oy vey, I'm stuffed. \\n \\n ESTHER \\n I don't think I could eat another latke \\n if you paid me. \\n\",\n \" Afterwards they'll make the decision as \\n to whether or not they'd like to continue \\n their religious studies in Israel. \\n Because, hey, after all we'll have \\n practiced the highly effective assertive \\n democratic style of child rearing, \\n sprinkled with a healthy dose of \\n liberalism. \\n \\n She's on fire for him. \\n \\n ESTHER\",\n \" When did you guys have this conversation? \\n When I was in the bathroom? What else did \\n she have to say? \\n \\n ESTHER \\n Relax Morty, I think your mom is \\n wonderful. She cares so much about you. \\n Get this, while you were gone she said \\n she'd help me get you to work with the \\n JDL if I'd come eat by you once in \\n awhile. Like I needed any incentive to be\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" An elderly Jewish woman, HARRIET TUBBELMAN, appears from out \\n of the doorway. She smokes a corncob pipe. \\n \\n HARRIET TUBBELMAN \\n Psst. Hammer, Esther. This way. Hurry! \\n \\n Harriet escorts the two into the passageway, and the door \\n slides shut behind them. \\n \\n INT. CAVERNOUS ROOM - MOMENTS LATER \\n\",\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" neck dripping with gold chains, steps up to the Hammer. He's \\n got a huge phoney smile plastered across his face. \\n \\n CHAIM FEYGELE \\n Well Shalom there mister! \\n \\n HAMMER \\n Do we know each other? \\n \\n CHAIM FEYGELE \\n No, but we have mutual friends. \\n \\n Chaim points to the dance floor. Another shot of men dancing\",\n \" with you. She's so... \\n \\n The Hammer goes into a fit. \\n \\n HAMMER \\n What? You made a deal with my mother to \\n sleep with me if I'd help you?! \\n \\n ESTHER \\n No. Of course... \\n \\n HAMMER \\n What does that make you? What does that \\n make me? And my mother. What does that \\n make her? \\n\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\"\n ],\n [\n \" Mordechai is flustered. \\n \\n HAMMER \\n Uhhh. You know, I...have to go to the \\n bathroom. I'll be right back. \\n \\n The Hammer gets up quickly and leaves. \\n \\n We cut to Esther's side of the wall. The Hammer walks behind \\n her while she checks out the band on stage. \\n \\n HAMMER (CONT'D) \\n Hey there. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" me with my Mordechai. \\n \\n ESTHER \\n (Confused) \\n What do you want me to do? \\n \\n MRS. CARVER \\n He works too much. God forbid he should \\n have a nice Jewish girl come eat by him \\n once in a while. Take his mind off his \\n work. Maybe a blowjob here and there. \\n \\n Esther begins to choke again. \\n\",\n \" MOHAMMED \\n Asalam Alekem. \\n \\n CHIEF \\n (To Mo) \\n You're a mench. Thank you. \\n (To Hammer) \\n Mordechai, by any means necessary, you \\n bring my Esther back to me. Even if it \\n requires using Judaism's most powerful \\n weapon. \\n \\n HAMMER \\n Oh no, not the... \\n\",\n \" Mordechai, I love you. I couldn't let you \\n do this alone. \\n \\n HAMMER \\n I love you too. I'm sorry about freaking \\n out yesterday. I was wrong. \\n \\n ESTHER \\n I forgive you. \\n \\n HAMMER \\n Go check on the clock. I'll finish up \\n here. \\n\",\n \" I need to use the bathroom. \\n \\n He stands and leaves. \\n \\n Mrs. Carver stares lovingly at Esther. \\n \\n MRS. CARVER \\n You like my Mordechai, yes? \\n \\n ESTHER \\n He's...he's very nice. \\t \\n (Desperately) \\n But Mrs. Carver, the fate of Hanukkah \\n rests solely in his hands. Please, you\",\n \" The door opens to reveal a long denim skirt covering every \\n possible inch of flesh. We tilt up the length of the skirt to \\n reveal Esther. She is breathtakingly sexy. \\n \\n The Hammer quickly removes his feet from the table. Esther \\n approaches his desk and sits. \\n \\n ESTHER \\n Mr. Jefferson Carver? \\n \\n HAMMER \\n Please, call me Mordechai. \\n\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" the Hammer continues to rant. The meter bars go from red to \\n yellow in color. \\n \\n HAMMER (CONT'D) \\n I am so unhappy with this situation. Why \\n Mordechai? Why do you always feel it \\n necessary to do what other people want \\n you to do? Why can't you be your own \\n man... \\n \\n CHIEF \\n Come on. Come on. \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" MRS. CARVER (CONT'D) \\n Mordechai!? \\n (Beat) \\n So, Esther, how did you and Mordechai \\n meet. You know they call him the Hebrew \\n Hammer for a reason. \\n \\n Esther coughs up some of her food. The Hammer interjects. \\n \\n HAMMER \\n Mom! Esther works for the JDL. They sent\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" appears genuinely concerned by the teasing Mordechai has \\n weathered. She walks over to comfort him. \\n \\n MRS. HIGHSMITH \\n Now, now class let's not make fun of \\n Mordechai's spinning top. We need to all \\n learn the importance of tolerance and \\n understanding. Isn't that right \\n Mordechai? \\n \\n MORDECHAI \\n Yes Mrs. Highsmith. \\n\",\n \" eat latkes and spin dreidels, and light \\n the menorah with the knowl... \\n \\n MRS. CARVER \\n (Interrupting) \\n ...So you saved Hanukkah Mr. Big Shot. \\n I mean, let's be honest Mordechai, it \\n isn't even one of the high holidays. \\n \\n Mordechai looks to Esther. She shrugs her shoulders in \\n encouragement. \\n\",\n \" I have business to attend to. \\n \\n SAMMY DAVIS JR. JR. \\n You two cats keeps purrin'. \\n \\n INT. THE CHIEF'S OFFICE - DAY \\n \\n Your standard 70's TV police Chief's office. The Hammer \\n enters and the Chief shuts the door behind him. \\n \\n CHIEF \\n Alright Mordechai, now that we're alone I\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" charismatic package of the following qualities rolled into \\n human female form: intense, judgmental, overbearing, \\n manipulative, lacking boundaries, yet fiercely involved, \\n loving, and protective of her children. Got it? \\n \\n MRS. CARVER \\n Mordechai! Shabat Shalom! \\n \\n The Hammer pulls a bottle of wine out from a paper bag. \\n \\n HAMMER \\n Shabat Shalom mama. I brought some\",\n \" INT. ROOM WHERE THE HEBREW HAMMER'S GIRLFRIEND IS - MOMENTS \\n LATER \\n \\n The Hammer kicks open the door. \\n \\n HAMMER \\n Esther! \\n \\n ESTHER \\n Mordechai! \\n \\n She is restrained to a chair. The Hammer quickly unties her, \\n and the two kiss. \\n\"\n ],\n [\n \" the blessings I've received over the past \\n year. A beautiful fiancee... \\n \\n Esther smiles. \\n \\n HAMMER (CONT'D) \\n ...a wonderful mother... \\n \\n Mrs. Carver is as proud as can be... \\n \\n HAMMER (CONT'D) \\n ...and the opportunity to help my \\n brothers and sisters in the Jewish \\n community. \\n \\n MRS. CARVER\",\n \" EXT. SCHOOLYARD - MOMENTS LATER \\n \\n Mordechai walks past a row of bleachers occupied by FOUR \\n GENTILE CHILDREN. \\n \\n GENTILE BOY 1 \\n Hey Mordechai, look. I dropped a penny. \\n \\n He drops a penny. The other children cackle. \\n \\n The Gentile Girl next to him holds up a bag of bagels. \\n\",\n \" Hey, hey! Be proud of who you are. You're \\n a bad, bold, big-nosed, biblical brother. \\n You feelin' me? \\n \\n The kid's morale is boosted. \\n \\n SHLOMO \\n Yeah. You're right. \\n \\n HAMMER \\n Aveenooh Shalom Alechem little brother. \\n \\n The Hammer pounds his fist into his chest ala the Black\",\n \" BANDLEADER notices the two walk in... \\n \\n BANDLEADER \\n Hey! The Hebrew Hammer everybody! \\n \\n The Hammer raises his hand in acknowledgment. The entire bar \\n cheers and applauds. \\n \\n Hammer escorts Esther to a table on the woman's side of the \\n wall, and then walks around to the other side of the divider \\n where he takes a seat opposite the wall from her. \\n\",\n \" her way to the front. A black skirt covers every inch of her \\n sexy figure. \\n \\n ESTHER \\n What about Mordechai Jefferson Carver? \\n \\n The hall fills with hushed voices as the various members of \\n the JDL whisper to one another. \\n \\n CHIEF \\n The Hebrew Hammer? No. No way. After the \\n way he handled that situation in the West \\n Bank? He's the only Jew in the world too\",\n \" neck dripping with gold chains, steps up to the Hammer. He's \\n got a huge phoney smile plastered across his face. \\n \\n CHAIM FEYGELE \\n Well Shalom there mister! \\n \\n HAMMER \\n Do we know each other? \\n \\n CHAIM FEYGELE \\n No, but we have mutual friends. \\n \\n Chaim points to the dance floor. Another shot of men dancing\",\n \" In unison, the class attempts to repeat the words, but all \\n suffer various degrees of pronunciation problems. \\n \\n MRS. HIGHSMITH (CONT'D) \\n Very good class. I hope you've all \\n learned an important lesson today. Just \\n because Mordechai's people are different \\n from us...just because they might appear \\n strange to us with their furry hats, \\n their beady eyes, and their long\",\n \" it. A COMPUTERIZED VOICE begins... \\n \\n COMPUTERIZED VOICE \\n Jew Confirmation Test initiated. \\n \\n He's clearly irritated by this. \\n \\n HAMMER \\n You've gotta be kidding me. They're still \\n doing this? \\n \\n COMPUTERIZED VOICE \\n Please state your full Hebrew name. \\n \\n HAMMER\",\n \" You mean you want us to make copies of \\n Yentl, Fiddler On The Roof, and Chaim \\n Potok's The Chosen? \\n \\n HAMMER \\n That'll work. Get them out to the Jewish \\n community stat. We got an epidemic on our \\n hands. \\n \\n CHIEF \\n We're on it Hammer. How'd you do with \\n Santa? \\n\",\n \" is illustrated with a picture of a Hasidic Jew squatting a \\n dumbbell a la Gold's Gym. The Chief opens the door. \\n \\n INT. KARATE ROOM - CONTINUOUS \\n \\n Inside, about FIVE or so HASIDS decked out in white Karate \\n gi's stand facing the door. By the front door, A GROUP \\n LEADER, notices the Hammer, and walks towards the door. He\",\n \" HAMMER \\n Yeah. Maybe next time Joshua. Take it \\n easy. \\n \\n As Joshua leaves, we get a WIDER shot of the Hammer's table. \\n A LONG LINE OF MEN leads up to it. \\n \\n CHAIM FEYGELE, an effeminate slick Hasidic man, chest hair \\n spilling out of his loosely buttoned butterfly collar shirt,\",\n \" Mordechai Jefferson Carver. \\n \\n Bambi speaks with a thick Southern drawl. \\n \\n BAMBI \\n Oh, I declare I just love Jewish men. \\n They're so sensitive and well read. \\n \\n Esther is clearly jealous. \\n \\n The Hammer's enjoying the attention. He looks down at Bambi's \\n breasts. We're talking HUGE, obviously augmented boobolas. A\",\n \" Hasidic Animatronic puppets sing of thousands of years of \\n Jewish oppression and persecution in an educational, yet \\n oddly entertaining way. \\n \\n The Hammer puts his arm around Esther and continues to check \\n out the attraction in wonderment. \\n \\n Esther secretly glances at him affectionately. It's clear \\n she's falling for him. \\n \\n We cut to a wide shot as we watch the craft disappear down\",\n \" The band begins a rousing version of \\\"Hava Nagila.\\\" A good \\n majority of the men in the bar rush to the dance floor and \\n begin dancing zealously with one another. \\n \\n Esther shouts over the wall in an attempt to overcome the din \\n of the bar. \\n \\n ESTHER \\n So, do you come here often!? \\n \\n The Hammer struggles to hear. He shouts back to her. \\n \\n HAMMER\",\n \" A HASIDIC BAR PATRON approaches the Hammer and smiles. \\n \\n HASIDIC BAR PATRON \\n Would you like to dance? \\n \\n We get another shot of the men dancing together, arm in arm, \\n on the dance floor. \\n \\n HAMMER \\n I'm okay right now. Thanks though. \\n \\n As the Patron leaves, JOSHUA, another Hasidic man standing\",\n \" EXT. PUBLIC ELEMENTARY SCHOOL - DAY \\n \\n We start on JESUS ON A CRUCIFIX, and then violently CRANE \\n down to reveal MORDECHAI (10), a timid little Hasidic boy \\n standing nervously at the foot of the statue. \\n \\n Behind Morty is a wall with the graffiti phrase \\\"HANUKKAH IS \\n 4 HOMOS\\\" scrawled across it. He clutches his Sandy Koufax\",\n \" Hammer, you're the baaddest Hebe this \\n side of Tel Aviv. \\n \\n The Hammer stops for a second and smiles at the compliment. \\n \\n HAMMER \\n (To himself) \\n Shabat Shalom! \\n \\n He walks off frame. \\n \\n EXT. GHETTO ALLEY - MOMENTS LATER \\n \\n Some TEENAGE GENTILE BOYS play keep away with a yarmulke\",\n \" We start CLOSE on a gift wrapped Hanukkah present. We pull \\n back a bit as MORDECHAI JEFFERSON CARVER (29), AKA THE HEBREW \\n HAMMER, a baaad Jewish brother spins the package in his hands \\n as he saunters down the street past a latke stand. He's a \\n Semitic super stud straight out of a 70's Blaxploitation\",\n \" The Hebrew Hammer? I've heard about this \\n cat. Your beautiful babe. Keep on keeping \\n on. \\n \\n The Hammer is a bit taken back. \\n \\n HAMMER \\n Alright. I'll, uh, keep doing that. \\n \\n Sammy's all smiles. \\n \\n CHIEF \\n Sammy, if you'll excuse us, Mordechai and\",\n \" Gentleman! Please! \\n \\n Still chaos. He flips a light switch on and off a few times \\n as he says... \\n \\n CHIEF (CONT'D) \\n Sheket B'vakasha! Sheket B'vakasha! \\n \\n The entire hall responds in unison... \\n \\n HALL \\n Hey! \\n \\n The room falls silent. Every member of the JDL sits straight \\n up with their hands folded in front of them.\"\n ],\n [\n \" The Hammer takes out his gun and points it Santa. \\n \\n HAMMER \\n What's your shpiel, Santa? \\n \\n SANTA \\n Whoa, whoa there. C'mon Mordechai, is \\n this any way to treat an old family \\n friend? Let's cut out all the \\n unpleasantness. I admit, I went way \\n overboard with the whole Hanukkah thing.\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" Mo, get him out of my sight. \\n \\n Mo begins to take Santa away. \\n \\n The Hammer turns around. \\n \\n HAMMER (CONT'D) \\n No, wait. I need closure here. \\n (To Santa) \\n I just wanna say one thing. You know \\n where you messed up Santa? You \\n underestimated the true meaning of \\n Hanukkah. \\n\",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" follows the O.S. Santa. \\n \\n Suddenly, Santa charges right back into frame, and places his \\n drawn gun to Rudolph's temple. \\n \\n SANTA (CONT'D) \\n You eyeballin' me son!? \\n \\n Rudolph quickly looks away. Santa puts his gun back into his \\n belt, and then adjusts his suit and hat as if to regain his \\n composure. \\n \\n Without warning, Santa throws a fake punch at Rudolph's face,\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" Santa puts the walkie-talkie down, and addresses somebody \\n O.S. \\n \\n SANTA (CONT'D) \\n With the Hebrew Hammer out of the \\n picture, Hanukkah will be nothing more \\n than a confusing and hard to pronounce \\n word. I want to thank you very much Jamal \\n for all of your help. \\n \\n We cut to the other side to reveal whom he's speaking to.\",\n \" the twelve should be, followed by \\\"Passover\\\", etc. In the \\n center of the face, an odometer-like gauge reveals the year \\n '5734.' At its base, the brilliant blue Judeum glows \\n brightly. \\n \\n Santa barks out orders. \\n \\n SANTA (CONT'D) \\n Get moving! We've got work to do! \\n \\n One of the thugs pushes play on a ghetto blaster and the song\",\n \" Excuse me? Do I know you, friend? Take a \\n look around you. Do you even know who I \\n am? \\n \\n The Hammer rips off his baseball hat and T-shirt. Santa \\n gasps. \\n \\n HAMMER \\n Let me guess, you're the goy who stole \\n Hanukkah. \\n \\n SANTA \\n The Hebrew Hammer! You're alive. \\n\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" Santa, running for his life, rounds the corner. He stops dead \\n in his tracks as he spots the Hammer. \\n \\n The two look at one another for a brief moment, and then \\n Santa points at something behind the Hammer. \\n \\n SANTA \\n Hey, what's that over there? Is that a \\n bowl of Matzah Ball soup? \\n \\n The Hammer looks behind him. Nothing. He turns back to find \\n Santa long gone. \\n\",\n \" What are you doing? \\n \\n SANTA \\n I'm just calming the kiddies. \\n (To children) \\n There's no need to worry about Santa. \\n He's just having a peaceful, adult \\n conversation with his nice Jewish friend, \\n The Hebrew Hammer. \\n \\n The Hammer plays along, raising his hand to keep the children \\n calm. \\n \\n HAMMER\",\n \" More scared reindeer faces. Comet furtively motions towards \\n Rudolph with his antlers. Santa sees this, marches quickly up \\n to Rudolph, and gets in his face. \\n \\n SANTA (CONT'D) \\n What's your major malfunction, dumbfuck!? \\n \\n Rudolph's scared shitless. \\n \\n SANTA (CONT'D) \\n Step forward son! \\n\",\n \" Sabbath. C'mon, get up. We've got him \\n beat. \\n \\n The Hammer's POV as Santa and his thugs approach him \\n cautiously. \\n \\n SANTA (CONT'D) \\n Well, well, well. It looks as if the \\n Hebrew Hammer's got a weakness after all. \\n \\n Santa turns to his thugs. \\n \\n SANTA (CONT'D)\",\n \" Santa holds a walkie-talkie in hand and we the hear the voice \\n of the Salvation Navy Guy. Although behind him hangs a banner \\n reading, \\\"SANTA'S WORKSHOP,\\\" the interior is a run down \\n sweatshop. \\n \\n SALVATION NAVY GUY (O.S.) \\n It's me. He's on his way. \\n \\n SANTA \\n Excellent. Everything is going as \\n planned. \\n\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" And to top it off, you didn't even have \\n the courtesy to give me a proper hello \\n when I entered the room. What have I ever \\n done to you to be treated with such \\n disrespect? \\n \\n Santa's a wreck. \\n \\n SANTA \\n Please, make it stop. I'll do anything. \\n Here take my gun. \\n \\n He hands his piece to the Hammer and kneels on the ground,\",\n \" dragged away out of frame. \\n \\n Santa steps towards camera and surveys the room. \\n \\n SANTA \\n The Jewish Atomic Clock. \\n \\n It's the kind of place where a giant telescope at an \\n observatory would be housed. The clock is breathtaking in its \\n size. On its face, in place of the standard numerals are the \\n names of Jewish holidays. For example, \\\"Yom Kipur\\\" is where\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \"\n ],\n [\n \" The Hammer takes out his gun and points it Santa. \\n \\n HAMMER \\n What's your shpiel, Santa? \\n \\n SANTA \\n Whoa, whoa there. C'mon Mordechai, is \\n this any way to treat an old family \\n friend? Let's cut out all the \\n unpleasantness. I admit, I went way \\n overboard with the whole Hanukkah thing.\",\n \" More screaming from Esther behind the door. \\n \\n SANTA (CONT'D) \\n And you won't even be able to say goodbye \\n to your Esther. So sad. So long \\n Mordechai. Give my father my regards. \\n \\n Santa readies to fire. \\n \\n HAMMER \\n Wait! I didn't want it to come to this, \\n but you leave me no choice. I have no\",\n \" JOSEPH LIEBERMAN \\n Mordechai! Thank god you're here. \\n \\n Esther looks at the Hammer curiously. \\n \\n ESTHER \\n You two know each other? \\n \\n HAMMER \\n We go to the same temple. \\n \\n All three step back into Santa's Conference Room. Mo \\n continues to hold Santa at gunpoint. \\n \\n HAMMER (CONT'D)\",\n \" We hear Esther screaming from inside the room. \\n \\n ESTHER (O.S.) \\n Mordechai! I'm in here! Help! \\n \\n The Hammer turns towards the sound. \\n \\n Suddenly, Santa kicks the Hammer's gun out of his hand, and \\n then draws a pistol from behind his belt and points it at \\n him. \\n \\n SANTA \\n Looks like the tables have turned once \\n again Hammer. \\n\",\n \" Santa, running for his life, rounds the corner. He stops dead \\n in his tracks as he spots the Hammer. \\n \\n The two look at one another for a brief moment, and then \\n Santa points at something behind the Hammer. \\n \\n SANTA \\n Hey, what's that over there? Is that a \\n bowl of Matzah Ball soup? \\n \\n The Hammer looks behind him. Nothing. He turns back to find \\n Santa long gone. \\n\",\n \" CHIEF \\n That's wonderful! \\n \\n The Chief notices the Hammer's dejected look. \\n \\n CHIEF (CONT'D) \\n So why the long face? \\n \\n HAMMER \\n It's Esther. Santa's got her. \\n \\n CHIEF \\n My Esther! Oh Mordechai. \\n \\n The Chief, overcome by sadness, slumps down into a chair. \",\n \" Santa's a broken man. He gets on his knees and inquires \\n earnestly... \\n \\n SANTA \\n Please tell me. What is the true meaning \\n of Hanukkah? \\n \\n The Hammer thinks about this for a second. He's drawing a \\n blank. He looks to Esther, and she shrugs back at him. \\n \\n HAMMER \\n That's...that's a very good question. And\",\n \" Sabbath. C'mon, get up. We've got him \\n beat. \\n \\n The Hammer's POV as Santa and his thugs approach him \\n cautiously. \\n \\n SANTA (CONT'D) \\n Well, well, well. It looks as if the \\n Hebrew Hammer's got a weakness after all. \\n \\n Santa turns to his thugs. \\n \\n SANTA (CONT'D)\",\n \" Mo, get him out of my sight. \\n \\n Mo begins to take Santa away. \\n \\n The Hammer turns around. \\n \\n HAMMER (CONT'D) \\n No, wait. I need closure here. \\n (To Santa) \\n I just wanna say one thing. You know \\n where you messed up Santa? You \\n underestimated the true meaning of \\n Hanukkah. \\n\",\n \" dragged away out of frame. \\n \\n Santa steps towards camera and surveys the room. \\n \\n SANTA \\n The Jewish Atomic Clock. \\n \\n It's the kind of place where a giant telescope at an \\n observatory would be housed. The clock is breathtaking in its \\n size. On its face, in place of the standard numerals are the \\n names of Jewish holidays. For example, \\\"Yom Kipur\\\" is where\",\n \" (Annoyed) \\n Actually, his days of marital infidelity \\n have long since past. Now he just shtoops \\n my mother exclusively. \\n \\n The Hammer makes the realization. \\n \\n HAMMER \\n Your mother? Oh. Whoops. \\n \\n ESTHER \\n Mordechai, Santa Claus has been rubbed \\n out by his son Damian. The man's a demon.\",\n \" the twelve should be, followed by \\\"Passover\\\", etc. In the \\n center of the face, an odometer-like gauge reveals the year \\n '5734.' At its base, the brilliant blue Judeum glows \\n brightly. \\n \\n Santa barks out orders. \\n \\n SANTA (CONT'D) \\n Get moving! We've got work to do! \\n \\n One of the thugs pushes play on a ghetto blaster and the song\",\n \" Excuse me? Do I know you, friend? Take a \\n look around you. Do you even know who I \\n am? \\n \\n The Hammer rips off his baseball hat and T-shirt. Santa \\n gasps. \\n \\n HAMMER \\n Let me guess, you're the goy who stole \\n Hanukkah. \\n \\n SANTA \\n The Hebrew Hammer! You're alive. \\n\",\n \" Any sign of Santa? \\n \\n HAMMER \\n He must be behind that curtain. Relax. \\n We're undercover. We need to give off the \\n appearance of calm. You see Esther, the \\n trick to undercover work is to try and \\n blend in. Act as a Gentile would. \\n \\n The two pass a samples booth. The FREE SAMPLES WOMAN solicits \\n the Hammer. \\n\",\n \" his right. Below the picture frame is a plaque reading \\\"St. \\n Nick the Nervous. 1871-1941\\\", we continue a slow DOLLY to the \\n right on to the next picture. \\n \\n We see another Santa Claus, much more treacherous in his \\n appearance. His eyes are fixed menacingly on the picture of \\n Santa to his left. The plaque below his picture read, \\\"St. \\n Nick The Nasty 1941-1970.\\\"\",\n \" assistants, two busty blondes named BAMBI and TAWNI, flank \\n his chair. \\n \\n SANTA \\n And what do the Jewish people do during \\n Hanukkah? \\n \\n JIMMY \\n They worship the devil and sacrifice \\n small Gentile children like me in \\n bizarre, sadistic rituals. \\n \\n SANTA \\n That's right. Santa can tell that you've\",\n \" forcing the reindeer to flinch. \\n \\n SANTA (CONT'D) \\n I didn't think so. \\n \\n INT. JEWISH ATOMIC CLOCK - MOMENTS LATER \\n \\n Santa and his gang bust through the front doors, taking the \\n TWO GUARDS by surprise. \\n \\n Santa's men quickly tie them up and duct tape their mouths \\n shut as if out of 'Gulliver's travels.' The guards are\",\n \" CHIEF \\n The time for action is now. We predict \\n that the St. Nick Day Massacre will put \\n Hanukkah-Christmas relations back at \\n least a hundred years. With this \\n meshuggena new Santa Claus in power, \\n Hanukkah is in jeopardy. Our first order \\n of business is to put into motion a plan \\n to create goodwill towards the Jewish \\n Community. Mr. Chairman of the Worldwide\",\n \" Santa puts the walkie-talkie down, and addresses somebody \\n O.S. \\n \\n SANTA (CONT'D) \\n With the Hebrew Hammer out of the \\n picture, Hanukkah will be nothing more \\n than a confusing and hard to pronounce \\n word. I want to thank you very much Jamal \\n for all of your help. \\n \\n We cut to the other side to reveal whom he's speaking to.\",\n \" pointing to his head. \\n \\n SANTA (CONT'D) \\n Shoot me. Please, just one to the head. \\n Put me out of misery. \\n \\n Mo enters the room. \\n \\n MOHAMMED \\n Hammer, you alright? \\n \\n HAMMER \\n Everything's kosher. Watch him for me. \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Which group did Mohammed Ali Paula Abdul Rahim lead?","Who was the son of Santa?","Which holidays did Damian want to destroy?","How many years was there peace between religions?","Where did the final battle occur?","Who did Damian murder?","Who did Mordechai fall in love with?","Who stepped on Mordechai's toy?","How did Mordechai cheer himself up?","What is the religion of the main character Mordechai?","What does Santa Claus do to Mordechai's toy?","What is Mordechai's grown-up nickname?","What two holidays does Damian despise?","What group celebrates Kwanzaa?","What group celebrates Hanukkah?","What Jewish toy is Mordechai playing with that is crushed?","Where does the final battle take place between Mordechai and Damian?","What action did Mordechai perform to cheer himself up?","Why was Christmas a hard time for Mordechai?","What holiday did Mordechai celebrate instead of Christmas?","When Mordechai grew up, what was his nicname?","Who was Esther Bloomenbergensteinenthal?","Who was Esther Bloomenbergensteinenthal's father?","What kind of a demeanor did Mordechai have as an adult?","How did the Jewish community look at him?","Why was the first Santa rude to Mordechai?","What did the first Santa do to Mordechai?"],"string":"[\n \"Which group did Mohammed Ali Paula Abdul Rahim lead?\",\n \"Who was the son of Santa?\",\n \"Which holidays did Damian want to destroy?\",\n \"How many years was there peace between religions?\",\n \"Where did the final battle occur?\",\n \"Who did Damian murder?\",\n \"Who did Mordechai fall in love with?\",\n \"Who stepped on Mordechai's toy?\",\n \"How did Mordechai cheer himself up?\",\n \"What is the religion of the main character Mordechai?\",\n \"What does Santa Claus do to Mordechai's toy?\",\n \"What is Mordechai's grown-up nickname?\",\n \"What two holidays does Damian despise?\",\n \"What group celebrates Kwanzaa?\",\n \"What group celebrates Hanukkah?\",\n \"What Jewish toy is Mordechai playing with that is crushed?\",\n \"Where does the final battle take place between Mordechai and Damian?\",\n \"What action did Mordechai perform to cheer himself up?\",\n \"Why was Christmas a hard time for Mordechai?\",\n \"What holiday did Mordechai celebrate instead of Christmas?\",\n \"When Mordechai grew up, what was his nicname?\",\n \"Who was Esther Bloomenbergensteinenthal?\",\n \"Who was Esther Bloomenbergensteinenthal's father?\",\n \"What kind of a demeanor did Mordechai have as an adult?\",\n \"How did the Jewish community look at him?\",\n \"Why was the first Santa rude to Mordechai?\",\n \"What did the first Santa do to Mordechai?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["The Kwanzaa Liberation Front.","Kwanzaa Liberation Front."],["Damian.","Santa son was Damian."],["Kwanzaa and Hanukkah.","Hanukkah and Kwanzaa"],["At least three decades.","A few decades."],["The Israeli atomic clock.","Israeli atomic clock"],["His father.","his father"],["Ester Bloomenbergensteinenthal.","Esther Bloomenbergensteinenthal"],["Santa.","Santa Claus"],["By spinning his dreidal.","Spins his dreidel."],["Judaism","He was a Jew."],["crushes it","He steps on it."],["The Hebrew Hammer","Hebrew Hammer."],["Hanukkah and Kwanzaa","Hanukkah and Kwanzaa."],["African-Americans","African American."],["The Jewish people","Jews."],["Dreidel","Dreidel."],["The Israeli Atomic Clock","at the Israeli atomic clock"],["spinning his dreidel","He spins his dreidel."],["because Christians excluded him and tormented him for celebrating being Jewish","He was teased for celebrating Hanukkah instead"],["Hanukkah","Hanukkah"],["The Hebrew Hammer","the Hebrew Hammer"],["Mordechai's love interest.","Mordecai's love interest and daughter of the leader of the Jewish Justice League"],["Chief of the Jewish Justice Leauge","Mohammed Ali Paula Abdul Rahim"],["a tough-guy demeanor","tough-guy"],["as a local hero","as a hero"],["because Mordechai was a Jew","Because he was Jewish"],["crushed his toy and gave him the finger","Stomped on his dreidel."]],"string":"[\n [\n \"The Kwanzaa Liberation Front.\",\n \"Kwanzaa Liberation Front.\"\n ],\n [\n \"Damian.\",\n \"Santa son was Damian.\"\n ],\n [\n \"Kwanzaa and Hanukkah.\",\n \"Hanukkah and Kwanzaa\"\n ],\n [\n \"At least three decades.\",\n \"A few decades.\"\n ],\n [\n \"The Israeli atomic clock.\",\n \"Israeli atomic clock\"\n ],\n [\n \"His father.\",\n \"his father\"\n ],\n [\n \"Ester Bloomenbergensteinenthal.\",\n \"Esther Bloomenbergensteinenthal\"\n ],\n [\n \"Santa.\",\n \"Santa Claus\"\n ],\n [\n \"By spinning his dreidal.\",\n \"Spins his dreidel.\"\n ],\n [\n \"Judaism\",\n \"He was a Jew.\"\n ],\n [\n \"crushes it\",\n \"He steps on it.\"\n ],\n [\n \"The Hebrew Hammer\",\n \"Hebrew Hammer.\"\n ],\n [\n \"Hanukkah and Kwanzaa\",\n \"Hanukkah and Kwanzaa.\"\n ],\n [\n \"African-Americans\",\n \"African American.\"\n ],\n [\n \"The Jewish people\",\n \"Jews.\"\n ],\n [\n \"Dreidel\",\n \"Dreidel.\"\n ],\n [\n \"The Israeli Atomic Clock\",\n \"at the Israeli atomic clock\"\n ],\n [\n \"spinning his dreidel\",\n \"He spins his dreidel.\"\n ],\n [\n \"because Christians excluded him and tormented him for celebrating being Jewish\",\n \"He was teased for celebrating Hanukkah instead\"\n ],\n [\n \"Hanukkah\",\n \"Hanukkah\"\n ],\n [\n \"The Hebrew Hammer\",\n \"the Hebrew Hammer\"\n ],\n [\n \"Mordechai's love interest.\",\n \"Mordecai's love interest and daughter of the leader of the Jewish Justice League\"\n ],\n [\n \"Chief of the Jewish Justice Leauge\",\n \"Mohammed Ali Paula Abdul Rahim\"\n ],\n [\n \"a tough-guy demeanor\",\n \"tough-guy\"\n ],\n [\n \"as a local hero\",\n \"as a hero\"\n ],\n [\n \"because Mordechai was a Jew\",\n \"Because he was Jewish\"\n ],\n [\n \"crushed his toy and gave him the finger\",\n \"Stomped on his dreidel.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"1718768b5be4356b36704d5876db8009916ecd0c"},"split":{"kind":"string","value":"test"}}},{"rowIdx":51,"cells":{"text":{"kind":"list like","value":[["A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012} \n \n Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n"],["But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","{034} \n \n And, e'en while fashion's brightest arts decoy, \n \n The heart distrusting asks, if this be joy? \n \n Ye friends to truth, ye statesmen, who survey \n \n The rich man's joys increase, the poor's decay, \n \n 'Tis yours to judge how wide the limits stand \n \n Between a splendid and a happy land. \n \n \n [Illustration: 0067] \n \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n"],["[Illustration: 0075] \n \n \n Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n \n Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n"],["Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n \n {009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012} \n \n Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","{040} \n \n Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n \n [Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","As some tall cliff, that lifts its awful form, \n \n Swells from the vale, and midway leaves the storm, \n \n {027} \n \n Though round its breast the rolling clouds are spread, \n \n Eternal sunshine settles on its head. \n \n \n [Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n"],["When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round; \n \n {011} \n \n And still, as each repeated pleasure tired, \n \n Succeeding sports the mirthful band inspired: \n \n The dancing pair that simply sought renown, \n \n By holding out to tire each other down; \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n \n \n [Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow, \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;"],["While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","And steady loyalty, and faithful love. \n \n {045} \n \n And thou, sweet Poetry, thou loveliest maid, \n \n Still first to fly where sensual joys invade, \n \n Unfit, in these degenerate times of shame, \n \n To catch the heart, or strike for honest fame; \n \n Dear charming nymph, neglected and decried, \n \n My shame in crowds, my solitary pride; \n","Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","As some tall cliff, that lifts its awful form, \n \n Swells from the vale, and midway leaves the storm, \n \n {027} \n \n Though round its breast the rolling clouds are spread, \n \n Eternal sunshine settles on its head. \n \n \n [Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n \n While self-dependent power can time defy, \n \n As rocks resist the billows and the sky. \n \n \n [Illustration: 0091] \n \n \n \n \n \n \n \n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \n \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n \n Where once the cottage stood, the hawthorn grew, \n \n Remembrance wakes with all her busy train, \n \n Swells at my breast, and turns the past to pain. \n \n {015} \n \n In all my wanderings round this world of care, \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","The hawthorn bush, with seats beneath the shade, \n \n For talking age and whispering lovers made! \n \n How often have I blest the coming day, \n \n When toil remitting lent its turn to play, \n \n {010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n \n While many a pastime circled in the shade,","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:"],["And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","[Illustration: 0086] \n \n \n O luxury! thou curst by Heaven's decree, \n \n How ill exchanged are things like these for thee! \n \n How do thy potions, with insidious joy, \n \n Diffuse their pleasures only to destroy! \n \n Kingdoms by thee, to sickly greatness grown, \n \n Boast of a florid vigour not their own: \n \n At every draught more large and large they grow, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","The soul adopts, and owns their first-born sway; \n \n Lightly they frolic o'er the vacant mind, \n \n Unenvied, unmolested, unconfined. \n \n \n [Illustration: 0066] \n \n \n But the long pomp, the midnight masquerade, \n \n With all the freaks of wanton wealth array'd, \n \n In these, ere triflers half their wish obtain, \n \n The toilsome pleasure sickens into pain;","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","{034} \n \n And, e'en while fashion's brightest arts decoy, \n \n The heart distrusting asks, if this be joy? \n \n Ye friends to truth, ye statesmen, who survey \n \n The rich man's joys increase, the poor's decay, \n \n 'Tis yours to judge how wide the limits stand \n \n Between a splendid and a happy land. \n \n \n [Illustration: 0067] \n \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n"],["Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Nor the coy maid, half willing to be prest, \n \n Shall kiss the cup to pass it to the rest. \n \n {033} \n \n Yes! let the rich deride, the proud disdain, \n \n These simple blessings of the lowly train: \n \n To me more dear, congenial to my heart, \n \n One native charm, than all the gloss of art; \n \n Spontaneous joys, where nature has its play, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","Careless their merits or their faults to scan, \n \n His pity gave ere charity began. \n \n Thus to relieve the wretched was his pride, \n \n And e'en his failings lean'd to virtue's side; \n \n But in his duty prompt, at every call, \n \n He watch'd and wept, he pray'd and felt for all: \n \n And, as a bird each fond endearment tries \n \n To tempt its new-fledged offspring to the skies,"],["Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n \n While self-dependent power can time defy, \n \n As rocks resist the billows and the sky. \n \n \n [Illustration: 0091] \n \n \n \n \n \n \n \n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","As some tall cliff, that lifts its awful form, \n \n Swells from the vale, and midway leaves the storm, \n \n {027} \n \n Though round its breast the rolling clouds are spread, \n \n Eternal sunshine settles on its head. \n \n \n [Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","He tried each art, reproved each dull delay, \n \n Allured to brighter worlds, and led the way. \n \n Beside the bed where parting life was laid, \n \n And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n \n Comfort came down the trembling wretch to raise, \n","While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n \n \n [Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:","The soul adopts, and owns their first-born sway; \n \n Lightly they frolic o'er the vacant mind, \n \n Unenvied, unmolested, unconfined. \n \n \n [Illustration: 0066] \n \n \n But the long pomp, the midnight masquerade, \n \n With all the freaks of wanton wealth array'd, \n \n In these, ere triflers half their wish obtain, \n \n The toilsome pleasure sickens into pain;","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n"],["When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n"],["Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012} \n \n Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n"],["Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012} \n \n Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","{040} \n \n Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n \n [Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n"],["Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","The good old sire the first prepared to go \n \n To new-found worlds, and wept for others' woe; \n \n {042} \n \n But for himself, in conscious virtue brave, \n \n He only wish'd for worlds beyond the grave. \n \n His lovely daughter, lovelier in her tears, \n \n The fond companion of his helpless years, \n \n \n [Illustration: 0083] \n \n \n Silent went next, neglectful of her charms,","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:"],["Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","The good old sire the first prepared to go \n \n To new-found worlds, and wept for others' woe; \n \n {042} \n \n But for himself, in conscious virtue brave, \n \n He only wish'd for worlds beyond the grave. \n \n His lovely daughter, lovelier in her tears, \n \n The fond companion of his helpless years, \n \n \n [Illustration: 0083] \n \n \n Silent went next, neglectful of her charms,","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n"],["Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","He tried each art, reproved each dull delay, \n \n Allured to brighter worlds, and led the way. \n \n Beside the bed where parting life was laid, \n \n And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n \n Comfort came down the trembling wretch to raise, \n","The soul adopts, and owns their first-born sway; \n \n Lightly they frolic o'er the vacant mind, \n \n Unenvied, unmolested, unconfined. \n \n \n [Illustration: 0066] \n \n \n But the long pomp, the midnight masquerade, \n \n With all the freaks of wanton wealth array'd, \n \n In these, ere triflers half their wish obtain, \n \n The toilsome pleasure sickens into pain;","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,"],["Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n"],["When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n"],["When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","He tried each art, reproved each dull delay, \n \n Allured to brighter worlds, and led the way. \n \n Beside the bed where parting life was laid, \n \n And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n \n Comfort came down the trembling wretch to raise, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n","Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n"],["Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n"],["The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n \n \n [Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow, \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","The hawthorn bush, with seats beneath the shade, \n \n For talking age and whispering lovers made! \n \n How often have I blest the coming day, \n \n When toil remitting lent its turn to play, \n \n {010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n \n While many a pastime circled in the shade,"," GUTENBERG EBOOK THE DESERTED VILLAGE *** \n \n \n \n \n Produced by David Widger from page images generously \n provided by Google Books \n \n \n \n \n \n \n \n \n \n THE DESERTED VILLAGE \n \n By Oliver Goldsmith \n \n Illustrated by the Etching Club \n \n New York: D. Appleton And Co. Broadway \n \n MDCCCLVII \n \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","[Illustration: 0075] \n \n \n Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n \n Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n \n {009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:"],["That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Amidst the swains to show my book-learn'd skill, \n \n {016} \n \n Around my fire an evening group to draw, \n \n And tell of all I felt, and all I saw; \n \n And, as a hare, whom hounds and horns pursue, \n \n Pants to the place from whence at first he flew, \n \n \n [Illustration: 0031] \n \n \n I still had hopes, my long vexations past, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","The young contending as the old survey'd; \n \n And many a gambol frolick'd o'er the ground, \n \n And sleights of art and feats of strength went round; \n \n {011} \n \n And still, as each repeated pleasure tired, \n \n Succeeding sports the mirthful band inspired: \n \n The dancing pair that simply sought renown, \n \n By holding out to tire each other down; \n","Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","The hawthorn bush, with seats beneath the shade, \n \n For talking age and whispering lovers made! \n \n How often have I blest the coming day, \n \n When toil remitting lent its turn to play, \n \n {010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n \n While many a pastime circled in the shade,","The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n"],["The white-wash'd wall, the nicely-sanded floor, \n \n The varnish'd clock that click'd behind the door; \n \n {032} \n \n The chest contrived a double debt to pay, \n \n A bed by night, a chest of drawers by day; \n \n The pictures placed for ornament and use, \n \n The twelve good rules, the royal game of goose \n \n The hearth, except when winter chill'd the day, \n","As some tall cliff, that lifts its awful form, \n \n Swells from the vale, and midway leaves the storm, \n \n {027} \n \n Though round its breast the rolling clouds are spread, \n \n Eternal sunshine settles on its head. \n \n \n [Illustration: 0054] \n \n \n Beside yon straggling fence that skirts the way \n \n With blossom'd furze, unprofitably gay, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","{040} \n \n Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n \n [Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n"],["These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","But choked with sedges works its weedy way; \n \n Along thy glades a solitary guest, \n \n The hollow-sounding bittern guards its nest; \n \n {012} \n \n Amidst thy desert walks the lapwing flies, \n \n And tires their echoes with unvaried cries. \n \n \n [Illustration: 0025] \n \n \n Sunk are thy bowers in shapeless ruin all, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","Low lies that house where nut-brown draughts inspired, \n \n Where grey-beard mirth and smiling toil retired, \n \n {031} \n \n Where village statesmen talk'd with looks profound, \n \n And news much older than their ale went round. \n \n \n [Illustration: 0062] \n \n \n Imagination fondly stoops to trace \n \n The parlour splendours of that festive place; \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n"," GUTENBERG EBOOK THE DESERTED VILLAGE *** \n \n \n \n \n Produced by David Widger from page images generously \n provided by Google Books \n \n \n \n \n \n \n \n \n \n THE DESERTED VILLAGE \n \n By Oliver Goldsmith \n \n Illustrated by the Etching Club \n \n New York: D. Appleton And Co. Broadway \n \n MDCCCLVII \n \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","That trade's proud empire hastes to swift decay, \n \n As ocean sweeps the labour'd mole away; \n \n While self-dependent power can time defy, \n \n As rocks resist the billows and the sky. \n \n \n [Illustration: 0091] \n \n \n \n \n \n \n \n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \n \n","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n \n {009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n"],["She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Space for his lake, his park's extended bounds, \n \n Space for his horses, equipage, and hounds; \n \n The robe that wraps his limbs in silken sloth \n \n Has robb'd the neighbouring fields of half their growth; \n \n His seat, where solitary sports are seen, \n \n Indignant spurns the cottage from the green; \n \n Around the world each needful product flies, \n \n For all the luxuries the world supplies: \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","Those fenceless fields the sons of wealth divide, \n \n And e'en the bare-worn common is denied. \n \n {037} \n \n If to the city sped--What waits him there? \n \n To see profusion, that he must not share; \n \n To see ten thousand baneful arts combined \n \n To pamper luxury, and thin mankind; \n \n To see each joy the sons of pleasure know, \n \n Extorted from his fellow-creature's woe.","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n"],["Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","[Illustration: 0075] \n \n \n Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n \n Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n"," Where the poor houseless female lies..........J. C. Horsley.......037 \n \n She left her wheel and robes of brown.........J. C. Horsley.......038 \n \n The rattling terrors of the vengeful snake....T. Creswick, R.A....040 \n \n The cooling brookt the grassy-vested green....T. Creswick, R.A....041 \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","The mournful peasant leads his humble band; \n \n And while he sinks, without one arm to save, \n \n The country blooms--a garden and a grave! \n \n Where then, ah! where shall poverty reside, \n \n To 'scape the pressure of contiguous pride? \n \n \n [Illustration: 0071] \n \n \n If to some common's fenceless limits stray'd, \n \n He drives his flock to pick the scanty blade,","The good old sire the first prepared to go \n \n To new-found worlds, and wept for others' woe; \n \n {042} \n \n But for himself, in conscious virtue brave, \n \n He only wish'd for worlds beyond the grave. \n \n His lovely daughter, lovelier in her tears, \n \n The fond companion of his helpless years, \n \n \n [Illustration: 0083] \n \n \n Silent went next, neglectful of her charms,","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n \n {009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","But a bold peasantry, their country's pride, \n \n When once destroy'd, can never be supplied. \n \n A time there was, ere England's griefs began, \n \n When every rood of ground maintain'd its man; \n \n For him light labour spread her wholesome store, \n \n Just gave what life required, but gave no more: \n \n His best companions, innocence and health; \n \n And his best riches, ignorance of wealth. \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;"],["Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","Good Heaven! what sorrows gloom'd that parting day, \n \n That call'd them from their native walks away! \n \n When the poor exiles, every pleasure past, \n \n Hung round the bowers, and fondly look'd their last, \n \n And took a long farewell, and wish'd in vain \n \n For seats like these beyond the western main; \n \n And shuddering still to face the distant deep, \n \n Return'd and wept, and still return'd to weep.","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","{040} \n \n Those poisonous fields with rank luxuriance crown'd, \n \n Where the dark scorpion gathers death around; \n \n Where at each step the stranger fears to wake \n \n The rattling terrors of the vengeful snake; \n \n \n [Illustration: 0079] \n \n \n Where crouching tigers wait their hapless prey, \n \n And savage men more murderous still than they; \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","[Illustration: 0075] \n \n \n Her modest looks the cottage might adorn, \n \n Sweet as the primrose peeps beneath the thorn; \n \n {039} \n \n Now lost to all; her friends, her virtue fled, \n \n Near her betrayer's door she lays her head, \n \n And, pinch'd with cold, and shrinking from the shower, \n \n With heavy heart deplores that luckless hour \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","He tried each art, reproved each dull delay, \n \n Allured to brighter worlds, and led the way. \n \n Beside the bed where parting life was laid, \n \n And sorrow, guilt, and pain, by turns dismay'd, \n \n The reverend champion stood. At his control, \n \n Despair and anguish fled the struggling soul; \n \n {025} \n \n Comfort came down the trembling wretch to raise, \n","[Illustration: 0074] \n \n \n Here, while the courtier glitters in brocade, \n \n There the pale artist plies the sickly trade; \n \n Here, while the proud their long-drawn pomp display, \n \n There the black gibbet glooms beside the way; \n \n {038} \n \n The dome where pleasure holds her midnight reign, \n \n Here, richly deck'd, admits the gorgeous train; \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","The good old sire the first prepared to go \n \n To new-found worlds, and wept for others' woe; \n \n {042} \n \n But for himself, in conscious virtue brave, \n \n He only wish'd for worlds beyond the grave. \n \n His lovely daughter, lovelier in her tears, \n \n The fond companion of his helpless years, \n \n \n [Illustration: 0083] \n \n \n Silent went next, neglectful of her charms,","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,"],["Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","'Twas certain he could write and cipher too: \n \n Lands he could measure, terms and tides presage, \n \n And e'en the story ran that he could gauge: \n \n \n [Illustration: 0058] \n \n \n In arguing too the parson own'd his skill, \n \n For e'en though vanquish'd, he could argue still; \n \n {030} \n \n While words of learned length, and thundering sound, \n","Thou source of all my bliss, and all my woe, \n \n That found'st me poor at first, and keep'st me so; \n \n \n [Illustration: 0090] \n \n \n Thou guide, by which the nobler arts excel, \n \n Thou nurse of every virtue, fare thee well! \n \n Farewell! and oh! where'er thy voice be tried, \n \n On Torno's cliffs, or Pambamarca's side,","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","The sad historian of the pensive plain. \n \n {021} \n \n Near yonder copse, where once the garden smiled, \n \n And still where many a garden flower grows wild, \n \n \n [Illustration: 0042] \n \n \n There, where a few torn shrubs the place disclose, \n \n The village preacher's modest mansion rose. \n \n A man he was to all the country dear, \n \n And passing rich with forty pounds a year;","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","Sweet Auburn! loveliest village of the plain, \n \n Where health and plenty cheer'd the labouring swain, \n \n Where smiling spring its earliest visit paid, \n \n And parting summer's lingering blooms delay'd. \n \n {008} \n \n \n [Illustration: 0017] \n \n \n Dear lovely bowers of innocence and ease, \n \n Seats of my youth, when every sport could please, \n","How often have I loiter'd o'er thy green, \n \n Where humble happiness endear'd each scene! \n \n How often have I paused on every charm, \n \n The shelter'd cot, the cultivated farm, \n \n {009} \n \n \n [Illustration: 0020] \n \n \n The never-failing brook, the busy mill, \n \n The decent church that topt the neighbouring hill, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n"],["These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Well had the boding tremblers learn'd to trace \n \n The day's disasters in his morning face: \n \n Full well the busy whisper, circling round, \n \n Convey'd the dismal tidings when he frown'd; \n \n {029} \n \n Yet he was kind, or if severe in aught, \n \n The love he bore to learning was in fault: \n \n The village all declared how much he knew; \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","And left a lover's for her father's arms. \n \n With louder plaints the mother spoke her woes, \n \n And bless'd the cot where every pleasure rose; \n \n And kiss'd her thoughtless babes with many a tear, \n \n And clasp'd them close, in sorrow doubly dear; \n \n {043} \n \n Whilst her fond husband strove to lend relief, \n \n In all the silent manliness of grief. \n \n","Amazed the gazing rustics ranged around; \n \n And still they gazed, and still the wonder grew \n \n That one small head could carry all he knew. \n \n But past is all his fame: the very spot, \n \n Where many a time he triumph'd, is forgot. \n \n \n [Illustration: 0059] \n \n \n Near yonder thorn that lifts its head on high, \n \n Where once the sign-post caught the passing eye, \n","There, in his noisy mansion, skill'd to rule, \n \n The village master taught his little school: \n \n A man severe he was, and stern to view; \n \n I knew him well, and every truant knew: \n \n \n [Illustration: 0055] \n \n \n Full well they laugh'd with counterfeited glee \n At all his jokes, for many a joke had he; \n \n {028} \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n"," GUTENBERG EBOOK THE DESERTED VILLAGE *** \n \n \n \n \n Produced by David Widger from page images generously \n provided by Google Books \n \n \n \n \n \n \n \n \n \n THE DESERTED VILLAGE \n \n By Oliver Goldsmith \n \n Illustrated by the Etching Club \n \n New York: D. Appleton And Co. Broadway \n \n MDCCCLVII \n \n","Down where yon anchoring vessel spreads the sail, \n \n That idly waiting flaps with every gale; \n \n \n [Illustration: 0087] \n \n \n Downward they move, a melancholy band, \n \n Pass from the shore, and darken all the strand. \n \n Contented toil, and hospitable care, \n \n And kind connubial tenderness, are there; \n \n And piety, with wishes placed above, \n","And his last faltering accents whisper'd praise. \n \n \n [Illustration: 0050] \n \n \n At church, with meek and unaffected grace, \n \n His looks adorn'd the venerable place; \n \n Truth from his lips prevail'd with double sway, \n \n And fools, who came to scoff, remain'd to pray. \n \n The service past, around the pious man, \n \n With ready zeal each honest rustic ran:","The good old sire the first prepared to go \n \n To new-found worlds, and wept for others' woe; \n \n {042} \n \n But for himself, in conscious virtue brave, \n \n He only wish'd for worlds beyond the grave. \n \n His lovely daughter, lovelier in her tears, \n \n The fond companion of his helpless years, \n \n \n [Illustration: 0083] \n \n \n Silent went next, neglectful of her charms,","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","While resignation gently slopes the way; \n \n {018} \n \n And, all his prospects brightening to the last, \n \n His heaven commences ere the world be past. \n \n \n [Illustration: 0035] \n \n \n Sweet was the sound, when oft, at evening's close, \n \n Up yonder hill the village murmur rose: \n \n There, as I pass'd with careless steps and slow, \n","The mingling notes came soften'd from below; \n \n The swain responsive as the milk-maid sung, \n \n The sober herd that low'd to meet their young; \n \n The noisy geese that gabbled o'er the pool, \n \n The playful children just let loose from school; \n \n {019} \n \n The watch-dog's voice that bay'd the whispering wind, \n \n And the loud laugh that spoke the vacant mind; \n \n","That feebly bends beside the plashy spring: \n \n {020} \n \n She, wretched matron, forced in age, for bread, \n \n To strip the brook with mantling cresses spread \n \n \n [Illustration: 0039] \n \n \n To pick her wintry faggot from the thorn, \n \n To seek her nightly shed and weep till morn; \n \n She only left of all the harmless train, \n","The hawthorn bush, with seats beneath the shade, \n \n For talking age and whispering lovers made! \n \n How often have I blest the coming day, \n \n When toil remitting lent its turn to play, \n \n {010} \n \n And all the village train, from labour free, \n \n Led up their sports beneath the spreading tree; \n \n \n [Illustration: 0021] \n \n \n While many a pastime circled in the shade,"],["These were thy charms--but all these charms are fled. \n \n Sweet smiling village, loveliest of the lawn! \n \n Thy sports are fled, and all thy charms withdrawn; \n \n Amidst thy bowers the tyrant's hand is seen, \n \n And desolation saddens all thy green: \n \n One only master grasps the whole domain, \n \n And half a tillage stints thy smiling plain: \n \n No more thy glassy brook reflects the day, \n","Tumultuous grandeur crowds the blazing square, \n \n The rattling chariots clash, the torches glare. \n \n Sure scenes like these no troubles e'er annoy! \n \n Sure these denote one universal joy! \n \n Are these thy serious thoughts? Ah, turn thine eyes \n \n Where the poor houseless shivering female lies: \n \n She once, perhaps, in village plenty blest, \n \n Has wept at tales of innocence distrest; \n \n","Thither no more the peasant shall repair \n \n To sweet oblivion of his daily care: \n \n No more the farmer's news, the barber's tale, \n \n No more the woodman's ballad shall prevail; \n \n No more the smith his dusky brow shall clear, \n \n Relax his ponderous strength, and lean to hear; \n \n The host himself no longer shall be found \n \n Careful to see the mantling bliss go round; \n","[Illustration: 0038] \n \n \n These all in sweet confusion sought the shade, \n \n And fill'd each pause the nightingale had made. \n \n But now the sounds of population fail: \n \n No cheerful murmurs fluctuate in the gale, \n \n No busy steps the grass-grown footway tread, \n \n But all the bloomy flush of life is fled; \n \n All but yon widow'd solitary thing, \n","When idly first, ambitious of the town, \n \n She left her wheel and robes of country brown. \n \n Do thine, sweet Auburn, thine, the loveliest train, \n \n Do thy fair tribes participate her pain? \n \n E'en now, perhaps, by cold and hunger led, \n \n At proud men's doors they ask a little bread! \n \n Ah, no. To distant climes, a dreary scene, \n \n Where half the convex world intrudes between, \n","With aspen boughs, and flowers, and fennel gay \n \n While broken tea-cups, wisely kept for show, \n \n Ranged o'er the chimney, glisten'd in a row. \n \n Vain, transitory splendours! could not all \n \n Reprieve the tottering mansion from its fall I \n \n Obscure it sinks, nor shall it more impart \n \n An hour's importance to the poor man's heart: \n","Whether where equinoctial fervors glow, \n \n Or winter wraps the polar world in snow, \n \n {046} \n \n Still let thy voice, prevailing over time, \n \n Redress the rigours of the inclement clime. \n \n Aid slighted Truth with thy persuasive strain: \n \n Teach erring man to spurn the rage of gain; \n \n Teach him, that states of native strength possest, \n \n Though very poor, may still be very blest;","And steady loyalty, and faithful love. \n \n {045} \n \n And thou, sweet Poetry, thou loveliest maid, \n \n Still first to fly where sensual joys invade, \n \n Unfit, in these degenerate times of shame, \n \n To catch the heart, or strike for honest fame; \n \n Dear charming nymph, neglected and decried, \n \n My shame in crowds, my solitary pride; \n","She then shines forth, solicitous to bless, \n \n In all the glaring impotence of dress; \n \n Thus fares the land, by luxury betray'd, \n \n In nature's simplest charms at first array'd; \n \n {036} \n \n But verging to decline, its splendours rise, \n \n Its vistas strike, its palaces surprise; \n \n While, scourged by famine, from the smiling land \n","And the long grass o'ertops the mouldering wall; \n \n And trembling, shrinking from the spoiler's hand, \n \n Far, far away thy children leave the land. \n \n {013} \n \n Ill fares the land, to hastening ills a prey, \n \n Where wealth accumulates, and men decay: \n \n Princes and lords may flourish, or may fade; \n \n A breath can make them, as a breath has made: \n","Proud swells the tide with loads of freighted ore, \n \n And shouting Folly hails them from her shore; \n \n Hoards e'en beyond the miser's wish abound, \n \n And rich men flock from all the world around. \n \n Yet count our gains. This wealth is but a name \n \n That leaves our useful product still the same. \n \n {035} \n \n Not so the loss. The man of wealth and pride \n \n Takes up a space that many poor supplied;","But times are alter'd; trade's unfeeling train \n \n Usurp the land, and dispossess the swain; \n \n Along the lawn, where scatter'd hamlets rose, \n \n Unwieldy wealth and cumbrous pomp repose; \n \n And every want to luxury allied, \n \n And every pang that folly pays to pride. \n \n Those gentle hours that plenty bade to bloom, \n \n Those calm desires that ask'd but little room, \n","For him no wretches, born to work and weep, \n \n Explore the mine, or tempt the dangerous deep; \n \n \n [Illustration: 0034] \n \n \n No surly porter stands, in guilty state, \n \n To spurn imploring famine from the gate-- \n \n But on he moves to meet his latter end, \n \n Angels around befriending virtue's friend; \n \n Sinks to the grave with unperceived decay, \n","In all my griefs--and God has given my share-- \n \n \n [Illustration: 0030] \n \n \n To husband out life's taper at the close, \n \n And keep the flame from wasting by repose: \n \n I still had hopes, my latest hours to crown, \n Amidst these humble bowers to lay me down; \n \n I still had hopes, for pride attends us still, \n","While thus the land, adorn'd for pleasure all, \n \n In barren splendour feebly waits the fall. \n \n As some fair female, unadorn'd and plain, \n \n Secure to please while youth confirms her reign, \n \n Slights every borrow'd charm that dress supplies, \n \n Nor shares with art the triumph of her eyes; \n \n But when those charms are past, for charms are frail, \n \n When time advances, and when lovers fail, \n","The swain mistrustless of his smutted face, \n \n While secret laughter titter'd round the place; \n \n The bashful virgin's sidelong looks of love, \n \n The matron's glance that would those looks reprove; \n \n These were thy charms, sweet village! sports like these, \n \n With sweet succession, taught e'en toil to please; \n \n These round thy bowers their cheerful influence shed, \n","A bloated mass of rank unwieldy woe; \n \n {044} \n \n Till, sapp'd their strength, and every part unsound, \n \n Down, down they sink, and spread a ruin round. \n \n E'en now the devastation is begun, \n \n And half the business of destruction done; \n \n E'en now, methinks, as pondering here I stand, \n \n I see the rural virtues leave the land. \n","Those healthful sports that graced the peaceful scene, \n \n Lived in each look, and brighten'd all the green; \n \n {014} \n \n These, far departing, seek a kinder shore, \n \n And rural mirth and manners are no more. \n \n \n [Illustration: 0027] \n \n \n Sweet Auburn! parent of the blissful hour, \n \n Thy glades forlorn confess the tyrant's power. \n","Here, as I take my solitary rounds \n \n Amidst thy tangling walks and ruin'd grounds, \n \n And, many a year elapsed, return to view \n \n Where once the cottage stood, the hawthorn grew, \n \n Remembrance wakes with all her busy train, \n \n Swells at my breast, and turns the past to pain. \n \n {015} \n \n In all my wanderings round this world of care, \n","Through torrid tracts with fainting steps they go, \n \n Where wild Altama murmurs to their woe. \n \n Far different there from all that charm'd before, \n \n The various terrors of that horrid shore; \n \n Those blazing suns that dart a downward ray, \n \n And fiercely shed intolerable day; \n \n Those matted woods where birds forget to sing, \n \n But silent-bats in drowsy clusters cling; \n"]],"string":"[\n [\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012} \\n \\n Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\"\n ],\n [\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"{034} \\n \\n And, e'en while fashion's brightest arts decoy, \\n \\n The heart distrusting asks, if this be joy? \\n \\n Ye friends to truth, ye statesmen, who survey \\n \\n The rich man's joys increase, the poor's decay, \\n \\n 'Tis yours to judge how wide the limits stand \\n \\n Between a splendid and a happy land. \\n \\n \\n [Illustration: 0067] \\n \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\"\n ],\n [\n \"[Illustration: 0075] \\n \\n \\n Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n \\n Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\"\n ],\n [\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n \\n {009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012} \\n \\n Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"{040} \\n \\n Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n \\n [Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"As some tall cliff, that lifts its awful form, \\n \\n Swells from the vale, and midway leaves the storm, \\n \\n {027} \\n \\n Though round its breast the rolling clouds are spread, \\n \\n Eternal sunshine settles on its head. \\n \\n \\n [Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\"\n ],\n [\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round; \\n \\n {011} \\n \\n And still, as each repeated pleasure tired, \\n \\n Succeeding sports the mirthful band inspired: \\n \\n The dancing pair that simply sought renown, \\n \\n By holding out to tire each other down; \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n \\n \\n [Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow, \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\"\n ],\n [\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"And steady loyalty, and faithful love. \\n \\n {045} \\n \\n And thou, sweet Poetry, thou loveliest maid, \\n \\n Still first to fly where sensual joys invade, \\n \\n Unfit, in these degenerate times of shame, \\n \\n To catch the heart, or strike for honest fame; \\n \\n Dear charming nymph, neglected and decried, \\n \\n My shame in crowds, my solitary pride; \\n\",\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"As some tall cliff, that lifts its awful form, \\n \\n Swells from the vale, and midway leaves the storm, \\n \\n {027} \\n \\n Though round its breast the rolling clouds are spread, \\n \\n Eternal sunshine settles on its head. \\n \\n \\n [Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n \\n While self-dependent power can time defy, \\n \\n As rocks resist the billows and the sky. \\n \\n \\n [Illustration: 0091] \\n \\n \\n \\n \\n \\n \\n \\n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \\n \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n \\n Where once the cottage stood, the hawthorn grew, \\n \\n Remembrance wakes with all her busy train, \\n \\n Swells at my breast, and turns the past to pain. \\n \\n {015} \\n \\n In all my wanderings round this world of care, \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"The hawthorn bush, with seats beneath the shade, \\n \\n For talking age and whispering lovers made! \\n \\n How often have I blest the coming day, \\n \\n When toil remitting lent its turn to play, \\n \\n {010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n \\n While many a pastime circled in the shade,\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\"\n ],\n [\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"[Illustration: 0086] \\n \\n \\n O luxury! thou curst by Heaven's decree, \\n \\n How ill exchanged are things like these for thee! \\n \\n How do thy potions, with insidious joy, \\n \\n Diffuse their pleasures only to destroy! \\n \\n Kingdoms by thee, to sickly greatness grown, \\n \\n Boast of a florid vigour not their own: \\n \\n At every draught more large and large they grow, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"The soul adopts, and owns their first-born sway; \\n \\n Lightly they frolic o'er the vacant mind, \\n \\n Unenvied, unmolested, unconfined. \\n \\n \\n [Illustration: 0066] \\n \\n \\n But the long pomp, the midnight masquerade, \\n \\n With all the freaks of wanton wealth array'd, \\n \\n In these, ere triflers half their wish obtain, \\n \\n The toilsome pleasure sickens into pain;\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"{034} \\n \\n And, e'en while fashion's brightest arts decoy, \\n \\n The heart distrusting asks, if this be joy? \\n \\n Ye friends to truth, ye statesmen, who survey \\n \\n The rich man's joys increase, the poor's decay, \\n \\n 'Tis yours to judge how wide the limits stand \\n \\n Between a splendid and a happy land. \\n \\n \\n [Illustration: 0067] \\n \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\"\n ],\n [\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Nor the coy maid, half willing to be prest, \\n \\n Shall kiss the cup to pass it to the rest. \\n \\n {033} \\n \\n Yes! let the rich deride, the proud disdain, \\n \\n These simple blessings of the lowly train: \\n \\n To me more dear, congenial to my heart, \\n \\n One native charm, than all the gloss of art; \\n \\n Spontaneous joys, where nature has its play, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"Careless their merits or their faults to scan, \\n \\n His pity gave ere charity began. \\n \\n Thus to relieve the wretched was his pride, \\n \\n And e'en his failings lean'd to virtue's side; \\n \\n But in his duty prompt, at every call, \\n \\n He watch'd and wept, he pray'd and felt for all: \\n \\n And, as a bird each fond endearment tries \\n \\n To tempt its new-fledged offspring to the skies,\"\n ],\n [\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n \\n While self-dependent power can time defy, \\n \\n As rocks resist the billows and the sky. \\n \\n \\n [Illustration: 0091] \\n \\n \\n \\n \\n \\n \\n \\n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"As some tall cliff, that lifts its awful form, \\n \\n Swells from the vale, and midway leaves the storm, \\n \\n {027} \\n \\n Though round its breast the rolling clouds are spread, \\n \\n Eternal sunshine settles on its head. \\n \\n \\n [Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"He tried each art, reproved each dull delay, \\n \\n Allured to brighter worlds, and led the way. \\n \\n Beside the bed where parting life was laid, \\n \\n And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n \\n Comfort came down the trembling wretch to raise, \\n\",\n \"While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n \\n \\n [Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\",\n \"The soul adopts, and owns their first-born sway; \\n \\n Lightly they frolic o'er the vacant mind, \\n \\n Unenvied, unmolested, unconfined. \\n \\n \\n [Illustration: 0066] \\n \\n \\n But the long pomp, the midnight masquerade, \\n \\n With all the freaks of wanton wealth array'd, \\n \\n In these, ere triflers half their wish obtain, \\n \\n The toilsome pleasure sickens into pain;\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\"\n ],\n [\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\"\n ],\n [\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012} \\n \\n Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\"\n ],\n [\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012} \\n \\n Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"{040} \\n \\n Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n \\n [Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n\"\n ],\n [\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"The good old sire the first prepared to go \\n \\n To new-found worlds, and wept for others' woe; \\n \\n {042} \\n \\n But for himself, in conscious virtue brave, \\n \\n He only wish'd for worlds beyond the grave. \\n \\n His lovely daughter, lovelier in her tears, \\n \\n The fond companion of his helpless years, \\n \\n \\n [Illustration: 0083] \\n \\n \\n Silent went next, neglectful of her charms,\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\"\n ],\n [\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"The good old sire the first prepared to go \\n \\n To new-found worlds, and wept for others' woe; \\n \\n {042} \\n \\n But for himself, in conscious virtue brave, \\n \\n He only wish'd for worlds beyond the grave. \\n \\n His lovely daughter, lovelier in her tears, \\n \\n The fond companion of his helpless years, \\n \\n \\n [Illustration: 0083] \\n \\n \\n Silent went next, neglectful of her charms,\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\"\n ],\n [\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"He tried each art, reproved each dull delay, \\n \\n Allured to brighter worlds, and led the way. \\n \\n Beside the bed where parting life was laid, \\n \\n And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n \\n Comfort came down the trembling wretch to raise, \\n\",\n \"The soul adopts, and owns their first-born sway; \\n \\n Lightly they frolic o'er the vacant mind, \\n \\n Unenvied, unmolested, unconfined. \\n \\n \\n [Illustration: 0066] \\n \\n \\n But the long pomp, the midnight masquerade, \\n \\n With all the freaks of wanton wealth array'd, \\n \\n In these, ere triflers half their wish obtain, \\n \\n The toilsome pleasure sickens into pain;\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\"\n ],\n [\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\"\n ],\n [\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\"\n ],\n [\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"He tried each art, reproved each dull delay, \\n \\n Allured to brighter worlds, and led the way. \\n \\n Beside the bed where parting life was laid, \\n \\n And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n \\n Comfort came down the trembling wretch to raise, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\",\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\"\n ],\n [\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\"\n ],\n [\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n \\n \\n [Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow, \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"The hawthorn bush, with seats beneath the shade, \\n \\n For talking age and whispering lovers made! \\n \\n How often have I blest the coming day, \\n \\n When toil remitting lent its turn to play, \\n \\n {010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n \\n While many a pastime circled in the shade,\",\n \" GUTENBERG EBOOK THE DESERTED VILLAGE *** \\n \\n \\n \\n \\n Produced by David Widger from page images generously \\n provided by Google Books \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE DESERTED VILLAGE \\n \\n By Oliver Goldsmith \\n \\n Illustrated by the Etching Club \\n \\n New York: D. Appleton And Co. Broadway \\n \\n MDCCCLVII \\n \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"[Illustration: 0075] \\n \\n \\n Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n \\n Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n \\n {009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\"\n ],\n [\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Amidst the swains to show my book-learn'd skill, \\n \\n {016} \\n \\n Around my fire an evening group to draw, \\n \\n And tell of all I felt, and all I saw; \\n \\n And, as a hare, whom hounds and horns pursue, \\n \\n Pants to the place from whence at first he flew, \\n \\n \\n [Illustration: 0031] \\n \\n \\n I still had hopes, my long vexations past, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"The young contending as the old survey'd; \\n \\n And many a gambol frolick'd o'er the ground, \\n \\n And sleights of art and feats of strength went round; \\n \\n {011} \\n \\n And still, as each repeated pleasure tired, \\n \\n Succeeding sports the mirthful band inspired: \\n \\n The dancing pair that simply sought renown, \\n \\n By holding out to tire each other down; \\n\",\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"The hawthorn bush, with seats beneath the shade, \\n \\n For talking age and whispering lovers made! \\n \\n How often have I blest the coming day, \\n \\n When toil remitting lent its turn to play, \\n \\n {010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n \\n While many a pastime circled in the shade,\",\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\"\n ],\n [\n \"The white-wash'd wall, the nicely-sanded floor, \\n \\n The varnish'd clock that click'd behind the door; \\n \\n {032} \\n \\n The chest contrived a double debt to pay, \\n \\n A bed by night, a chest of drawers by day; \\n \\n The pictures placed for ornament and use, \\n \\n The twelve good rules, the royal game of goose \\n \\n The hearth, except when winter chill'd the day, \\n\",\n \"As some tall cliff, that lifts its awful form, \\n \\n Swells from the vale, and midway leaves the storm, \\n \\n {027} \\n \\n Though round its breast the rolling clouds are spread, \\n \\n Eternal sunshine settles on its head. \\n \\n \\n [Illustration: 0054] \\n \\n \\n Beside yon straggling fence that skirts the way \\n \\n With blossom'd furze, unprofitably gay, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"{040} \\n \\n Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n \\n [Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\"\n ],\n [\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"But choked with sedges works its weedy way; \\n \\n Along thy glades a solitary guest, \\n \\n The hollow-sounding bittern guards its nest; \\n \\n {012} \\n \\n Amidst thy desert walks the lapwing flies, \\n \\n And tires their echoes with unvaried cries. \\n \\n \\n [Illustration: 0025] \\n \\n \\n Sunk are thy bowers in shapeless ruin all, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"Low lies that house where nut-brown draughts inspired, \\n \\n Where grey-beard mirth and smiling toil retired, \\n \\n {031} \\n \\n Where village statesmen talk'd with looks profound, \\n \\n And news much older than their ale went round. \\n \\n \\n [Illustration: 0062] \\n \\n \\n Imagination fondly stoops to trace \\n \\n The parlour splendours of that festive place; \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \" GUTENBERG EBOOK THE DESERTED VILLAGE *** \\n \\n \\n \\n \\n Produced by David Widger from page images generously \\n provided by Google Books \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE DESERTED VILLAGE \\n \\n By Oliver Goldsmith \\n \\n Illustrated by the Etching Club \\n \\n New York: D. Appleton And Co. Broadway \\n \\n MDCCCLVII \\n \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"That trade's proud empire hastes to swift decay, \\n \\n As ocean sweeps the labour'd mole away; \\n \\n While self-dependent power can time defy, \\n \\n As rocks resist the billows and the sky. \\n \\n \\n [Illustration: 0091] \\n \\n \\n \\n \\n \\n \\n \\n End of Project Gutenberg's The Deserted Village, by Oliver Goldsmith \\n \\n\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n \\n {009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\"\n ],\n [\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Space for his lake, his park's extended bounds, \\n \\n Space for his horses, equipage, and hounds; \\n \\n The robe that wraps his limbs in silken sloth \\n \\n Has robb'd the neighbouring fields of half their growth; \\n \\n His seat, where solitary sports are seen, \\n \\n Indignant spurns the cottage from the green; \\n \\n Around the world each needful product flies, \\n \\n For all the luxuries the world supplies: \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"Those fenceless fields the sons of wealth divide, \\n \\n And e'en the bare-worn common is denied. \\n \\n {037} \\n \\n If to the city sped--What waits him there? \\n \\n To see profusion, that he must not share; \\n \\n To see ten thousand baneful arts combined \\n \\n To pamper luxury, and thin mankind; \\n \\n To see each joy the sons of pleasure know, \\n \\n Extorted from his fellow-creature's woe.\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\"\n ],\n [\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"[Illustration: 0075] \\n \\n \\n Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n \\n Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n\",\n \" Where the poor houseless female lies..........J. C. Horsley.......037 \\n \\n She left her wheel and robes of brown.........J. C. Horsley.......038 \\n \\n The rattling terrors of the vengeful snake....T. Creswick, R.A....040 \\n \\n The cooling brookt the grassy-vested green....T. Creswick, R.A....041 \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"The mournful peasant leads his humble band; \\n \\n And while he sinks, without one arm to save, \\n \\n The country blooms--a garden and a grave! \\n \\n Where then, ah! where shall poverty reside, \\n \\n To 'scape the pressure of contiguous pride? \\n \\n \\n [Illustration: 0071] \\n \\n \\n If to some common's fenceless limits stray'd, \\n \\n He drives his flock to pick the scanty blade,\",\n \"The good old sire the first prepared to go \\n \\n To new-found worlds, and wept for others' woe; \\n \\n {042} \\n \\n But for himself, in conscious virtue brave, \\n \\n He only wish'd for worlds beyond the grave. \\n \\n His lovely daughter, lovelier in her tears, \\n \\n The fond companion of his helpless years, \\n \\n \\n [Illustration: 0083] \\n \\n \\n Silent went next, neglectful of her charms,\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n \\n {009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"But a bold peasantry, their country's pride, \\n \\n When once destroy'd, can never be supplied. \\n \\n A time there was, ere England's griefs began, \\n \\n When every rood of ground maintain'd its man; \\n \\n For him light labour spread her wholesome store, \\n \\n Just gave what life required, but gave no more: \\n \\n His best companions, innocence and health; \\n \\n And his best riches, ignorance of wealth. \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\"\n ],\n [\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"Good Heaven! what sorrows gloom'd that parting day, \\n \\n That call'd them from their native walks away! \\n \\n When the poor exiles, every pleasure past, \\n \\n Hung round the bowers, and fondly look'd their last, \\n \\n And took a long farewell, and wish'd in vain \\n \\n For seats like these beyond the western main; \\n \\n And shuddering still to face the distant deep, \\n \\n Return'd and wept, and still return'd to weep.\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"{040} \\n \\n Those poisonous fields with rank luxuriance crown'd, \\n \\n Where the dark scorpion gathers death around; \\n \\n Where at each step the stranger fears to wake \\n \\n The rattling terrors of the vengeful snake; \\n \\n \\n [Illustration: 0079] \\n \\n \\n Where crouching tigers wait their hapless prey, \\n \\n And savage men more murderous still than they; \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"[Illustration: 0075] \\n \\n \\n Her modest looks the cottage might adorn, \\n \\n Sweet as the primrose peeps beneath the thorn; \\n \\n {039} \\n \\n Now lost to all; her friends, her virtue fled, \\n \\n Near her betrayer's door she lays her head, \\n \\n And, pinch'd with cold, and shrinking from the shower, \\n \\n With heavy heart deplores that luckless hour \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"He tried each art, reproved each dull delay, \\n \\n Allured to brighter worlds, and led the way. \\n \\n Beside the bed where parting life was laid, \\n \\n And sorrow, guilt, and pain, by turns dismay'd, \\n \\n The reverend champion stood. At his control, \\n \\n Despair and anguish fled the struggling soul; \\n \\n {025} \\n \\n Comfort came down the trembling wretch to raise, \\n\",\n \"[Illustration: 0074] \\n \\n \\n Here, while the courtier glitters in brocade, \\n \\n There the pale artist plies the sickly trade; \\n \\n Here, while the proud their long-drawn pomp display, \\n \\n There the black gibbet glooms beside the way; \\n \\n {038} \\n \\n The dome where pleasure holds her midnight reign, \\n \\n Here, richly deck'd, admits the gorgeous train; \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"The good old sire the first prepared to go \\n \\n To new-found worlds, and wept for others' woe; \\n \\n {042} \\n \\n But for himself, in conscious virtue brave, \\n \\n He only wish'd for worlds beyond the grave. \\n \\n His lovely daughter, lovelier in her tears, \\n \\n The fond companion of his helpless years, \\n \\n \\n [Illustration: 0083] \\n \\n \\n Silent went next, neglectful of her charms,\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\"\n ],\n [\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"'Twas certain he could write and cipher too: \\n \\n Lands he could measure, terms and tides presage, \\n \\n And e'en the story ran that he could gauge: \\n \\n \\n [Illustration: 0058] \\n \\n \\n In arguing too the parson own'd his skill, \\n \\n For e'en though vanquish'd, he could argue still; \\n \\n {030} \\n \\n While words of learned length, and thundering sound, \\n\",\n \"Thou source of all my bliss, and all my woe, \\n \\n That found'st me poor at first, and keep'st me so; \\n \\n \\n [Illustration: 0090] \\n \\n \\n Thou guide, by which the nobler arts excel, \\n \\n Thou nurse of every virtue, fare thee well! \\n \\n Farewell! and oh! where'er thy voice be tried, \\n \\n On Torno's cliffs, or Pambamarca's side,\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"The sad historian of the pensive plain. \\n \\n {021} \\n \\n Near yonder copse, where once the garden smiled, \\n \\n And still where many a garden flower grows wild, \\n \\n \\n [Illustration: 0042] \\n \\n \\n There, where a few torn shrubs the place disclose, \\n \\n The village preacher's modest mansion rose. \\n \\n A man he was to all the country dear, \\n \\n And passing rich with forty pounds a year;\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"Sweet Auburn! loveliest village of the plain, \\n \\n Where health and plenty cheer'd the labouring swain, \\n \\n Where smiling spring its earliest visit paid, \\n \\n And parting summer's lingering blooms delay'd. \\n \\n {008} \\n \\n \\n [Illustration: 0017] \\n \\n \\n Dear lovely bowers of innocence and ease, \\n \\n Seats of my youth, when every sport could please, \\n\",\n \"How often have I loiter'd o'er thy green, \\n \\n Where humble happiness endear'd each scene! \\n \\n How often have I paused on every charm, \\n \\n The shelter'd cot, the cultivated farm, \\n \\n {009} \\n \\n \\n [Illustration: 0020] \\n \\n \\n The never-failing brook, the busy mill, \\n \\n The decent church that topt the neighbouring hill, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\"\n ],\n [\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Well had the boding tremblers learn'd to trace \\n \\n The day's disasters in his morning face: \\n \\n Full well the busy whisper, circling round, \\n \\n Convey'd the dismal tidings when he frown'd; \\n \\n {029} \\n \\n Yet he was kind, or if severe in aught, \\n \\n The love he bore to learning was in fault: \\n \\n The village all declared how much he knew; \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"And left a lover's for her father's arms. \\n \\n With louder plaints the mother spoke her woes, \\n \\n And bless'd the cot where every pleasure rose; \\n \\n And kiss'd her thoughtless babes with many a tear, \\n \\n And clasp'd them close, in sorrow doubly dear; \\n \\n {043} \\n \\n Whilst her fond husband strove to lend relief, \\n \\n In all the silent manliness of grief. \\n \\n\",\n \"Amazed the gazing rustics ranged around; \\n \\n And still they gazed, and still the wonder grew \\n \\n That one small head could carry all he knew. \\n \\n But past is all his fame: the very spot, \\n \\n Where many a time he triumph'd, is forgot. \\n \\n \\n [Illustration: 0059] \\n \\n \\n Near yonder thorn that lifts its head on high, \\n \\n Where once the sign-post caught the passing eye, \\n\",\n \"There, in his noisy mansion, skill'd to rule, \\n \\n The village master taught his little school: \\n \\n A man severe he was, and stern to view; \\n \\n I knew him well, and every truant knew: \\n \\n \\n [Illustration: 0055] \\n \\n \\n Full well they laugh'd with counterfeited glee \\n At all his jokes, for many a joke had he; \\n \\n {028} \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \" GUTENBERG EBOOK THE DESERTED VILLAGE *** \\n \\n \\n \\n \\n Produced by David Widger from page images generously \\n provided by Google Books \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n THE DESERTED VILLAGE \\n \\n By Oliver Goldsmith \\n \\n Illustrated by the Etching Club \\n \\n New York: D. Appleton And Co. Broadway \\n \\n MDCCCLVII \\n \\n\",\n \"Down where yon anchoring vessel spreads the sail, \\n \\n That idly waiting flaps with every gale; \\n \\n \\n [Illustration: 0087] \\n \\n \\n Downward they move, a melancholy band, \\n \\n Pass from the shore, and darken all the strand. \\n \\n Contented toil, and hospitable care, \\n \\n And kind connubial tenderness, are there; \\n \\n And piety, with wishes placed above, \\n\",\n \"And his last faltering accents whisper'd praise. \\n \\n \\n [Illustration: 0050] \\n \\n \\n At church, with meek and unaffected grace, \\n \\n His looks adorn'd the venerable place; \\n \\n Truth from his lips prevail'd with double sway, \\n \\n And fools, who came to scoff, remain'd to pray. \\n \\n The service past, around the pious man, \\n \\n With ready zeal each honest rustic ran:\",\n \"The good old sire the first prepared to go \\n \\n To new-found worlds, and wept for others' woe; \\n \\n {042} \\n \\n But for himself, in conscious virtue brave, \\n \\n He only wish'd for worlds beyond the grave. \\n \\n His lovely daughter, lovelier in her tears, \\n \\n The fond companion of his helpless years, \\n \\n \\n [Illustration: 0083] \\n \\n \\n Silent went next, neglectful of her charms,\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"While resignation gently slopes the way; \\n \\n {018} \\n \\n And, all his prospects brightening to the last, \\n \\n His heaven commences ere the world be past. \\n \\n \\n [Illustration: 0035] \\n \\n \\n Sweet was the sound, when oft, at evening's close, \\n \\n Up yonder hill the village murmur rose: \\n \\n There, as I pass'd with careless steps and slow, \\n\",\n \"The mingling notes came soften'd from below; \\n \\n The swain responsive as the milk-maid sung, \\n \\n The sober herd that low'd to meet their young; \\n \\n The noisy geese that gabbled o'er the pool, \\n \\n The playful children just let loose from school; \\n \\n {019} \\n \\n The watch-dog's voice that bay'd the whispering wind, \\n \\n And the loud laugh that spoke the vacant mind; \\n \\n\",\n \"That feebly bends beside the plashy spring: \\n \\n {020} \\n \\n She, wretched matron, forced in age, for bread, \\n \\n To strip the brook with mantling cresses spread \\n \\n \\n [Illustration: 0039] \\n \\n \\n To pick her wintry faggot from the thorn, \\n \\n To seek her nightly shed and weep till morn; \\n \\n She only left of all the harmless train, \\n\",\n \"The hawthorn bush, with seats beneath the shade, \\n \\n For talking age and whispering lovers made! \\n \\n How often have I blest the coming day, \\n \\n When toil remitting lent its turn to play, \\n \\n {010} \\n \\n And all the village train, from labour free, \\n \\n Led up their sports beneath the spreading tree; \\n \\n \\n [Illustration: 0021] \\n \\n \\n While many a pastime circled in the shade,\"\n ],\n [\n \"These were thy charms--but all these charms are fled. \\n \\n Sweet smiling village, loveliest of the lawn! \\n \\n Thy sports are fled, and all thy charms withdrawn; \\n \\n Amidst thy bowers the tyrant's hand is seen, \\n \\n And desolation saddens all thy green: \\n \\n One only master grasps the whole domain, \\n \\n And half a tillage stints thy smiling plain: \\n \\n No more thy glassy brook reflects the day, \\n\",\n \"Tumultuous grandeur crowds the blazing square, \\n \\n The rattling chariots clash, the torches glare. \\n \\n Sure scenes like these no troubles e'er annoy! \\n \\n Sure these denote one universal joy! \\n \\n Are these thy serious thoughts? Ah, turn thine eyes \\n \\n Where the poor houseless shivering female lies: \\n \\n She once, perhaps, in village plenty blest, \\n \\n Has wept at tales of innocence distrest; \\n \\n\",\n \"Thither no more the peasant shall repair \\n \\n To sweet oblivion of his daily care: \\n \\n No more the farmer's news, the barber's tale, \\n \\n No more the woodman's ballad shall prevail; \\n \\n No more the smith his dusky brow shall clear, \\n \\n Relax his ponderous strength, and lean to hear; \\n \\n The host himself no longer shall be found \\n \\n Careful to see the mantling bliss go round; \\n\",\n \"[Illustration: 0038] \\n \\n \\n These all in sweet confusion sought the shade, \\n \\n And fill'd each pause the nightingale had made. \\n \\n But now the sounds of population fail: \\n \\n No cheerful murmurs fluctuate in the gale, \\n \\n No busy steps the grass-grown footway tread, \\n \\n But all the bloomy flush of life is fled; \\n \\n All but yon widow'd solitary thing, \\n\",\n \"When idly first, ambitious of the town, \\n \\n She left her wheel and robes of country brown. \\n \\n Do thine, sweet Auburn, thine, the loveliest train, \\n \\n Do thy fair tribes participate her pain? \\n \\n E'en now, perhaps, by cold and hunger led, \\n \\n At proud men's doors they ask a little bread! \\n \\n Ah, no. To distant climes, a dreary scene, \\n \\n Where half the convex world intrudes between, \\n\",\n \"With aspen boughs, and flowers, and fennel gay \\n \\n While broken tea-cups, wisely kept for show, \\n \\n Ranged o'er the chimney, glisten'd in a row. \\n \\n Vain, transitory splendours! could not all \\n \\n Reprieve the tottering mansion from its fall I \\n \\n Obscure it sinks, nor shall it more impart \\n \\n An hour's importance to the poor man's heart: \\n\",\n \"Whether where equinoctial fervors glow, \\n \\n Or winter wraps the polar world in snow, \\n \\n {046} \\n \\n Still let thy voice, prevailing over time, \\n \\n Redress the rigours of the inclement clime. \\n \\n Aid slighted Truth with thy persuasive strain: \\n \\n Teach erring man to spurn the rage of gain; \\n \\n Teach him, that states of native strength possest, \\n \\n Though very poor, may still be very blest;\",\n \"And steady loyalty, and faithful love. \\n \\n {045} \\n \\n And thou, sweet Poetry, thou loveliest maid, \\n \\n Still first to fly where sensual joys invade, \\n \\n Unfit, in these degenerate times of shame, \\n \\n To catch the heart, or strike for honest fame; \\n \\n Dear charming nymph, neglected and decried, \\n \\n My shame in crowds, my solitary pride; \\n\",\n \"She then shines forth, solicitous to bless, \\n \\n In all the glaring impotence of dress; \\n \\n Thus fares the land, by luxury betray'd, \\n \\n In nature's simplest charms at first array'd; \\n \\n {036} \\n \\n But verging to decline, its splendours rise, \\n \\n Its vistas strike, its palaces surprise; \\n \\n While, scourged by famine, from the smiling land \\n\",\n \"And the long grass o'ertops the mouldering wall; \\n \\n And trembling, shrinking from the spoiler's hand, \\n \\n Far, far away thy children leave the land. \\n \\n {013} \\n \\n Ill fares the land, to hastening ills a prey, \\n \\n Where wealth accumulates, and men decay: \\n \\n Princes and lords may flourish, or may fade; \\n \\n A breath can make them, as a breath has made: \\n\",\n \"Proud swells the tide with loads of freighted ore, \\n \\n And shouting Folly hails them from her shore; \\n \\n Hoards e'en beyond the miser's wish abound, \\n \\n And rich men flock from all the world around. \\n \\n Yet count our gains. This wealth is but a name \\n \\n That leaves our useful product still the same. \\n \\n {035} \\n \\n Not so the loss. The man of wealth and pride \\n \\n Takes up a space that many poor supplied;\",\n \"But times are alter'd; trade's unfeeling train \\n \\n Usurp the land, and dispossess the swain; \\n \\n Along the lawn, where scatter'd hamlets rose, \\n \\n Unwieldy wealth and cumbrous pomp repose; \\n \\n And every want to luxury allied, \\n \\n And every pang that folly pays to pride. \\n \\n Those gentle hours that plenty bade to bloom, \\n \\n Those calm desires that ask'd but little room, \\n\",\n \"For him no wretches, born to work and weep, \\n \\n Explore the mine, or tempt the dangerous deep; \\n \\n \\n [Illustration: 0034] \\n \\n \\n No surly porter stands, in guilty state, \\n \\n To spurn imploring famine from the gate-- \\n \\n But on he moves to meet his latter end, \\n \\n Angels around befriending virtue's friend; \\n \\n Sinks to the grave with unperceived decay, \\n\",\n \"In all my griefs--and God has given my share-- \\n \\n \\n [Illustration: 0030] \\n \\n \\n To husband out life's taper at the close, \\n \\n And keep the flame from wasting by repose: \\n \\n I still had hopes, my latest hours to crown, \\n Amidst these humble bowers to lay me down; \\n \\n I still had hopes, for pride attends us still, \\n\",\n \"While thus the land, adorn'd for pleasure all, \\n \\n In barren splendour feebly waits the fall. \\n \\n As some fair female, unadorn'd and plain, \\n \\n Secure to please while youth confirms her reign, \\n \\n Slights every borrow'd charm that dress supplies, \\n \\n Nor shares with art the triumph of her eyes; \\n \\n But when those charms are past, for charms are frail, \\n \\n When time advances, and when lovers fail, \\n\",\n \"The swain mistrustless of his smutted face, \\n \\n While secret laughter titter'd round the place; \\n \\n The bashful virgin's sidelong looks of love, \\n \\n The matron's glance that would those looks reprove; \\n \\n These were thy charms, sweet village! sports like these, \\n \\n With sweet succession, taught e'en toil to please; \\n \\n These round thy bowers their cheerful influence shed, \\n\",\n \"A bloated mass of rank unwieldy woe; \\n \\n {044} \\n \\n Till, sapp'd their strength, and every part unsound, \\n \\n Down, down they sink, and spread a ruin round. \\n \\n E'en now the devastation is begun, \\n \\n And half the business of destruction done; \\n \\n E'en now, methinks, as pondering here I stand, \\n \\n I see the rural virtues leave the land. \\n\",\n \"Those healthful sports that graced the peaceful scene, \\n \\n Lived in each look, and brighten'd all the green; \\n \\n {014} \\n \\n These, far departing, seek a kinder shore, \\n \\n And rural mirth and manners are no more. \\n \\n \\n [Illustration: 0027] \\n \\n \\n Sweet Auburn! parent of the blissful hour, \\n \\n Thy glades forlorn confess the tyrant's power. \\n\",\n \"Here, as I take my solitary rounds \\n \\n Amidst thy tangling walks and ruin'd grounds, \\n \\n And, many a year elapsed, return to view \\n \\n Where once the cottage stood, the hawthorn grew, \\n \\n Remembrance wakes with all her busy train, \\n \\n Swells at my breast, and turns the past to pain. \\n \\n {015} \\n \\n In all my wanderings round this world of care, \\n\",\n \"Through torrid tracts with fainting steps they go, \\n \\n Where wild Altama murmurs to their woe. \\n \\n Far different there from all that charm'd before, \\n \\n The various terrors of that horrid shore; \\n \\n Those blazing suns that dart a downward ray, \\n \\n And fiercely shed intolerable day; \\n \\n Those matted woods where birds forget to sing, \\n \\n But silent-bats in drowsy clusters cling; \\n\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What is the current state of the city's buildings?","Who has been taking over the land of the poor?","Where did the country girl \"lay her head\"?","Which river in Georgia was described in the poem?","Where did some residents of Auburn head to?","What can defy time according to the poem?","In the poem, while wealth accumulates, who decays?","Though very poor, one can still become what according to the poem?","What sweeps the labored mole away?","What is Auburn in the story?","What is the condition of Auburn?","What kinds of people are responsible for Auburn's ruination?","Where did the former residents of Auburn go?","What is wrong with the countries the former residents of Auburn moved to?","Why did the wealthy man take over Auburn?","What river does the story mention?","What, besides people, is suggested to have moved to foreign countries?","What can help the exiles from Auburn?","What industry is the story against?","What is the name of the village?","When did Spring arrive?","What is on top of the wall?","What is the current state of the village?","What has happened to the land that \"many poor supplied\"?","Where did the \"houseless\" country female go?","What is the \"horrid shore\"?","What Georgia river is mentioned?","Where did the occupants of the village go?","What is the general theme of this poem?"],"string":"[\n \"What is the current state of the city's buildings?\",\n \"Who has been taking over the land of the poor?\",\n \"Where did the country girl \\\"lay her head\\\"?\",\n \"Which river in Georgia was described in the poem?\",\n \"Where did some residents of Auburn head to?\",\n \"What can defy time according to the poem?\",\n \"In the poem, while wealth accumulates, who decays?\",\n \"Though very poor, one can still become what according to the poem?\",\n \"What sweeps the labored mole away?\",\n \"What is Auburn in the story?\",\n \"What is the condition of Auburn?\",\n \"What kinds of people are responsible for Auburn's ruination?\",\n \"Where did the former residents of Auburn go?\",\n \"What is wrong with the countries the former residents of Auburn moved to?\",\n \"Why did the wealthy man take over Auburn?\",\n \"What river does the story mention?\",\n \"What, besides people, is suggested to have moved to foreign countries?\",\n \"What can help the exiles from Auburn?\",\n \"What industry is the story against?\",\n \"What is the name of the village?\",\n \"When did Spring arrive?\",\n \"What is on top of the wall?\",\n \"What is the current state of the village?\",\n \"What has happened to the land that \\\"many poor supplied\\\"?\",\n \"Where did the \\\"houseless\\\" country female go?\",\n \"What is the \\\"horrid shore\\\"?\",\n \"What Georgia river is mentioned?\",\n \"Where did the occupants of the village go?\",\n \"What is the general theme of this poem?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["They are being left to ruin.","abandoned"],["The wealthy","The wealthy."],["Near her betrayer's door","Near her betrayer's door"],["Wild Altama","wild altama"],["Overseas or foreign lands","Overseas."],["self-dependent power","Self-dependent power."],["Men","Men"],["Very blest (blessed)","They can be blessed."],["The ocean","the ocean"],["A village","a village"],["It is abandoned and in disrepair","Abandoned."],["Rich city-dwellers","The wealthy"],["They moved out of the country","They have emigrated overseas."],["It is too hot and sunny","there are terrors there and a the climate is very hot"],["To have more space for his luxuries","Space for his wealth and possessions."],["The wild Atama","Altama."],["Poetry","The land"],["Poetry","poetry"],["Trade","trade"],["Sweet Auburn.","Auburn"],["Early.","earlier than anywhere else"],["Grass.","Grass overtops"],["It has been abandoned.","Abandoned by the residents."],["A wealthy man took it.","The man of wealth and pride"],["To the city.","The city."],["Immigration to a foreign land.","Blazing sun that dart a downway"],["The Altama (Altamaha).","Altama"],["They immigrated to America.","Emigrated oversea"],["A lament for the passing of a way of life.","Rural values versus luxury and corruption of the city."]],"string":"[\n [\n \"They are being left to ruin.\",\n \"abandoned\"\n ],\n [\n \"The wealthy\",\n \"The wealthy.\"\n ],\n [\n \"Near her betrayer's door\",\n \"Near her betrayer's door\"\n ],\n [\n \"Wild Altama\",\n \"wild altama\"\n ],\n [\n \"Overseas or foreign lands\",\n \"Overseas.\"\n ],\n [\n \"self-dependent power\",\n \"Self-dependent power.\"\n ],\n [\n \"Men\",\n \"Men\"\n ],\n [\n \"Very blest (blessed)\",\n \"They can be blessed.\"\n ],\n [\n \"The ocean\",\n \"the ocean\"\n ],\n [\n \"A village\",\n \"a village\"\n ],\n [\n \"It is abandoned and in disrepair\",\n \"Abandoned.\"\n ],\n [\n \"Rich city-dwellers\",\n \"The wealthy\"\n ],\n [\n \"They moved out of the country\",\n \"They have emigrated overseas.\"\n ],\n [\n \"It is too hot and sunny\",\n \"there are terrors there and a the climate is very hot\"\n ],\n [\n \"To have more space for his luxuries\",\n \"Space for his wealth and possessions.\"\n ],\n [\n \"The wild Atama\",\n \"Altama.\"\n ],\n [\n \"Poetry\",\n \"The land\"\n ],\n [\n \"Poetry\",\n \"poetry\"\n ],\n [\n \"Trade\",\n \"trade\"\n ],\n [\n \"Sweet Auburn.\",\n \"Auburn\"\n ],\n [\n \"Early.\",\n \"earlier than anywhere else\"\n ],\n [\n \"Grass.\",\n \"Grass overtops\"\n ],\n [\n \"It has been abandoned.\",\n \"Abandoned by the residents.\"\n ],\n [\n \"A wealthy man took it.\",\n \"The man of wealth and pride\"\n ],\n [\n \"To the city.\",\n \"The city.\"\n ],\n [\n \"Immigration to a foreign land.\",\n \"Blazing sun that dart a downway\"\n ],\n [\n \"The Altama (Altamaha).\",\n \"Altama\"\n ],\n [\n \"They immigrated to America.\",\n \"Emigrated oversea\"\n ],\n [\n \"A lament for the passing of a way of life.\",\n \"Rural values versus luxury and corruption of the city.\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"292febcd5a6d8b827564d5fa11ed81f2e82b3607"},"split":{"kind":"string","value":"test"}}},{"rowIdx":52,"cells":{"text":{"kind":"list like","value":[[" Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," WHALE \n Scout's honor. \n \n Clay smiles. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale and Boone are back in their familiar positions. An \n empty glass of beer sits on the floor next to Clay. \n \n WHALE \n I'm curious, Mr. Boone. What \n convinced you to come back? \n \n CLAY"," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale comes forward as Clay enters, offering a hand at the \n end of a spindly wrist. \n \n WHALE \n How are you, Mr. Boone? So glad \n you are free for lunch. \n \n CLAY \n All right, I guess. \n \n WHALE \n I assume you worked up an appetite"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," Clay nods, chugs his tea. When he lowers the glass, he \n finds the old man watching him. \n \n WHALE \n You must excuse me for staring, Mr. \n Boone. But you have a marvelous \n head. \n \n CLAY \n Huh? \n \n WHALE \n To an artistic eye, you understand. \n Have you ever modeled? \n \n CLAY"," I'm game. Sure. \n \n WHALE \n Very good, Clayton. May I call you \n Clayton? Or do you prefer Boone? \n \n CLAY \n Clayton is fine. \n \n Whale smiles gently. \n \n EXT. OCEAN PROMENADE - DUSK \n \n The sun is setting over the Pacific. Clay stands in a phone \n booth on the strand. \n"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," Whale offers a melancholy smile. \n \n WHALE \n I think I'll just rest for a \n moment. \n \n The man shrugs, disappears into the shadows. We move \n across the room and through the door... \n \n EXT. WHALE'S HOUSE - NIGHT \n \n Whale sits in a director's chair, a martini in one hand, a \n cigar in the other, a harmless old uncle watching young men"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," That shirt, Mr. Boone. \n \n CLAY \n It's new. \n \n WHALE \n I'm sorry. It's too white, too \n distracting. Would it be asking \n too much for you to take it off? \n \n CLAY \n I'm not wearing an undershirt. \n \n WHALE"," charge extra if I include a hand or \n a bit of shoulder. \n \n CLAY \n You don't want to draw pictures of \n me in my birthday suit, right? \n \n WHALE \n I have no interest in your body, \n Mr. Boone. I can assure you of \n that. \n \n Clay takes a moment to size up Whale -- whose innocent, \n slightly befuddled smile makes him appear about as"," relieves himself with the other. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \n \n Whale sits up in bed, staring dumbly at the morning paper. \n Hanna reaches in to take away the breakfast tray. \n \n WHALE \n Does the yardman come today? \n \n HANNA \n Of course. This afternoon. \n \n A thin smile forms on Whale's face. \n"],[" The Monster is heartbroken. Nobody loves him, not even his \n Bride. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n The Bride shrieks again. \n \n HANNA \n She is horrible. \n \n WHALE \n She is beautiful. \n \n The Monster's pain turns to anger. He tears through the"," Monster share a meal. \n \n BLIND MAN \n We are friends, you and I. \n Friends. \n \n MONSTER \n Friends. \n \n BLIND MAN \n Before you came, I was all alone. \n It is bad to be alone. \n \n MONSTER \n Alone, bad. Friend, good. \n \n He takes the old man's hand. \n"," Neither of us really belongs here. \n \n CLAY \n Must have been funny for you. \n Seeing your monsters again. \n \n WHALE \n Monsters? The only monsters... \n (closes his eyes) \n ...are here. \n \n Across the lawn, conversation has stopped. Birdlike shrieks \n come from all directions. \n \n CLAY"," Who is it? You're welcome, my \n friend, whoever you are. \n \n The Monster attempts to communicate, manages only a \n plaintive moan. The blind man stands. \n \n BLIND MAN \n I cannot see you. I cannot see \n anything. You must please excuse \n me. But I am blind. \n \n The Monster holds out his burned hands. \n \n BLIND MAN"," Elsa Lanchester, as the Monster's Bride, looks up, down, \n left, right, startled to be alive. The Monster stares at \n her. \"Friend?\" he asks, tenderly, desperately. \n \n EXT. COUNTRYSIDE - NIGHT (B & W) \n \n Lightning splits the black-and-white sky, revealing a single \n shattered oak in a desolate landscape. Below, a HUMAN"," and sipping his Scotch. Whale sketches from a wing chair \n across the room. \n \n CLAY \n Storm's getting worse. \n \n WHALE \n \"A perfect night for mystery and \n horror. The air itself is filled \n with monsters.\" \n \n CLAY \n That's from your movie, right? \n \"The only monsters are here.\" \n \n WHALE"," Come in, my poor friend. No one \n will hurt you here. If you're in \n trouble, perhaps I can help you. \n \n The old man touches the Monster, who recoils with a \n defensive growl. \n \n BLIND MAN \n Can you not speak? It's strange. \n Perhaps you're afflicted too. I \n cannot see and you cannot speak. \n"," On the tv, Dr. Pretorius (played by Ernest Thesiger) \n delivers a toast with inimitably ripe enunciation: \"To a \n new world of gods and monsters!\" Dwight and Harry and \n Betty all laugh. \n \n BETTY \n These old movies are such a hoot. \n They thought they were being scary, \n but they're just funny. \n \n CLAY"," Oh, that monster. How could you be \n working with him? \n \n WHALE \n Don't be silly, Hanna. He's a very \n proper actor. And the dullest \n fellow imaginable. \n \n Minnie flees in a bowlegged jig up the hill. Whale smiles \n again. \n \n INT. HARRY'S BEACHCOMBER - NIGHT \n"," The Monster growls out an inarticulate greeting. He picks \n up the box and hands it to Whale. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Whale removes the lid, sets the hatbox on the sofa. \n \n WHALE \n I would like you to wear this? \n \n Whale steps back. Clay takes the box and covers his lap \n with it. He lifts out the gas mask."," house, the car... \n \n Clay's body starts to tremble. \n \n WHALE \n Do it now, Clayton. Make me \n invisible. \n \n Clay lets out a howl -- his shoulders heave and shake. \n \n CLAY \n I am not your monster. \n \n He climbs off Whale, crawls away, his body collapsing in"," Not bad. Two down and it's just \n started. \n \n Minnie, a hatchet-faced woman with fluttering ribbons, is \n now alone with the Monster. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Whale and Hanna are in bathrobes and slippers, and there is \n a glass of milk and a plate of cookies on Whale's TV tray."," INT. HARRY'S BEACHCOMBER - NIGHT \n \n Finally, the Bride comes to life. She looks up, down, left, \n right, uncertain who she is. The Monster stares \n tenderly. \"Friend?\" He timidly touches her arm and she \n screams. \n \n BETTY \n All right! You don't want <u>him</u>. \n"," dinosaurs. \n \n KAY \n Don't think that, Mr. Whale. I \n love your movies. That's why I \n wanted you to come to this. So I \n could see you with your monsters. \n \n WHALE \n My monsters? \n \n KAY \n Don't go away. \n \n Whale tries to do just that, but finds himself caught in the"," batting an eyelash. He offers the Monster a drink, then \n adds: \"Have a cigar. They're my only weakness.\" \n \n WHALE \n The cigars were my own brand. So \n that I could have the leftovers. \n \n On the tv, the Monster groans: \"Love dead. Hate living.\" \n Whale's focus sharpens, prompted by the unexpected \n discussion of death. \n"," INT. WHALE'S HOUSE - DINING ROOM - NIGHT \n \n Whale passes quickly through the dining room and out to the \n kitchen. \n \n INT. WHALE'S HOUSE - GARAGE - NIGHT \n \n Whale reaches for the hatbox, which sits on top of a garbage \n can. Suddenly a large hand appears on the box. Whale gasps \n when a flash of lightning reveals the face of the Monster. \n"," He is not going to kill the old \n man? \n \n WHALE \n No, Hanna. My heart isn't that \n black. \n \n In a crypt, the Monster meets Dr. Pretorius, who is having a \n midnight snack on top of a closed coffin. \"Friend?\" the \n monster asks. \"Yes, I hope so,\" answers Pretorius, without"," flaming wreckage of a mill. \n \n BETTY \n This looks corny. \n \n CLAY \n Go wash glasses if you don't like \n it. \n \n In a flooded crater under the mill, the Monster kills an old \n man. He climbs up, flips the man's wife into the pit below. \n An owl blinks impassively. \n \n DWIGHT"," Frankenstein.\" Whale sits in a massive chair, straining \n against thick iron chains, as a lightning storm rages \n outside. In the distance, heavy footsteps, coming closer, \n until the cell door is filled with the silhouette of the \n Monster. Whale hardly dares to breathe as the Monster rips \n off the door and enters the cell. \n \n The Monster steps into the light, allowing us to see his"," story, and wanted me so baldly -- I \n mean badly, not baldly. I was \n given the pick of stories being \n developed, and I picked that one. \n \n KAY \n Who came up with the Monster's \n makeup and look? \n \n WHALE \n My idea. Muchly. My sketches. \n Big heavy brow. Head flat on top \n so they could take out the old"],[" WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," comfort me. \n \n On the tv screen, the old man starts to cry, then collapses \n onto the Monster's chest. A thick tear rolls down the \n Monster's cheek. \n \n Clay Boone sits on the sofa, a baby on his lap. He's 40 \n now, his hair starting to thin but still closely cropped at \n the top and sides. \n \n On the tv, daylight fills the hut. The blind man and the"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," DWIGHT \n Damn but it's getting drunk in \n here. Late too. The bride of \n Dwight is going to bite my head \n off. \n \n He tilts toward the door. \n \n DWIGHT \n You coming, Boone? \n \n CLAY \n I think I'll hang around. \n \n HARRY"," Dwight nods, a little coolly. \n \n DWIGHT \n Hey, Boone. \n \n CLAY \n Have a drink? \n \n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \n hand on his shoulder. Dwight shrugs, heads toward the door. \n \n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s"," INT. SUBURBAN HOUSE - NIGHT (1972) \n \n MICHAEL BOONE, 10, lies on the living room carpet, staring \n raptly at the movie playing on the large Zenith console. \n The house is small but tidy and comfortable. \n \n BLIND MAN (O.S.) \n It's been a long time since any \n human being came into this hut. I \n shall look after you. And you will"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," From here on out, Boone, you're \n just another tired old face on the \n other side of the bar. \n \n The car screeches away. Clay stumbles across the highway. \n \n EXT. TRAILER PARK - NIGHT \n \n Clay comes to the dump at the end of the canyon. He climbs \n into it, kicking at loose cans. \n \n CLAY"," Thanks, doll. \n \n BETTY \n (to Harry) \n I say let loverboy watch his \n movie. And be grateful Boone's \n not cutting Shirley Temple's lawn. \n \n CLAY \n Why is everybody giving me crap \n tonight? \n \n DWIGHT \n Jesus, Boone. You come in here \n proud as a peacock because some old"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," (refusing to be \n sidetracked) \n And your lighting and camera \n angles. You're got to go back to \n German silent movies to find \n anything like it. \n \n EXT. WHALE'S HOUSE - UPPER PATIO - DAY \n \n Clay Boone gulps some water from the garden hose. He \n glances down at the pool, where Kay and Whale sit in \n cast-iron chairs. \n"," A FIST \n \n which smashes against sheet metal. \n \n INT. CLAY'S TRAILER - DAY \n \n Clay Boone's eyes dart open. \n \n DWIGHT (O.S.) \n Boone! You awake? Eight o'clock. \n \n CLAY \n Fuck off! \n \n DWIGHT (O.S.) \n You told me to get you up, asshole. \n"," people come and go? Movie stars? \n \n HANNA \n No. We live simply, Mr. Jimmy and \n I. People come to play bridge. \n And now and then, young men to \n swim. You have people, Boone? \n \n CLAY \n You mean family? All in Joplin, \n Missouri. \n \n HANNA \n Your wife? \n"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," the bar with the owner, HARRY, a balding hep cat with a \n scraggly tuft of beard. And, in a booth, KID SAYLOR, a \n cocky 20-year-old, necking with a pony-tailed TEENAGER. \n \n CLAY \n I liked it. You learn stuff \n listening to old-timers. \n \n DWIGHT \n (to Harry)"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," Whale nods, sensing that he's touched a sore spot. \n \n WHALE \n And the fear you showed at our last \n session? How did you overcome \n that? \n \n CLAY \n Not fear. More like disgust. \n \n WHALE \n Same difference, Mr. Boone. \n Disgust, fear of the unknown -- all \n part of the great gulf that stands"],[" I had no idea you'd be here. \n \n She seizes Whale's hand in her little white gloves. \n \n PRINCESS MARGARET \n How are you? \n \n WHALE \n (taken aback) \n Fine. Quite fine. And Your Royal \n Highness? \n \n PRINCESS MARGARET \n Splendid. Now that I know you're"," Ma'am, may I present Mr. Clayton \n Boone? \n \n Clay steps forward to shake hands. \n \n WHALE \n My gardener, who insisted I bring \n him today. He so wanted to meet \n royalty. \n \n Cukor's face goes blank with indignation. \n \n CLAY \n Pleased to meet you. \n \n PRINCESS MARGARET"," woman in a white dress with polka dots. GEORGE CUKOR and \n PRINCESS MARGARET. \n \n WHALE \n Let's get this over with quickly. \n \n Whale forgets to remove his hat when he comes forward. \n Before he can give Cukor their names Princess Margaret's \n polite smile bursts open in a joyful display of teeth. \n \n PRINCESS MARGARET"," around. \n \n Standing beside him, Clay is clearly impressed that Whale \n knows a princess. \n \n PRINCESS MARGARET \n Can we get together while I'm in \n town? I so badly want to sit for \n you again. \n \n WHALE \n Sit? \n \n PRINCESS MARGARET \n I've changed my hair, you see."," PRINCESS MARGARET \n (laughs) \n I am such a goose. I mistook you \n for Cecil Beaton. It's the hat. \n You're wearing one of Cecil's hats, \n you know. \n \n Whale attempts to chuckle while he fights a feeling of \n humiliation. He turns to Cukor for help. \n \n WHALE"," WHALE \n How would you like to come to a \n party with me? A reception for \n Princess Margaret. \n \n CLAY \n \n I thought you weren't going. \n \n WHALE \n If you don't mind driving, I'd like \n to take you as my guest. There \n should be lots of pretty starlets \n to keep you amused. \n \n CLAY"," Since our last session. Those old \n snaps look rather dowdy now. \n \n Whale realizes she's mistaken him for someone else. He tugs \n his sunglasses down his nose so she can see his eyes. \n \n PRINCESS MARGARET \n Oh dear. Have I made a blunder? \n \n WHALE \n Ma'am, the pleasure is all mine. James \n Whale. \n"," the home of...Mr. George Cukor! \n \n His lips smack open in disgust. \n \n WHALE \n That pushy little -- horning in on \n the Queen's sister, then offering \n to share her with the whole damn \n raj? I live in this country to get \n away from this rubbish! \n \n He tosses the invitation on the table. \n \n WHALE"," CLAY \n Go ahead. \n \n Clay looks off while Whale opens the envelope. \n \n WHALE \n Hmmm? Princess Margaret? \n \n He is examining a folded card. He rubs a thumb over the \n printed lettering. \n \n WHALE \n Her Majesty's Loyal Subjects in the \n Motion Picture Industry... \n Cordially invited...Reception at"," I think I'll go look at Elizabeth \n Taylor. \n \n He hurries off. \n \n WHALE \n You should have seen Georgie's face \n when he met Clayton. \n \n DAVID \n You didn't, Jimmy. \n \n WHALE \n I did. But Princess Margaret was a \n doll. We're all equals in her"," earnestly over his script. Thesiger pinches his face over \n the needle he dips in and out of an embroidery ring. \n \n Whale comes on the set with Elsa on his arm. She walks \n regally beside him, the train of her long white robe thrown \n over one arm. There's a wolf whistle from overhead, and \n applause, causing Elsa to curtsy to her admirers. Thesiger"," I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," I came for the sake of my visiting \n niece. Alice. And Miranda, my \n great-niece. \n \n His huge hand lifts the blanket in Alice's arms, revealing a \n bald infant with enormous blue eyes. Karloff gurgles and \n coos at the child. \n \n ELSA LANCHESTER \n And what do you make of our royal \n visitant? \n"," Mr....Kay? \n \n KAY \n Bet you thought you'd never see me \n again. I didn't know if you'd be \n well enough to come to this party. \n \n WHALE \n You didn't? \n \n KAY \n I'm the one who got you on Mr. \n Cukor's guest list. \n \n WHALE"," Quite. I adore gardens. \n \n Whale narrows his eyes at Cukor and sharpens his smile. \n \n WHALE \n He's never met a princess. Only \n queens. \n \n Cukor puffs out his chest, quivers a bulbous lower lip at \n Whale. \n \n WHALE \n George, Ma'am, this has been an \n honor. An occasion to remember for"," No. The girl. \n \n WHALE \n Girl? Oh. Elizabeth Taylor. \n \n Clay watches in amazement as ELIZABETH TAYLOR waves to \n someone and pipes out a happy hello. She hurriedly unties \n her scarf, thrusts it at David and runs off on tiptoes to \n embrace a woman. \n \n CLAY \n Is that really her? \n \n WHALE"," Kay peels off the shirt and tosses it on his shoes and \n sweater. \n \n WHALE \n George is famous for his Saturday \n dinner parties. Great artists, \n writers, society folk, all rubbing \n elbows with Hollywood royalty. But \n how many of those oh-so-proper \n people know about the Sunday \n brunches that follow? Gatherings \n of trade eating leftovers, followed"," story indeed. \n \n Whale lifts his glass in a toast. Clay empties his glass of \n beer. He motions toward the decanter. \n \n CLAY \n Do you mind? \n \n WHALE \n Not at all. \n \n He hands the decanter to Clay. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Clay sits in a straight-backed chair, smoking a cigarette"," Oh dear. \n \n Karloff, age 70, comes reluctantly, followed by his niece \n ALICE, a bashful young woman who carried a blanket-wrapped \n bundle. \n \n ELSA LANCHESTER \n Boris, darling. I didn't know you \n were here. These public revels are \n hardly up your alley. \n \n BORIS KARLOFF"," DAVID \n Well the rest of us aren't. Can't \n you remember that? \n \n WHALE \n No. I never could. You must \n regret having had the invitation \n sent. \n \n David is looking over Whale's shoulder. \n \n DAVID \n I didn't ask George to invite you. \n \n WHALE \n Then who did? \n"],[" WHALE \n How would you like to come to a \n party with me? A reception for \n Princess Margaret. \n \n CLAY \n \n I thought you weren't going. \n \n WHALE \n If you don't mind driving, I'd like \n to take you as my guest. There \n should be lots of pretty starlets \n to keep you amused. \n \n CLAY"," I had no idea you'd be here. \n \n She seizes Whale's hand in her little white gloves. \n \n PRINCESS MARGARET \n How are you? \n \n WHALE \n (taken aback) \n Fine. Quite fine. And Your Royal \n Highness? \n \n PRINCESS MARGARET \n Splendid. Now that I know you're"," Ma'am, may I present Mr. Clayton \n Boone? \n \n Clay steps forward to shake hands. \n \n WHALE \n My gardener, who insisted I bring \n him today. He so wanted to meet \n royalty. \n \n Cukor's face goes blank with indignation. \n \n CLAY \n Pleased to meet you. \n \n PRINCESS MARGARET"," woman in a white dress with polka dots. GEORGE CUKOR and \n PRINCESS MARGARET. \n \n WHALE \n Let's get this over with quickly. \n \n Whale forgets to remove his hat when he comes forward. \n Before he can give Cukor their names Princess Margaret's \n polite smile bursts open in a joyful display of teeth. \n \n PRINCESS MARGARET"," around. \n \n Standing beside him, Clay is clearly impressed that Whale \n knows a princess. \n \n PRINCESS MARGARET \n Can we get together while I'm in \n town? I so badly want to sit for \n you again. \n \n WHALE \n Sit? \n \n PRINCESS MARGARET \n I've changed my hair, you see."," Since our last session. Those old \n snaps look rather dowdy now. \n \n Whale realizes she's mistaken him for someone else. He tugs \n his sunglasses down his nose so she can see his eyes. \n \n PRINCESS MARGARET \n Oh dear. Have I made a blunder? \n \n WHALE \n Ma'am, the pleasure is all mine. James \n Whale. \n"," PRINCESS MARGARET \n (laughs) \n I am such a goose. I mistook you \n for Cecil Beaton. It's the hat. \n You're wearing one of Cecil's hats, \n you know. \n \n Whale attempts to chuckle while he fights a feeling of \n humiliation. He turns to Cukor for help. \n \n WHALE"," CLAY \n Go ahead. \n \n Clay looks off while Whale opens the envelope. \n \n WHALE \n Hmmm? Princess Margaret? \n \n He is examining a folded card. He rubs a thumb over the \n printed lettering. \n \n WHALE \n Her Majesty's Loyal Subjects in the \n Motion Picture Industry... \n Cordially invited...Reception at"," WHALE \n Quite so, mum. To the privy. \n \n And he heads cheerfully out of the room. His mother shakes \n her head. \n \n SARAH WHALE \n \"Quite so.\" \n (calls out) \n Jimmy Whale. Who are ya to put on \n airs? \n \n But Whale is already out the door. We CUT TO: \n"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," I think I'll go look at Elizabeth \n Taylor. \n \n He hurries off. \n \n WHALE \n You should have seen Georgie's face \n when he met Clayton. \n \n DAVID \n You didn't, Jimmy. \n \n WHALE \n I did. But Princess Margaret was a \n doll. We're all equals in her"," Whale glances up -- the kite is gone. Thunder rumbles as \n the group starts to disperse. Whale nods to the faces \n exchanging good-byes. \n \n BORIS KARLOFF \n So good to see you again, James. \n \n He strolls off, clucking and cooing at his baby. \n \n KAY \n Catch you before you go, Mr. Whale."," I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," (smiles at Clay) \n Please, Mr. Boone. Help yourself. \n \n CLAY \n What did she mean by going flooey? \n \n WHALE \n I returned recently from a stay in \n hospital. \n \n CLAY \n What was wrong? \n \n WHALE \n Nothing serious. A touch of \n stroke. \n"," You have to excuse me, Mr. Boone. \n Since my stroke, I am often \n overcome with nostalgia. \n \n CLAY \n I don't mind. I'm not crazy about \n my old man either. \n \n Whale rubs a hand across his eyes and steps into the open. \n \n WHALE \n Why don't we break for five \n minutes? You probably want to"," Hanna sets the tray down. \n \n WHALE \n Very good, Hanna. Now goodbye. \n \n She goes toward the door, wrinkling her forehead at Clay. \n The screen door bangs shut. \n \n WHALE \n I'm sure you'd like something to \n wet your whistle while I work. \n \n Whale opens a bottle of beer, pours it into a glass, hands"," Oh, that monster. How could you be \n working with him? \n \n WHALE \n Don't be silly, Hanna. He's a very \n proper actor. And the dullest \n fellow imaginable. \n \n Minnie flees in a bowlegged jig up the hill. Whale smiles \n again. \n \n INT. HARRY'S BEACHCOMBER - NIGHT \n"],[" relieves himself with the other. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \n \n Whale sits up in bed, staring dumbly at the morning paper. \n Hanna reaches in to take away the breakfast tray. \n \n WHALE \n Does the yardman come today? \n \n HANNA \n Of course. This afternoon. \n \n A thin smile forms on Whale's face. \n"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale studies his face in the mirror. He gives his white \n hair a few final licks with his silver-backed brush. \n \n INT. WHALE'S HOUSE - KITCHEN - DAY \n \n Whale comes in from the bedroom. \n \n WHALE \n There is iced tea, Hanna? Cucumber \n sandwiches? \n"," HANNA \n He looks plenty big. You won't \n need my help if anything goes \n flooey. \n \n WHALE \n Go. \n \n She shakes her head and marches out the door. Clay returns \n to his chair and sits down again. \n \n WHALE \n When they stay in your employ too \n long, servants begin to think \n they're married to you."," HANNA \n Yes, Mr. Jimmy. \n (smiles) \n An interview. After so many years. \n Very exciting. \n \n WHALE \n Don't be daft. It's just a student \n from the university. \n \n The doorbell rings. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n"," Hanna sets the tray down. \n \n WHALE \n Very good, Hanna. Now goodbye. \n \n She goes toward the door, wrinkling her forehead at Clay. \n The screen door bangs shut. \n \n WHALE \n I'm sure you'd like something to \n wet your whistle while I work. \n \n Whale opens a bottle of beer, pours it into a glass, hands"," Whale eats lunch off a TV tray. His attention remains \n focused on \"Queen for a Day\" as Hanna clomps into the room \n behind him. \n \n WHALE \n Who was that at the door? \n \n HANNA \n A visitor. \n \n Whale turns. His face registers surprise when he sees Clay. \n \n WHALE \n Thank you, Hanna. That will be \n all."," Whale settles into his club chair and opens a book, \n pretending to read until Hanna ushers in the visitor. \n \n HANNA \n Mr. Kay, sir. \n \n WHALE \n (feigning surprise) \n Yes? \n \n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \n weight on one slouched hip, his arms twined behind him."," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," I saw Una O'Conner a few weeks ago. \n She said you'd been under the \n weather. \n \n WHALE \n Oh, nothing out of the ordinary. \n Growing old. \n \n ELSA LANCHESTER \n We're all getting a bit long in the \n tooth. \n \n WHALE \n But you appear quite fresh, my \n dear. \n"," Since our last session. Those old \n snaps look rather dowdy now. \n \n Whale realizes she's mistaken him for someone else. He tugs \n his sunglasses down his nose so she can see his eyes. \n \n PRINCESS MARGARET \n Oh dear. Have I made a blunder? \n \n WHALE \n Ma'am, the pleasure is all mine. James \n Whale. \n"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," INT. WHALE'S HOUSE - BEDROOM - NIGHT \n \n Whale is sitting up n bed when Hanna knocks. She enters \n with a tray loaded with bottles and vials. \n \n HANNA \n You will take them all, Mr. Jimmy? \n \n WHALE \n I'll be fine, Hanna. Thank you. \n \n HANNA \n Good night. \n"," Oh, that monster. How could you be \n working with him? \n \n WHALE \n Don't be silly, Hanna. He's a very \n proper actor. And the dullest \n fellow imaginable. \n \n Minnie flees in a bowlegged jig up the hill. Whale smiles \n again. \n \n INT. HARRY'S BEACHCOMBER - NIGHT \n"," INT. HOUSE - LIVING ROOM - DAY \n \n The shadow is a man with dove white hair, wearing a dress \n shirt and seersucker jacket. This is JAMES WHALE, age 67. \n \n DAVID \n I'd have more peace of mind if the \n live-in nurse were still here. \n \n HANNA \n She was nothing but bother. I not \n like her, Mr. Jimmy not like her."," Whale drifts back to the window, watches as Clay revs up the \n lawnmower, creating a cloud of white smoke. We CUT TO: \n \n EXT. STREETS OF DUDLEY - DAY (1900) \n \n A bean-pole child with flaming red hair (WHALE at age 12) \n stares up at the coal smoke pouring from a seemingly endless \n row of chimneys. We're in Dudley, a factory town in the"," Mr. Whale? \n \n Whale smiles politely to cover his momentary disorientation. \n \n WHALE \n Yes? \n \n KAY \n Your father was a schoolmaster? \n \n WHALE \n Of course. I attended Eton -- it \n wouldn't do for a master's son to \n attend where his father taught. I \n was to go up to Oxford but the war"," Whale stops, turns to Hanna. \n \n WHALE \n Do you miss having someone to talk \n to, Hanna? \n \n HANNA \n I have my family. Also our Lord \n Jesus Christ. \n \n WHALE \n Of course. How is the old boy \n these days? \n \n The naughty remark is met with a solemn stare. Whale"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," earnestly over his script. Thesiger pinches his face over \n the needle he dips in and out of an embroidery ring. \n \n Whale comes on the set with Elsa on his arm. She walks \n regally beside him, the train of her long white robe thrown \n over one arm. There's a wolf whistle from overhead, and \n applause, causing Elsa to curtsy to her admirers. Thesiger"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"],[" This and that. The only ones you \n maybe have heard of are the \n \"Frankenstein\" pictures. \n \n CLAY \n Really? \n \n Clay sits up, surprised, skeptical and impressed all at \n once. \n \n CLAY \n \"Frankenstein\" and \"Bride of\" and \n \"Son of\" and all the rest? \n \n WHALE"," WHALE \n Twenty-one. The romantic comedies \n and dramas were much more to my \n liking. The horror pictures were \n trifles. Grand guignol for the \n masses. \n \n KAY \n But it's the horror movies you'll \n be remembered for. \n \n An abrupt look of anger flashes across Whale's face. \n \n WHALE"," WHALE \n Certainly, Mr. Kay. Is there \n anything in particular you want to \n know? \n \n KAY \n Will you tell me everything you \n remember about making \n \"Frankenstein\"? \n \n He glances down at his few remaining articles of clothing. \n \n KAY \n Can that count as one question? \n \n WHALE \n Of course. \n"," This is Mr. James Whale, who made \n \"Frankenstein\" and \"Bride of \n Frankenstein.\" and this is the \n Monster and his Bride. \n \n Clay looks up when he hears Kay identify Karloff. \n \n PHOTOGRAPHER \n Oh, Karloff. Right. \n \n Karloff and Elsa drift into position next to Whale. The"," WHALE \n One likes to live simply. \n \n KAY \n I know. People's movies aren't \n their lives. \n \n He suddenly growls out an imitation of Boris Karloff. \n \n KAY \n Love dead. Hate living. \n \n Kay laughs, a high, girlish giggle. Whale fights a cringe \n with a polite smile. \n \n KAY"," a voice announces: \"Tonight, Boris Karloff in 'The Bride of \n Frankenstein.'\" The titles come on. Ending with the phrase \n \"Directed by\", which floats over a white blob. The blob \n jumps forward to form letters: \"James Whale.\" \n \n CLAY \n Right there. What did I tell you? \n James Whale. \n \n The movie starts. The Monster being roasted alive in the"," 1936. \"Interview With a Passing Whale.\" There is a picture \n of Whale, captioned \"Famous British Director.\" A LIBRARIAN \n approaches with more leatherbound books. \n \n LIBRARIAN \n Here are the trade newspapers you \n wanted. \n \n Clay takes the books, opens one. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n"," ELSA LANCHESTER and BORIS KARLOFF sit side by side in \n dentist chairs, cloths around their necks, heads tilted \n back. JACK PIERCE, the makeup artist, is patting the hair \n drawn over a cage on Elsa's head. He looks up, sees Whale, \n and breaks into a conspiratorial grin. Elsa's eyes are \n closed; she hasn't heard whale enter. \n"," matter of time until Hollywood \n beckoned. \n \n KAY \n How much longer before we get to \n \"Frankenstein\"? \n \n WHALE \n Am I correct in assuming, Mr. Kay, \n that it's not me you're interested \n in, only my horror pictures? \n \n KAY \n Oh no, I want to hear everything. \n You made twenty pictures in all -- \n"," flash goes off, a snap and a crunch of light. Whale cringes \n in pain. \n \n ELSA LANCHESTER \n (through clenched teeth) \n Don't you just love being famous? \n \n Another flash. From Whale's perspective, the bulb resembles \n nothing so much as the translucent tube of electrical \n current from Dr. Frankenstein's laboratory. Whale"," snaps her head left, right, up, down, startled by the sight \n of herself, electrocuted into frightened, spastic jerks. \n \n ELSA LANCHESTER \n Oh, James. \n \n As Whale observes his star we see her spasms through his \n eyes -- as a series of dissonant, line-jumping close-ups. \n \n ELSA LANCHESTER \n And you said there'd be some of me"," CLAY \n \"Bride of Frankenstein.\" \n \n WHALE \n Hmmm. I much prefer \"Show Boat\" or \n \"The Invisible Man.\" Shall we \n begin? \n \n Clay takes a swig of beer and sets the glass on the floor. \n \n CLAY \n Ready when you are. \n \n Whale stares at Clay. \n \n WHALE"," directors. I can't believe I'm \n meeting you. \n \n WHALE \n (gently, teasing) \n No. I expect you can't. \n \n KAY \n And this is your house. Wow. The \n house of Frankenstein. \n (looks around) \n I thought you'd live in a spooky \n old mansion or villa. \n"," That's my favorite line in my \n favorite movie of yours. \"Bride of \n Frankenstein.\" \n \n WHALE \n Is it now? Hanna? I think we'll \n take our tea down by the swimming \n pool. \n \n It's clear from Hanna's frown that she doesn't approve of \n the idea. Whale ignores her, turns back to Kay. \n \n WHALE"," WHALE \n Good morning. And a very good \n morning to you. \n \n Elsa's eyes snap open. There are no mirrors on the walls. \n \n ELSA LANCHESTER \n Uh-oh. The way you look at me, \n James. What have you done this \n time? \n \n WHALE \n Bring a mirror. Let the Bride"," concentrates on his smile as another snap of light stabs his \n brain. He clutches Elsa Lanchester's hand. \n \n ELSA LANCHESTER \n Are you all right, Jimmy? \n \n A sharp nod from Whale. The photographer motions to \n Karloff's niece. \n \n PHOTOGRAPHER \n Let me get one with Frankenstein \n holding the kid. \n"," Hello, George. James Whale. David \n Lewis's friend. I once made \n pictures myself, Ma'am. \n \n GEORGE CUKOR \n Yes. Of course. One can't throw a \n rock in this town without hitting \n one of us old movie directors. \n \n Whale feels the sting. He turns to Clay. \n \n WHALE"," pool. \n \n KAY \n I love the great horror films. And \n yours are the best. \"The Old Dark \n House.\" \"The Invisible Man.\" They \n look great and have style. And \n funny! \n \n Whale points to a small shingled house near the pool. \n \n WHALE \n This is the studio where I paint. \n \n KAY \n Nice."," through. I never swim myself, so \n the pool tends to go to waste. \n \n KAY \n Okay. \"Frankenstein.\" Tell me \n everything. \n \n WHALE \n Righto. Let me see. \n \n Whale swallows a wince, trying to block the pain pushing \n against his skull. \n \n WHALE \n Universal wanted me for another"," Frankenstein.\" Whale sits in a massive chair, straining \n against thick iron chains, as a lightning storm rages \n outside. In the distance, heavy footsteps, coming closer, \n until the cell door is filled with the silhouette of the \n Monster. Whale hardly dares to breathe as the Monster rips \n off the door and enters the cell. \n \n The Monster steps into the light, allowing us to see his"],[" Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," WHALE \n Scout's honor. \n \n Clay smiles. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale and Boone are back in their familiar positions. An \n empty glass of beer sits on the floor next to Clay. \n \n WHALE \n I'm curious, Mr. Boone. What \n convinced you to come back? \n \n CLAY"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale comes forward as Clay enters, offering a hand at the \n end of a spindly wrist. \n \n WHALE \n How are you, Mr. Boone? So glad \n you are free for lunch. \n \n CLAY \n All right, I guess. \n \n WHALE \n I assume you worked up an appetite"," Whale nods, sensing that he's touched a sore spot. \n \n WHALE \n And the fear you showed at our last \n session? How did you overcome \n that? \n \n CLAY \n Not fear. More like disgust. \n \n WHALE \n Same difference, Mr. Boone. \n Disgust, fear of the unknown -- all \n part of the great gulf that stands"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," (smiles at Clay) \n Please, Mr. Boone. Help yourself. \n \n CLAY \n What did she mean by going flooey? \n \n WHALE \n I returned recently from a stay in \n hospital. \n \n CLAY \n What was wrong? \n \n WHALE \n Nothing serious. A touch of \n stroke. \n"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," and trusted me. \n \n Whale reaches over and lays his arm across Barnett's \n shoulder. Barnett smiles timidly at him. We CUT TO: \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale leans forward, completely disoriented. His eyes fix \n on Clay, the white eyebrows screwed down, until he is able \n to recognize the face. \n \n WHALE"," Don't do this to me again, Mr. \n Boone. I absolutely refuse. \n \n Whale stands, his legs shaky. \n \n WHALE \n You will not set me on another walk \n down memory lane. Not this lane. \n Not today. \n \n CLAY \n I didn't -- \n \n WHALE \n Why do I tell you this? I never"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," Whale offers a melancholy smile. \n \n WHALE \n I think I'll just rest for a \n moment. \n \n The man shrugs, disappears into the shadows. We move \n across the room and through the door... \n \n EXT. WHALE'S HOUSE - NIGHT \n \n Whale sits in a director's chair, a martini in one hand, a \n cigar in the other, a harmless old uncle watching young men"],[" INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," Hanna sets the tray down. \n \n WHALE \n Very good, Hanna. Now goodbye. \n \n She goes toward the door, wrinkling her forehead at Clay. \n The screen door bangs shut. \n \n WHALE \n I'm sure you'd like something to \n wet your whistle while I work. \n \n Whale opens a bottle of beer, pours it into a glass, hands"," chasing after boys. \n \n WHALE \n Oh shut up. All we did was talk. \n My attack had nothing to do with \n him. \n \n HANNA \n Perhaps we should get you uphill \n before the pills knock you cold. \n \n WHALE \n No. Let me lie here. Thank you. \n \n Hanna nods, moves to the door. Whale closes his eyes,"," long, final look, then drops it in the box. \n \n WHALE \n You can toss this one in the trash. \n \n Hanna clamps the lid on the box. \n \n INT. WHALE'S HOUSE - FOYER - DAY \n \n Hanna has opened the door. At the end of the hall, \n silhouetted against the bright afternoon sky, is Clay. His \n shoulders fill the doorway. The top of his head is"," Whale eats lunch off a TV tray. His attention remains \n focused on \"Queen for a Day\" as Hanna clomps into the room \n behind him. \n \n WHALE \n Who was that at the door? \n \n HANNA \n A visitor. \n \n Whale turns. His face registers surprise when he sees Clay. \n \n WHALE \n Thank you, Hanna. That will be \n all."," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," Hanna retreats toward the kitchen. Clay steps tentatively \n into the room. \n \n WHALE \n Mr. Boone. You're not due to cut \n the lawn until Wednesday. \n \n CLAY \n I'd like to sit for you again. But \n only if you ease up on the locker \n room talk. Okay? \n \n Whale holds up two fingers, affects an American accent. \n"," HANNA \n Oh no, Mr. Jimmy. \n \n Hanna kneels next to the body. She makes a Sign on the \n Cross, launches into a frantic \"Hail Mary.\" We CUT TO: \n \n INT. WHALE'S HOUSE - BEDROOM - NIGHT \n \n Whale snorts at the imagined scene. One by one, he returns \n the capsules to their bottle, until a single pill remains."," reaches up, chooses a lightweight blue suit. \n \n WHALE \n It needs a hat. There was a \n wide-brimmed cream fedora... \n \n HANNA \n It must be up in your old room. I \n will look. \n \n The phone rings. Hanna hurries to answer it. \n \n INT. WHALE'S HOUSE - MAIN HALL - DAY \n"," Whale opens his eyes groggily. He scans the room in panic, \n clearly unable to get his bearings. \n \n Whale tries to stand but his legs give way beneath him. \n \n INT. WHALE'S HOUSE - BATHROOM - DAY (LATER) \n \n Whale and Hanna stare straight out as she reaches down and \n unbuttons the tiny buttons on his pajama fly. Whale \n supports himself with one hand on Hanna's shoulder as he"," relieves himself with the other. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \n \n Whale sits up in bed, staring dumbly at the morning paper. \n Hanna reaches in to take away the breakfast tray. \n \n WHALE \n Does the yardman come today? \n \n HANNA \n Of course. This afternoon. \n \n A thin smile forms on Whale's face. \n"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," off his T-shirt, revealing a tattoo on his upper right \n forearm. \n \n WHALE \n Hanna? Who's the new yardman? \n \n HANNA \n Bone? Boom? Something Bee. I \n hire him while you were in the \n hospital. He came cheap. \n \n Whale nods, chooses a walking stick. He emerges into the \n sunlight. \n"," EXT. WHALE'S HOUSE - DAY \n \n Hanna runs down the path, clutching the front of her apron \n in two tight fists. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Hanna swings open the screen door -- and grimaces when she \n sees Kay in his BVDs. He is kneeling next to Whale, who is \n stretched out on the daybed. \n \n HANNA"," Oh, that monster. How could you be \n working with him? \n \n WHALE \n Don't be silly, Hanna. He's a very \n proper actor. And the dullest \n fellow imaginable. \n \n Minnie flees in a bowlegged jig up the hill. Whale smiles \n again. \n \n INT. HARRY'S BEACHCOMBER - NIGHT \n"," BARNETT \n Don't mind me, Lieutenant. Save \n yourself. \n \n Whale slips the mask over Barnett's face, fastens it. He \n slides his own mask into position moments before the trench \n is obliterated by the yellowish smoke. We CUT TO: \n \n INT. WHALE'S HOUSE - MASTER BEDROOM - DAY \n \n Hanna stands in the door with a forlorn frown. \n"," Whale takes the pills, one by one, until he comes to the \n bottle of Luminal. He opens the pheno bottle to shake out a \n capsule and a dozen spill into his palm. He stares at them. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Hanna opens the door, gasps when she sees Whale lying \n motionless on the bed. She spots the empty bottle of \n Luminal. \n"," eyes. \n \n WHALE \n Jimmy. Please. Call me Jimmy. \n \n Clay smiles, starts to back the car out. \n \n INT. WHALE'S HOUSE - FOYER - DUSK \n \n The hallway is pitch-dark as Whale and Clay enter. \n \n WHALE \n Hanna! Bring us some towels. \n We're drenched to the bone! \n \n No response. \n"," Hanna speaks softly in Hungarian. Whale points upstairs to \n let her know he will look for the hat himself. \n \n INT. WHALE'S HOUSE - MASTER BEDROOM - DAY \n \n Whale opens the closet door and takes down a stack of \n hatboxes from the overhead shelf. He opens the first box, \n takes out a rubbery wad of heavy fabric with two round \n windows like eyes. It's a gas mask. We CUT TO: \n"],[" This is Mr. James Whale, who made \n \"Frankenstein\" and \"Bride of \n Frankenstein.\" and this is the \n Monster and his Bride. \n \n Clay looks up when he hears Kay identify Karloff. \n \n PHOTOGRAPHER \n Oh, Karloff. Right. \n \n Karloff and Elsa drift into position next to Whale. The"," a voice announces: \"Tonight, Boris Karloff in 'The Bride of \n Frankenstein.'\" The titles come on. Ending with the phrase \n \"Directed by\", which floats over a white blob. The blob \n jumps forward to form letters: \"James Whale.\" \n \n CLAY \n Right there. What did I tell you? \n James Whale. \n \n The movie starts. The Monster being roasted alive in the"," This and that. The only ones you \n maybe have heard of are the \n \"Frankenstein\" pictures. \n \n CLAY \n Really? \n \n Clay sits up, surprised, skeptical and impressed all at \n once. \n \n CLAY \n \"Frankenstein\" and \"Bride of\" and \n \"Son of\" and all the rest? \n \n WHALE"," I don't remember that one. \n \n CLAY \n James Whale. This afternoon at the \n party. \n \n Whale looks up. \n \n CLAY \n I said it must be weird seeing your \n monsters again, and you said, \"The \n only monsters are here.\" I was \n wondering which here you meant. \n \n WHALE"," matter of time until Hollywood \n beckoned. \n \n KAY \n How much longer before we get to \n \"Frankenstein\"? \n \n WHALE \n Am I correct in assuming, Mr. Kay, \n that it's not me you're interested \n in, only my horror pictures? \n \n KAY \n Oh no, I want to hear everything. \n You made twenty pictures in all -- \n"," WHALE \n Twenty-one. The romantic comedies \n and dramas were much more to my \n liking. The horror pictures were \n trifles. Grand guignol for the \n masses. \n \n KAY \n But it's the horror movies you'll \n be remembered for. \n \n An abrupt look of anger flashes across Whale's face. \n \n WHALE"," Hello, George. James Whale. David \n Lewis's friend. I once made \n pictures myself, Ma'am. \n \n GEORGE CUKOR \n Yes. Of course. One can't throw a \n rock in this town without hitting \n one of us old movie directors. \n \n Whale feels the sting. He turns to Clay. \n \n WHALE"," WHALE \n Certainly, Mr. Kay. Is there \n anything in particular you want to \n know? \n \n KAY \n Will you tell me everything you \n remember about making \n \"Frankenstein\"? \n \n He glances down at his few remaining articles of clothing. \n \n KAY \n Can that count as one question? \n \n WHALE \n Of course. \n"," snaps her head left, right, up, down, startled by the sight \n of herself, electrocuted into frightened, spastic jerks. \n \n ELSA LANCHESTER \n Oh, James. \n \n As Whale observes his star we see her spasms through his \n eyes -- as a series of dissonant, line-jumping close-ups. \n \n ELSA LANCHESTER \n And you said there'd be some of me"," flash goes off, a snap and a crunch of light. Whale cringes \n in pain. \n \n ELSA LANCHESTER \n (through clenched teeth) \n Don't you just love being famous? \n \n Another flash. From Whale's perspective, the bulb resembles \n nothing so much as the translucent tube of electrical \n current from Dr. Frankenstein's laboratory. Whale"," WHALE \n One likes to live simply. \n \n KAY \n I know. People's movies aren't \n their lives. \n \n He suddenly growls out an imitation of Boris Karloff. \n \n KAY \n Love dead. Hate living. \n \n Kay laughs, a high, girlish giggle. Whale fights a cringe \n with a polite smile. \n \n KAY"," CLAY \n \"Bride of Frankenstein.\" \n \n WHALE \n Hmmm. I much prefer \"Show Boat\" or \n \"The Invisible Man.\" Shall we \n begin? \n \n Clay takes a swig of beer and sets the glass on the floor. \n \n CLAY \n Ready when you are. \n \n Whale stares at Clay. \n \n WHALE"," Since our last session. Those old \n snaps look rather dowdy now. \n \n Whale realizes she's mistaken him for someone else. He tugs \n his sunglasses down his nose so she can see his eyes. \n \n PRINCESS MARGARET \n Oh dear. Have I made a blunder? \n \n WHALE \n Ma'am, the pleasure is all mine. James \n Whale. \n"," ELSA LANCHESTER and BORIS KARLOFF sit side by side in \n dentist chairs, cloths around their necks, heads tilted \n back. JACK PIERCE, the makeup artist, is patting the hair \n drawn over a cage on Elsa's head. He looks up, sees Whale, \n and breaks into a conspiratorial grin. Elsa's eyes are \n closed; she hasn't heard whale enter. \n"," Frankenstein.\" Whale sits in a massive chair, straining \n against thick iron chains, as a lightning storm rages \n outside. In the distance, heavy footsteps, coming closer, \n until the cell door is filled with the silhouette of the \n Monster. Whale hardly dares to breathe as the Monster rips \n off the door and enters the cell. \n \n The Monster steps into the light, allowing us to see his"," BORIS KARLOFF \n Perfectly charming. A real lady. \n \n ELSA LANCHESTER \n Of course she's a lady. What did \n you expect? A hussy in tennis \n shoes? \n \n Whale looks up and discovers Clay standing a few feet behind \n Karloff. He is ogling two bosomy actresses who are \n listening intently to the monocled British consul. \n"," concentrates on his smile as another snap of light stabs his \n brain. He clutches Elsa Lanchester's hand. \n \n ELSA LANCHESTER \n Are you all right, Jimmy? \n \n A sharp nod from Whale. The photographer motions to \n Karloff's niece. \n \n PHOTOGRAPHER \n Let me get one with Frankenstein \n holding the kid. \n"," 1936. \"Interview With a Passing Whale.\" There is a picture \n of Whale, captioned \"Famous British Director.\" A LIBRARIAN \n approaches with more leatherbound books. \n \n LIBRARIAN \n Here are the trade newspapers you \n wanted. \n \n Clay takes the books, opens one. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n"," Whale glances up -- the kite is gone. Thunder rumbles as \n the group starts to disperse. Whale nods to the faces \n exchanging good-byes. \n \n BORIS KARLOFF \n So good to see you again, James. \n \n He strolls off, clucking and cooing at his baby. \n \n KAY \n Catch you before you go, Mr. Whale."," chair. He is stumbling to his feet when Kay returns with \n Elsa Lanchester, 55, at his side. \n \n ELSA LANCHESTER \n Jimmy. How are you? \n \n WHALE \n Elsa? \n \n She takes Whale's hand, with a look of deep concern and \n sympathy. Kay races off again. \n \n ELSA LANCHESTER"],[" CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," A FIST \n \n which smashes against sheet metal. \n \n INT. CLAY'S TRAILER - DAY \n \n Clay Boone's eyes dart open. \n \n DWIGHT (O.S.) \n Boone! You awake? Eight o'clock. \n \n CLAY \n Fuck off! \n \n DWIGHT (O.S.) \n You told me to get you up, asshole. \n"," CLAY \n Isn't it enough you told me you're \n a fairy? Do you have to rub my \n nose in it? \n \n WHALE \n I assure you, Mr. Boone, I meant \n no -- \n \n CLAY \n From now on, Mr. Whale, I cut your \n grass and that's it. Understand? \n"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," makeshift village for beach bums. \n \n INT. TRAILER - DAY \n \n CLAYTON BOONE opens his eyes. He is 26, handsome in a \n rough-hewn, Chet Baker-like way, with broad shoulders and a \n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \n lights a bent cigarette. \n \n Clay stands and walks bare-assed across the single tin room,"," DWIGHT \n Damn but it's getting drunk in \n here. Late too. The bride of \n Dwight is going to bite my head \n off. \n \n He tilts toward the door. \n \n DWIGHT \n You coming, Boone? \n \n CLAY \n I think I'll hang around. \n \n HARRY"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," Clay nods, chugs his tea. When he lowers the glass, he \n finds the old man watching him. \n \n WHALE \n You must excuse me for staring, Mr. \n Boone. But you have a marvelous \n head. \n \n CLAY \n Huh? \n \n WHALE \n To an artistic eye, you understand. \n Have you ever modeled? \n \n CLAY"," comfort me. \n \n On the tv screen, the old man starts to cry, then collapses \n onto the Monster's chest. A thick tear rolls down the \n Monster's cheek. \n \n Clay Boone sits on the sofa, a baby on his lap. He's 40 \n now, his hair starting to thin but still closely cropped at \n the top and sides. \n \n On the tv, daylight fills the hut. The blind man and the"," (smiles at Clay) \n Please, Mr. Boone. Help yourself. \n \n CLAY \n What did she mean by going flooey? \n \n WHALE \n I returned recently from a stay in \n hospital. \n \n CLAY \n What was wrong? \n \n WHALE \n Nothing serious. A touch of \n stroke. \n"," perfectly flat. \n \n WHALE \n Good afternoon, Clayton. \n \n CLAY \n Do I look okay? \n \n Clay steps into the light. His khaki pants are clean and \n pressed. A blue knit shirt fits his muscles snugly. \n \n WHALE \n You look splendid, my boy. Quite \n splendid. \n"," story indeed. \n \n Whale lifts his glass in a toast. Clay empties his glass of \n beer. He motions toward the decanter. \n \n CLAY \n Do you mind? \n \n WHALE \n Not at all. \n \n He hands the decanter to Clay. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Clay sits in a straight-backed chair, smoking a cigarette"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"],[" The only memento I ever kept. My \n original sketch for the Monster. \n \n He hands the sketch to Clay, who stares down at the famous \n flat head, hooded eyes, bolted neck of the Monster. \n \n WHALE \n Shall we? \n \n Clay puts down the sketch, starts into the hall. Whale \n turns back, sees Barnett standing by the window. Whale \n flips off the light and closes the door."," This is Mr. James Whale, who made \n \"Frankenstein\" and \"Bride of \n Frankenstein.\" and this is the \n Monster and his Bride. \n \n Clay looks up when he hears Kay identify Karloff. \n \n PHOTOGRAPHER \n Oh, Karloff. Right. \n \n Karloff and Elsa drift into position next to Whale. The"," a voice announces: \"Tonight, Boris Karloff in 'The Bride of \n Frankenstein.'\" The titles come on. Ending with the phrase \n \"Directed by\", which floats over a white blob. The blob \n jumps forward to form letters: \"James Whale.\" \n \n CLAY \n Right there. What did I tell you? \n James Whale. \n \n The movie starts. The Monster being roasted alive in the"," the floor next to the chair. He picks it up. On the front \n is scrawled the word 'CLAYTON'. Clay opens the envelope. \n Inside is Whale's original sketch of the Monster's head. He \n turns it over. There is a message written on the back. \n \n CLAY \n No. \n \n Clay drops the sketch, looks out. He sees something. \n"," CLAY \n \"Bride of Frankenstein.\" \n \n WHALE \n Hmmm. I much prefer \"Show Boat\" or \n \"The Invisible Man.\" Shall we \n begin? \n \n Clay takes a swig of beer and sets the glass on the floor. \n \n CLAY \n Ready when you are. \n \n Whale stares at Clay. \n \n WHALE"," ELSA LANCHESTER and BORIS KARLOFF sit side by side in \n dentist chairs, cloths around their necks, heads tilted \n back. JACK PIERCE, the makeup artist, is patting the hair \n drawn over a cage on Elsa's head. He looks up, sees Whale, \n and breaks into a conspiratorial grin. Elsa's eyes are \n closed; she hasn't heard whale enter. \n"," The Monster growls out an inarticulate greeting. He picks \n up the box and hands it to Whale. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Whale removes the lid, sets the hatbox on the sofa. \n \n WHALE \n I would like you to wear this? \n \n Whale steps back. Clay takes the box and covers his lap \n with it. He lifts out the gas mask."," This and that. The only ones you \n maybe have heard of are the \n \"Frankenstein\" pictures. \n \n CLAY \n Really? \n \n Clay sits up, surprised, skeptical and impressed all at \n once. \n \n CLAY \n \"Frankenstein\" and \"Bride of\" and \n \"Son of\" and all the rest? \n \n WHALE"," until they reach the next set: \n \n EXT. COUNTRYSIDE - NIGHT \n \n Clay carries Whale past a painted backdrop of a stormy \n English countryside. \n \n INT. FRANKENSTEIN'S LAB - NIGHT \n \n Whale lies on the Bride's table. Clay pulls on a doctor's \n smock, picks up a scalpel from a table covered with various \n medical instruments. he carves a thin circle around the top"," BORIS KARLOFF \n Perfectly charming. A real lady. \n \n ELSA LANCHESTER \n Of course she's a lady. What did \n you expect? A hussy in tennis \n shoes? \n \n Whale looks up and discovers Clay standing a few feet behind \n Karloff. He is ogling two bosomy actresses who are \n listening intently to the monocled British consul. \n"," WHALE \n One likes to live simply. \n \n KAY \n I know. People's movies aren't \n their lives. \n \n He suddenly growls out an imitation of Boris Karloff. \n \n KAY \n Love dead. Hate living. \n \n Kay laughs, a high, girlish giggle. Whale fights a cringe \n with a polite smile. \n \n KAY"," concentrates on his smile as another snap of light stabs his \n brain. He clutches Elsa Lanchester's hand. \n \n ELSA LANCHESTER \n Are you all right, Jimmy? \n \n A sharp nod from Whale. The photographer motions to \n Karloff's niece. \n \n PHOTOGRAPHER \n Let me get one with Frankenstein \n holding the kid. \n"," 1936. \"Interview With a Passing Whale.\" There is a picture \n of Whale, captioned \"Famous British Director.\" A LIBRARIAN \n approaches with more leatherbound books. \n \n LIBRARIAN \n Here are the trade newspapers you \n wanted. \n \n Clay takes the books, opens one. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n"," WHALE \n Certainly, Mr. Kay. Is there \n anything in particular you want to \n know? \n \n KAY \n Will you tell me everything you \n remember about making \n \"Frankenstein\"? \n \n He glances down at his few remaining articles of clothing. \n \n KAY \n Can that count as one question? \n \n WHALE \n Of course. \n"," and sipping his Scotch. Whale sketches from a wing chair \n across the room. \n \n CLAY \n Storm's getting worse. \n \n WHALE \n \"A perfect night for mystery and \n horror. The air itself is filled \n with monsters.\" \n \n CLAY \n That's from your movie, right? \n \"The only monsters are here.\" \n \n WHALE"," I don't remember that one. \n \n CLAY \n James Whale. This afternoon at the \n party. \n \n Whale looks up. \n \n CLAY \n I said it must be weird seeing your \n monsters again, and you said, \"The \n only monsters are here.\" I was \n wondering which here you meant. \n \n WHALE"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," snaps her head left, right, up, down, startled by the sight \n of herself, electrocuted into frightened, spastic jerks. \n \n ELSA LANCHESTER \n Oh, James. \n \n As Whale observes his star we see her spasms through his \n eyes -- as a series of dissonant, line-jumping close-ups. \n \n ELSA LANCHESTER \n And you said there'd be some of me"," and trusted me. \n \n Whale reaches over and lays his arm across Barnett's \n shoulder. Barnett smiles timidly at him. We CUT TO: \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale leans forward, completely disoriented. His eyes fix \n on Clay, the white eyebrows screwed down, until he is able \n to recognize the face. \n \n WHALE"," matter of time until Hollywood \n beckoned. \n \n KAY \n How much longer before we get to \n \"Frankenstein\"? \n \n WHALE \n Am I correct in assuming, Mr. Kay, \n that it's not me you're interested \n in, only my horror pictures? \n \n KAY \n Oh no, I want to hear everything. \n You made twenty pictures in all -- \n"],[" things with his life. \n \n BETTY \n Do you realize you're more \n interested in this old goober than \n you ever were in me? \n \n CLAY \n It's different. He's a man. And \n by the way you have no business \n calling him a homo. \n \n BETTY \n It never crossed your mind? \n \n CLAY"," His hands clasp Clay's hips. Clay's fist opens as it comes \n down; he slaps Whale across the face. \n \n WHALE \n That didn't even sting. You're not \n such a real man after all. Are \n you? \n \n Clay whacks Whale's face again. \n \n WHALE \n Wait until I tell my friends I had"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," and his apartment. \n \n CLAY \n You know what? I think you guys \n are all jealous. \n \n BETTY \n (laughs) \n What's to be jealous of? \n \n CLAY \n I've gotten to know someone who's \n famous. \n \n BETTY \n Not so famous any of us have ever \n heard of him. \n"," Does that surprise you? \n \n CLAY \n No, I -- you're a homosexual. \n \n WHALE \n Oh dear. If one must have a \n clinical name. \n \n CLAY \n I'm not, you know. \n \n WHALE \n I never thought you were. \n \n CLAY \n You don't think of me that way, do"," Clay jabs with his elbow, flipping Whale on his back. His \n body straddles Whale's and pins him, face to face. \n \n CLAY \n I'm not that way. Get it through \n your fucking head. I don't want to \n mess with you. \n \n WHALE \n Oh, but you feel good, Clayton. \n"," CLAY \n Well...no, not really -- \n \n HANNA \n You and he are not doing things? \n \n CLAY \n No! \n \n HANNA \n Good. That is what I hope. I did \n not think you a bugger too. I fear \n only that you might hurt him if he \n tries. \n \n CLAY"," Whale leads Clay to a tented bar. Across the way, David \n Lewis has come through the gate with a WOMAN on his arm. \n People look discreetly, not at David but at the woman, \n lightly veiled in a scarf and sunglasses. \n \n CLAY \n Who's that? \n \n WHALE \n David. The friend I thought was in \n New York. \n \n CLAY"," Whale's gaze remains dreamy and preoccupied as SOUNDS of \n battle fill the room. A relentless rat-a-tat of gunfire. \n The whistling of bombs. The tortured wailing of dying men. \n Whale stands, moves over to the window. \n \n WHALE \n Barnett. Barnett on the wire. \n \n CLAY \n Your friend? \n"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," DWIGHT \n Couldn't make it any deader, doll. \n Set me up. \n \n BETTY \n Sure. Your friend want one? \n \n Clay reacts to the silent treatment with a tight smile. \n \n DWIGHT \n Yeah, one for what's-his-name here. \n \n She sets down two bottles of Pabst without looking at Clay. \n \n CLAY"," No. Definitely not. \n \n Clay chuckles. Whale smiles. \n \n WHALE \n Very good, Clayton. \n \n He takes a robe from a hook on the closet door. Clay tries \n it on but it won't close over the towel. \n \n WHALE \n I know. \n \n Whale opens a drawer, takes out a crewneck sweater. \n \n WHALE"," Clay's eyes are filled with pity. \n \n WHALE \n Oh, but we were a witty lot. \n Laughing at our dead. Telling \n ourselves it was our death too. \n But with each man who died, I \n thought, \"Better you than me, poor \n sod.\" \n (bitterly) \n A whole generation was wiped out by \n that war. Millions and millions of"," Clay suddenly laughs. Whale's smile deepens. \n \n WHALE \n So we understand each other? \n \n CLAY \n What you do is no business of mine. \n Live and let live, I say. \n \n WHALE \n I hope this has nothing to do with \n your refusing to sit for me today? \n \n CLAY \n No. I -- \n"," HARRY \n She took the night off. Heavy \n date. Some guy she's had her eye \n on for a while. \n \n Harry smiles pointedly at Clay, hands him the beer. \n \n CLAY \n Thanks a lot, pal. \n \n Clay turns his back on the bar. He sees Dwight moving \n through the crowd. \n \n CLAY \n Dwight! \n"," I don't believe this. \n \n He slides a note to Clay. \n \n WHALE \n It's not like her. \n \n CLAY \n (reading) \n Just a night out. Sounds like she \n can't say no to her daughter. \n \n WHALE \n Certainly you have better things to \n do than babysit an old man? \n \n CLAY"," I made only the first two. The \n others were done by hacks. \n \n CLAY \n Still. You must be rich. Making a \n couple of famous movies like those. \n \n WHALE \n Merely comfortable. Here's Hanna \n with our refreshments. Can you get \n the door? \n \n Clay jumps up to open the screen door. Hanna walks past,"," Hanna nods, steals a glance at Clay as she leaves. \n \n CLAY \n Saw your movie the other night. \n Watched it with some friends. \n \n WHALE \n Did you now? \n \n CLAY \n I liked it. We all did. \n \n WHALE \n Did anyone laugh? \n \n CLAY \n (covering) \n No. \n"," him back. \n \n They both hesitate, looking down at Whale. Then Clay drags \n the body parallel with the pool. Hanna stoops over to \n adjust the collar of Whale's shirt. \n \n HANNA \n Poor Mr. Jimmy. We do not mean \n disrespect. You will keep better \n in water. \n \n She nods to Clay. He rolls the body over and it splashes on"],[" things with his life. \n \n BETTY \n Do you realize you're more \n interested in this old goober than \n you ever were in me? \n \n CLAY \n It's different. He's a man. And \n by the way you have no business \n calling him a homo. \n \n BETTY \n It never crossed your mind? \n \n CLAY"," Whale presses his lips to Clay's tattoo. Clay's muscles \n tense from head to toe. \n \n WHALE \n What a solid brute you are. \n \n Whale's tongue moves down Clay's arm. \n \n WHALE \n No? Maybe this, then? \n \n The hand slides over Clay's stomach toward his lap. The \n tattooed arm swings backward, slamming an elbow against"," didn't want me self-conscious. \n \n Whale steps forward. \n \n WHALE \n Perhaps if we open the shirt and \n pull -- \n \n Whale's hands to in. Clay's flesh tightens; he shrinks \n back. The hands stop, palms raised. \n \n WHALE \n Oh dear. I <u>have</u> made you \n nervous. \n \n CLAY"," Clay jabs with his elbow, flipping Whale on his back. His \n body straddles Whale's and pins him, face to face. \n \n CLAY \n I'm not that way. Get it through \n your fucking head. I don't want to \n mess with you. \n \n WHALE \n Oh, but you feel good, Clayton. \n"," CLAY \n Well...no, not really -- \n \n HANNA \n You and he are not doing things? \n \n CLAY \n No! \n \n HANNA \n Good. That is what I hope. I did \n not think you a bugger too. I fear \n only that you might hurt him if he \n tries. \n \n CLAY"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," story indeed. \n \n Whale lifts his glass in a toast. Clay empties his glass of \n beer. He motions toward the decanter. \n \n CLAY \n Do you mind? \n \n WHALE \n Not at all. \n \n He hands the decanter to Clay. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Clay sits in a straight-backed chair, smoking a cigarette"," bashful. No, this room was once \n filled with bare buttocks. And \n pricks. Hard, arrogant pricks -- \n \n CLAY \n Cut it out! \n \n Clay explodes out of his chair, knocking over a small side \n table. \n \n CLAY \n Fuck it. I can't do this anymore. \n \n He looms over Whale, whose breathing starts to quicken. \n"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," is standing at the end of the bar, eyeing Clay. He lifts \n his glass and she responds with an open smile. \n \n EXT. CLAY'S TRAILER - NIGHT \n \n Clay and the woman go at it, their shadows visible through \n the glass louvers. \n \n INT. CLAY'S TRAILER - BATHROOM - DAY \n \n Clay tugs on a cord and the harsh overhead fluorescent"," No. Definitely not. \n \n Clay chuckles. Whale smiles. \n \n WHALE \n Very good, Clayton. \n \n He takes a robe from a hook on the closet door. Clay tries \n it on but it won't close over the towel. \n \n WHALE \n I know. \n \n Whale opens a drawer, takes out a crewneck sweater. \n \n WHALE"," So you don't want to fuck. That's \n what you're telling me? \n \n BETTY \n Is that all this conversation means \n to you? Am I going to put out or \n not? \n \n CLAY \n Damn straight. I'm sick of playing \n games. \n \n Betty quickly gets into the car. before she can pull the"," don't have to worry about a suit. \n \n Clay glances warily at Whale. \n \n CLAY \n No thanks. I got another job to \n get to this afternoon. \n \n Whale holds Clay's look. \n \n WHALE \n Some other time, perhaps? Keep up \n the fine work. \n \n Whale heads off, smiling to himself. Pleased to be naughty \n again."," breath. \n \n HANNA \n Ohhh! \n \n Hanna comes down the path, her run slowing to a walk. She \n stares at Clay. \n \n CLAY \n I didn't do it. This wasn't me. \n \n HANNA \n Oh, Mr. Jimmy. \n \n CLAY \n He wanted me to kill him, but I"," Clay glares at her, his jaw working forward in anger. \n \n CLAY \n I like my life. I'm a free man. \n \n BETTY \n Sure you're free, for now at least. \n But how long before you're just \n alone? Pathetic and alone. \n \n Clay's anger jumps from his jaw into his shoulders and arms. \n He grabs the door handle. \n \n CLAY"," and wild eyes lying beneath him. \n \n WHALE \n Break my neck. Or strangle me. It \n would be oh so easy to wrap your \n hands around my neck and choke the \n life out of me. Please, Clayton. \n We've come this far. \n \n CLAY \n You're crazy. \n \n Whale's eyes glimmer in the sporadic bursts of lightning. \n"," Whale is suddenly behind him. Clay's vision is enclosed in \n two round windows, so he can't see Whale buckling the second \n strap. \n \n CLAY \n Now what? \n \n Mouth muffled by the inhalator, Clay hears his voice from \n inside his head. Whale comes around to stand in front of \n him. He grins as he steps back to examine Clay. Clay \n nervously taps his knees with his hands."," you naked in my arms. Won't they \n be surprised? \n \n CLAY \n I haven't done a damn thing with \n you! \n \n WHALE \n Oh, but you have. You undressed \n for me. I kissed you. I even \n touched your prick. How will you \n be able to live with yourself? \n"," What? \n \n WHALE \n I've spent most of my life \n outrunning my past. Now it's \n flooding all over me. \n \n Clay stares out blankly. \n \n WHALE \n There's something about the \n openness of your face that makes me \n want to speak the truth. Yes, my \n family ate dripping. Beef dripping"," Before Whale can respond Clay storms out, nearly ripping the \n screen door off its hinges. Whale sits on the daybed, takes \n a few quick breaths. Suddenly the air is filled with the \n sounds of people cavorting in the pool. \n \n Whale looks up, sees a young man standing outside the screen \n door. It is now dark outside. \n \n YOUNG MAN \n Come on, Jimmy. Watch me dive. \n"],[" didn't want me self-conscious. \n \n Whale steps forward. \n \n WHALE \n Perhaps if we open the shirt and \n pull -- \n \n Whale's hands to in. Clay's flesh tightens; he shrinks \n back. The hands stop, palms raised. \n \n WHALE \n Oh dear. I <u>have</u> made you \n nervous. \n \n CLAY"," things with his life. \n \n BETTY \n Do you realize you're more \n interested in this old goober than \n you ever were in me? \n \n CLAY \n It's different. He's a man. And \n by the way you have no business \n calling him a homo. \n \n BETTY \n It never crossed your mind? \n \n CLAY"," Clay jabs with his elbow, flipping Whale on his back. His \n body straddles Whale's and pins him, face to face. \n \n CLAY \n I'm not that way. Get it through \n your fucking head. I don't want to \n mess with you. \n \n WHALE \n Oh, but you feel good, Clayton. \n"," Does that surprise you? \n \n CLAY \n No, I -- you're a homosexual. \n \n WHALE \n Oh dear. If one must have a \n clinical name. \n \n CLAY \n I'm not, you know. \n \n WHALE \n I never thought you were. \n \n CLAY \n You don't think of me that way, do"," His hands clasp Clay's hips. Clay's fist opens as it comes \n down; he slaps Whale across the face. \n \n WHALE \n That didn't even sting. You're not \n such a real man after all. Are \n you? \n \n Clay whacks Whale's face again. \n \n WHALE \n Wait until I tell my friends I had"," CLAY \n You okay? \n \n Whale gazes up at Clay. \n \n WHALE \n Tired. A bit tired. \n \n Clay nods. Whale smiles at him. \n \n WHALE \n Are you enjoying yourself? \n \n CLAY \n Actually, no. I feel a little out \n of place. \n \n WHALE"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," snapping at you. \n \n CLAY \n No harm done. \n \n WHALE \n It was foolishness to attempt this \n portrait. You cannot force what \n will not flow. \n \n CLAY \n You don't want me to sit for you \n anymore? \n \n Whale shakes his head sadly. He gazes up at Clay, sees the \n disappointment on his face. \n"," CLAY \n I don't like to talk about that. \n \n WHALE \n It's nothing to be ashamed of, in \n the service of one's country. \n That's something to be proud of. \n \n CLAY \n Proud? Any jerk with a gun can \n kill someone. \n \n WHALE \n Quite true. Hand-to-hand combat is"," CLAY \n I figured he'd think, you know -- \n it was the next best thing. Hey, I \n loved it too. A chance to be a \n part of something important. \n Something bigger than yourself. \n \n WHALE \n What happened? \n \n CLAY \n I didn't have the guts for it. \n \n A look of surprise crosses Whale's face. \n"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," CLAY \n If he were that famous, he probably \n wouldn't give me the time of day. \n This way, he's like <u>my</u> famous \n person. \n (laughs at himself) \n Yeah, my own personal famous \n person. Who treats me like I'm \n somebody worth talking to. \n \n Clay leans down to plug in the jukebox. \n \n CLAY"," and his apartment. \n \n CLAY \n You know what? I think you guys \n are all jealous. \n \n BETTY \n (laughs) \n What's to be jealous of? \n \n CLAY \n I've gotten to know someone who's \n famous. \n \n BETTY \n Not so famous any of us have ever \n heard of him. \n"," CLAY \n Well...no, not really -- \n \n HANNA \n You and he are not doing things? \n \n CLAY \n No! \n \n HANNA \n Good. That is what I hope. I did \n not think you a bugger too. I fear \n only that you might hurt him if he \n tries. \n \n CLAY"," Whale nods, sensing that he's touched a sore spot. \n \n WHALE \n And the fear you showed at our last \n session? How did you overcome \n that? \n \n CLAY \n Not fear. More like disgust. \n \n WHALE \n Same difference, Mr. Boone. \n Disgust, fear of the unknown -- all \n part of the great gulf that stands"," gestures at a wooden armchair across from him. \n \n WHALE \n My workshop, my studio. Hardly \n somewhere in which a sweaty workman \n should feel out of place. \n \n Clay glances at the unframed canvases on the wall and \n stacked in the corners. \n \n CLAY \n These are your paintings? \n \n WHALE \n What? Oh yes. \n"," CLAY \n No. I'm fine. \n \n WHALE \n It's a bit like being at the \n doctor, isn't it? You have to \n remain perfectly still while I \n examine and scrutinize you. \n \n Whale suddenly sniffs, as if smelling something. He sniffs \n several times more but continues to draw. \n \n WHALE \n (to himself)"," and trusted me. \n \n Whale reaches over and lays his arm across Barnett's \n shoulder. Barnett smiles timidly at him. We CUT TO: \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale leans forward, completely disoriented. His eyes fix \n on Clay, the white eyebrows screwed down, until he is able \n to recognize the face. \n \n WHALE"," No. Definitely not. \n \n Clay chuckles. Whale smiles. \n \n WHALE \n Very good, Clayton. \n \n He takes a robe from a hook on the closet door. Clay tries \n it on but it won't close over the towel. \n \n WHALE \n I know. \n \n Whale opens a drawer, takes out a crewneck sweater. \n \n WHALE"," Whale is suddenly behind him. Clay's vision is enclosed in \n two round windows, so he can't see Whale buckling the second \n strap. \n \n CLAY \n Now what? \n \n Mouth muffled by the inhalator, Clay hears his voice from \n inside his head. Whale comes around to stand in front of \n him. He grins as he steps back to examine Clay. Clay \n nervously taps his knees with his hands."],[" itself up. There is nothing in the \n here and now to take my mind off \n it. All my diversions have \n abandoned me. Parties. Reading. \n Painting. Work. Love. All gone \n to me now. \n \n Whale remains perfectly still, staring out the window. Clay \n deliberates a moment, then puts down his drink next to the \n decanter of Scotch. He stands and yanks the neck of the "," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," refusing to look at him. She sets the tray on a table very \n hard, ringing the glasses and silverware. \n \n HANNA \n How are you feeling, Mr. Jimmy? \n How is your mind today? \n \n WHALE \n My mind's lovely. And yours? \n \n Hanna flares her nostrils at him. \n \n HANNA \n You remember what the doctor tells \n us."," Whale drifts back to the window, watches as Clay revs up the \n lawnmower, creating a cloud of white smoke. We CUT TO: \n \n EXT. STREETS OF DUDLEY - DAY (1900) \n \n A bean-pole child with flaming red hair (WHALE at age 12) \n stares up at the coal smoke pouring from a seemingly endless \n row of chimneys. We're in Dudley, a factory town in the"," breathes deeply, trying to block the throbbing SOUND in his \n brain. We CUT TO: \n \n INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) \n \n The noise is deafening -- the clank of chains, the screech \n of wheels and the endless banging of hammers. William Whale \n continues to knock away at the hot casting. The rhythmic \n sound blends into the insistent knocking of: \n"," I want a glass of water. \n \n Clay gets up and goes to the sink. \n \n WHALE \n A touch of headache. \n \n Clay hands him the water. \n \n WHALE \n Thank you. \n \n Whale sets the glass down and sits with his head lowered, \n his body folded like a bundle of sticks. \n \n WHALE \n My apologies. I had no business"," its belly. It bounces a moment in the waves of the splash, \n then begins to sink. As it drops, the air in the chest \n slowly flips the body around. \n \n Looking up at them with open eyes, Whale sinks backward into \n the thickening light. His arms trail upward and the hands \n lightly flutter as if waving good-bye. The melancholy sound \n of a solo violin pierces the silence as we CUT TO: \n"," story indeed. \n \n Whale lifts his glass in a toast. Clay empties his glass of \n beer. He motions toward the decanter. \n \n CLAY \n Do you mind? \n \n WHALE \n Not at all. \n \n He hands the decanter to Clay. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Clay sits in a straight-backed chair, smoking a cigarette"," workingman impersonating his \n betters. How strange, to be \n admired so blindly. I suppose he \n loved me. But chastely, like a \n schoolboy. \n \n CLAY \n Something happened to him? \n \n Whale looks up at Clay, stares at him. \n \n WHALE \n I remember one morning in \n particular. A morning when the sun"," What have you done with him? \n \n CLAY \n I put him to bed. He's not there? \n \n She goes to the foot of the stairs and shouts: \n \n HANNA \n Mr. Jimmy! Mr. Jimmy! \n \n Hanna starts up the stairs. \n \n HANNA \n Look for him! \n \n Clay reaches for his socks when he notices an envelope on"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," don't know what to do with the \n creature except harness him to the \n plow. \n \n Whale seems completely lost in the past by now. \n \n WHALE \n Hatred was the only thing that kept \n my soul alive in that soul-killing \n place. And among those men I hated \n was my own poor, dumb father. Who \n put me in that hell to begin with. \n"," Jimmy. I will make it short. \n \n WHALE \n I'll be out this afternoon, \n remember? Your family can visit as \n long as they like. \n \n HANNA \n No. I do not cook for them. My \n daughter's no-good husband will not \n take one bite of our food. \n \n Hanna holds out the box for the gas mask. Whale gives it a"," Then take the pills. \n \n WHALE \n I wanted to be alert for your visit \n today. Especially since I saw so \n little of you in the hospital. \n \n The remark hits its target. \n \n DAVID \n I'm sorry, Jimmy. But with this \n movie and two difficult stars -- \n \n WHALE \n \"The fault, dear David, is not in"," Whale's tongue trips on the word, his voice suddenly drowned \n out by the blast of a factory whistle. We CUT TO: \n \n INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) \n \n Fiery melt is poured into molds on the shop floor of a \n machine parts factory. WHALE, 16, grips the hot casting \n with tongs. His father WILLIAM, his face blackened with"," He places it on the table, then turns out the lamp and lies \n on his back in the dark, waiting for sleep. \n \n The distant sound of laughter invades the darkness. Whale \n sits up, straining to identify the voices. The bedroom wall \n opposite him melts away, revealing: \n \n INT. SPECIAL MAKEUP TRAILER - UNIVERSAL STUDIOS - DAY (1935) \n"," Hanna sets the tray down. \n \n WHALE \n Very good, Hanna. Now goodbye. \n \n She goes toward the door, wrinkling her forehead at Clay. \n The screen door bangs shut. \n \n WHALE \n I'm sure you'd like something to \n wet your whistle while I work. \n \n Whale opens a bottle of beer, pours it into a glass, hands"," He is dead now, twenty years. \n \n CLAY \n Then you're as single as I am. \n \n HANNA \n No. I have children, grandchildren \n too. I visit when I can. But now \n that Mr. Jimmy cannot be left very \n long, I do not get away much. \n (sighs) \n Poor Mr. Jimmy. There is much good"," What? \n \n WHALE \n I've spent most of my life \n outrunning my past. Now it's \n flooding all over me. \n \n Clay stares out blankly. \n \n WHALE \n There's something about the \n openness of your face that makes me \n want to speak the truth. Yes, my \n family ate dripping. Beef dripping"," I am not dead yet, Mr. Kay. \n \n KAY \n No. I never said you were. Or \n will be soon. \n \n Kay leans over the steno pad, determined to be more worthy. \n \n KAY \n So. \"Journey's End\" brought you to \n Hollywood -- \n \n Whale takes in the boy's blank, bored expression. He sighs. \n"],[" Ma'am, may I present Mr. Clayton \n Boone? \n \n Clay steps forward to shake hands. \n \n WHALE \n My gardener, who insisted I bring \n him today. He so wanted to meet \n royalty. \n \n Cukor's face goes blank with indignation. \n \n CLAY \n Pleased to meet you. \n \n PRINCESS MARGARET"," I had no idea you'd be here. \n \n She seizes Whale's hand in her little white gloves. \n \n PRINCESS MARGARET \n How are you? \n \n WHALE \n (taken aback) \n Fine. Quite fine. And Your Royal \n Highness? \n \n PRINCESS MARGARET \n Splendid. Now that I know you're"," Since our last session. Those old \n snaps look rather dowdy now. \n \n Whale realizes she's mistaken him for someone else. He tugs \n his sunglasses down his nose so she can see his eyes. \n \n PRINCESS MARGARET \n Oh dear. Have I made a blunder? \n \n WHALE \n Ma'am, the pleasure is all mine. James \n Whale. \n"," around. \n \n Standing beside him, Clay is clearly impressed that Whale \n knows a princess. \n \n PRINCESS MARGARET \n Can we get together while I'm in \n town? I so badly want to sit for \n you again. \n \n WHALE \n Sit? \n \n PRINCESS MARGARET \n I've changed my hair, you see."," I think I'll go look at Elizabeth \n Taylor. \n \n He hurries off. \n \n WHALE \n You should have seen Georgie's face \n when he met Clayton. \n \n DAVID \n You didn't, Jimmy. \n \n WHALE \n I did. But Princess Margaret was a \n doll. We're all equals in her"," woman in a white dress with polka dots. GEORGE CUKOR and \n PRINCESS MARGARET. \n \n WHALE \n Let's get this over with quickly. \n \n Whale forgets to remove his hat when he comes forward. \n Before he can give Cukor their names Princess Margaret's \n polite smile bursts open in a joyful display of teeth. \n \n PRINCESS MARGARET"," WHALE \n How would you like to come to a \n party with me? A reception for \n Princess Margaret. \n \n CLAY \n \n I thought you weren't going. \n \n WHALE \n If you don't mind driving, I'd like \n to take you as my guest. There \n should be lots of pretty starlets \n to keep you amused. \n \n CLAY"," PRINCESS MARGARET \n (laughs) \n I am such a goose. I mistook you \n for Cecil Beaton. It's the hat. \n You're wearing one of Cecil's hats, \n you know. \n \n Whale attempts to chuckle while he fights a feeling of \n humiliation. He turns to Cukor for help. \n \n WHALE"," CLAY \n Go ahead. \n \n Clay looks off while Whale opens the envelope. \n \n WHALE \n Hmmm? Princess Margaret? \n \n He is examining a folded card. He rubs a thumb over the \n printed lettering. \n \n WHALE \n Her Majesty's Loyal Subjects in the \n Motion Picture Industry... \n Cordially invited...Reception at"," I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," earnestly over his script. Thesiger pinches his face over \n the needle he dips in and out of an embroidery ring. \n \n Whale comes on the set with Elsa on his arm. She walks \n regally beside him, the train of her long white robe thrown \n over one arm. There's a wolf whistle from overhead, and \n applause, causing Elsa to curtsy to her admirers. Thesiger"," Whale glances up -- the kite is gone. Thunder rumbles as \n the group starts to disperse. Whale nods to the faces \n exchanging good-byes. \n \n BORIS KARLOFF \n So good to see you again, James. \n \n He strolls off, clucking and cooing at his baby. \n \n KAY \n Catch you before you go, Mr. Whale."," the home of...Mr. George Cukor! \n \n His lips smack open in disgust. \n \n WHALE \n That pushy little -- horning in on \n the Queen's sister, then offering \n to share her with the whole damn \n raj? I live in this country to get \n away from this rubbish! \n \n He tosses the invitation on the table. \n \n WHALE"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," Quite. I adore gardens. \n \n Whale narrows his eyes at Cukor and sharpens his smile. \n \n WHALE \n He's never met a princess. Only \n queens. \n \n Cukor puffs out his chest, quivers a bulbous lower lip at \n Whale. \n \n WHALE \n George, Ma'am, this has been an \n honor. An occasion to remember for"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," DWIGHT \n Damn but it's getting drunk in \n here. Late too. The bride of \n Dwight is going to bite my head \n off. \n \n He tilts toward the door. \n \n DWIGHT \n You coming, Boone? \n \n CLAY \n I think I'll hang around. \n \n HARRY"," ERNEST THESIGER \n Stiff as a board. \n (calls out) \n Yes, Colin. Come see what they've \n done to our Elsa. \n \n Clive walks over, glumly. \n \n COLIN CLIVE \n I'm not at my best today, Jimmy. \n A touch of flu, you know. \n \n Whale sees through the excuse, rests an arm on Clive's"," Jimmy. The privy needs cleaning. \n \n WHALE \n I have my class tonight. \n \n Both have Midlands accents, like head colds that flatten \n their speech. Whale holds up the sketch to show his mother. \n \n SARAH WHALE \n Don't get above yarself, Jimmy. \n Leave the drawring to the artists. \n \n Whale squeezes the pad behind the bed, jumps up. \n"," Thanks, doll. \n \n BETTY \n (to Harry) \n I say let loverboy watch his \n movie. And be grateful Boone's \n not cutting Shirley Temple's lawn. \n \n CLAY \n Why is everybody giving me crap \n tonight? \n \n DWIGHT \n Jesus, Boone. You come in here \n proud as a peacock because some old"],[" Whale presses his lips to Clay's tattoo. Clay's muscles \n tense from head to toe. \n \n WHALE \n What a solid brute you are. \n \n Whale's tongue moves down Clay's arm. \n \n WHALE \n No? Maybe this, then? \n \n The hand slides over Clay's stomach toward his lap. The \n tattooed arm swings backward, slamming an elbow against"," So you don't want to fuck. That's \n what you're telling me? \n \n BETTY \n Is that all this conversation means \n to you? Am I going to put out or \n not? \n \n CLAY \n Damn straight. I'm sick of playing \n games. \n \n Betty quickly gets into the car. before she can pull the"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," things with his life. \n \n BETTY \n Do you realize you're more \n interested in this old goober than \n you ever were in me? \n \n CLAY \n It's different. He's a man. And \n by the way you have no business \n calling him a homo. \n \n BETTY \n It never crossed your mind? \n \n CLAY"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," didn't want me self-conscious. \n \n Whale steps forward. \n \n WHALE \n Perhaps if we open the shirt and \n pull -- \n \n Whale's hands to in. Clay's flesh tightens; he shrinks \n back. The hands stop, palms raised. \n \n WHALE \n Oh dear. I <u>have</u> made you \n nervous. \n \n CLAY"," Hanna retreats toward the kitchen. Clay steps tentatively \n into the room. \n \n WHALE \n Mr. Boone. You're not due to cut \n the lawn until Wednesday. \n \n CLAY \n I'd like to sit for you again. But \n only if you ease up on the locker \n room talk. Okay? \n \n Whale holds up two fingers, affects an American accent. \n"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," DWIGHT \n Damn but it's getting drunk in \n here. Late too. The bride of \n Dwight is going to bite my head \n off. \n \n He tilts toward the door. \n \n DWIGHT \n You coming, Boone? \n \n CLAY \n I think I'll hang around. \n \n HARRY"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," and wild eyes lying beneath him. \n \n WHALE \n Break my neck. Or strangle me. It \n would be oh so easy to wrap your \n hands around my neck and choke the \n life out of me. Please, Clayton. \n We've come this far. \n \n CLAY \n You're crazy. \n \n Whale's eyes glimmer in the sporadic bursts of lightning. \n"," comfort me. \n \n On the tv screen, the old man starts to cry, then collapses \n onto the Monster's chest. A thick tear rolls down the \n Monster's cheek. \n \n Clay Boone sits on the sofa, a baby on his lap. He's 40 \n now, his hair starting to thin but still closely cropped at \n the top and sides. \n \n On the tv, daylight fills the hut. The blind man and the"," Before Whale can respond Clay storms out, nearly ripping the \n screen door off its hinges. Whale sits on the daybed, takes \n a few quick breaths. Suddenly the air is filled with the \n sounds of people cavorting in the pool. \n \n Whale looks up, sees a young man standing outside the screen \n door. It is now dark outside. \n \n YOUNG MAN \n Come on, Jimmy. Watch me dive. \n"," Thanks, doll. \n \n BETTY \n (to Harry) \n I say let loverboy watch his \n movie. And be grateful Boone's \n not cutting Shirley Temple's lawn. \n \n CLAY \n Why is everybody giving me crap \n tonight? \n \n DWIGHT \n Jesus, Boone. You come in here \n proud as a peacock because some old"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"],[" Clay snatches Whale's wrist before it can touch his crotch. \n With his other hand he picks up the heavy crystal decanter. \n \n CLAY \n What the hell do you want from me?! \n \n Whale tilts his face up for another blow. \n \n WHALE \n <u>I want you to kill me</u>. \n \n Clay freezes. He stares down at the old man with white hair"," breath. \n \n HANNA \n Ohhh! \n \n Hanna comes down the path, her run slowing to a walk. She \n stares at Clay. \n \n CLAY \n I didn't do it. This wasn't me. \n \n HANNA \n Oh, Mr. Jimmy. \n \n CLAY \n He wanted me to kill him, but I"," A very lucky thing indeed. \n \n CLAY \n That's not the way he saw it. To \n him, it was like his life never got \n started. Nothing else really \n mattered. Definitely not his \n family. \n \n Whale gazes sympathetically at Clay. \n \n CLAY \n The morning after Pearl Harbor, he \n drove down to St. Louis to"," and wild eyes lying beneath him. \n \n WHALE \n Break my neck. Or strangle me. It \n would be oh so easy to wrap your \n hands around my neck and choke the \n life out of me. Please, Clayton. \n We've come this far. \n \n CLAY \n You're crazy. \n \n Whale's eyes glimmer in the sporadic bursts of lightning. \n"," WHALE \n No, I don't want to die alone. But \n to be killed by you -- that would \n make death bearable. They say you \n never see the one with your name on \n it. But I want to see death coming \n at me. I want it to be sharp and \n hard, with a human face. Your \n face. Think, Clayton. You'd be my"," Do you want to be questioned about \n you and Mr. Jimmy? Please, \n Clayton. It will be better if I \n find the body alone. \n \n CLAY \n But how're you going to explain \n this? \n (points at the body) \n How did you get him out of the \n pool? \n \n HANNA \n You are right. Yes. We must put"," CLAY \n I don't like to talk about that. \n \n WHALE \n It's nothing to be ashamed of, in \n the service of one's country. \n That's something to be proud of. \n \n CLAY \n Proud? Any jerk with a gun can \n kill someone. \n \n WHALE \n Quite true. Hand-to-hand combat is"," Tell me something, Clayton. Do \n you believe in mercy killing? \n \n CLAY \n Never gave it much thought. \n \n WHALE \n Come now. I'm sure you came across \n such situations in Korea. A \n wounded comrade, or perhaps one of \n the enemy? Someone for whom death \n would be a blessing. \n \n Clay stops chewing. He stares down at his plate."," Clay jabs with his elbow, flipping Whale on his back. His \n body straddles Whale's and pins him, face to face. \n \n CLAY \n I'm not that way. Get it through \n your fucking head. I don't want to \n mess with you. \n \n WHALE \n Oh, but you feel good, Clayton. \n"," him back. \n \n They both hesitate, looking down at Whale. Then Clay drags \n the body parallel with the pool. Hanna stoops over to \n adjust the collar of Whale's shirt. \n \n HANNA \n Poor Mr. Jimmy. We do not mean \n disrespect. You will keep better \n in water. \n \n She nods to Clay. He rolls the body over and it splashes on"," the true test. Did you ever slay \n anyone hand-to-hand? \n \n CLAY \n (defensive) \n No. I could have, though. \n \n WHALE \n Yes, I believe you could. \n (a sip of wine) \n How free is your schedule this \n afternoon? \n \n CLAY \n Full up. I got the hedges to do"," things with his life. \n \n BETTY \n Do you realize you're more \n interested in this old goober than \n you ever were in me? \n \n CLAY \n It's different. He's a man. And \n by the way you have no business \n calling him a homo. \n \n BETTY \n It never crossed your mind? \n \n CLAY"," CLAY \n Mr. Whale? Are you okay? \n \n Whale turns away. He yanks out a handkerchief. \n \n WHALE \n Stupid. Very stupid. What have I \n been thinking? \n \n He sits on the daybed and bends over, covering both eyes \n with the handkerchief. \n \n WHALE \n Just go. Please. Why don't you"," Clay glares at her, his jaw working forward in anger. \n \n CLAY \n I like my life. I'm a free man. \n \n BETTY \n Sure you're free, for now at least. \n But how long before you're just \n alone? Pathetic and alone. \n \n Clay's anger jumps from his jaw into his shoulders and arms. \n He grabs the door handle. \n \n CLAY"," Clay's back and holds on. \n \n WHALE \n Oh yes. I have you now. \n \n A strap breaks. Clay rips the mask off. \n \n CLAY \n Get the fuck off! \n \n Whale's hand squeezes between Clay's legs. \n \n WHALE \n What will you do to get yourself \n back? \n"," Clay's eyes are filled with pity. \n \n WHALE \n Oh, but we were a witty lot. \n Laughing at our dead. Telling \n ourselves it was our death too. \n But with each man who died, I \n thought, \"Better you than me, poor \n sod.\" \n (bitterly) \n A whole generation was wiped out by \n that war. Millions and millions of"," CLAY \n I figured he'd think, you know -- \n it was the next best thing. Hey, I \n loved it too. A chance to be a \n part of something important. \n Something bigger than yourself. \n \n WHALE \n What happened? \n \n CLAY \n I didn't have the guts for it. \n \n A look of surprise crosses Whale's face. \n"," CLAY \n Why? \n \n WHALE \n For the artistic effect. The \n combination of your human body and \n that inhuman mask. It's quite \n striking. \n \n CLAY \n I don't know. \n \n WHALE \n Please, Clayton. Just for a \n minute. Long enough for me to see \n the effect. \n"," Why are you here? What do you want \n from me? \n \n CLAY \n You asked me to model. Remember? \n \n WHALE \n Of course I remember. Do you think \n I'm so senile -- \n \n Whale stands over Clay. His pale face turns left, right, \n looking at Clay with one cold eye, then the other. Clay \n returns the gaze, worried for Whale. \n"," He gets an arm around Whale's chest and heaves the body over \n the curb. he climbs out, drags the body forward to rest in \n the grass. He grabs the wrist. Nothing. \n \n CLAY \n Son of a bitch. You crazy son of a \n bitch. \n \n Clay straddles Whale's thighs and applies pressure on his \n rib cage. But it's no use. Clay sits up and takes a deep"],[" WHALE \n One likes to live simply. \n \n KAY \n I know. People's movies aren't \n their lives. \n \n He suddenly growls out an imitation of Boris Karloff. \n \n KAY \n Love dead. Hate living. \n \n Kay laughs, a high, girlish giggle. Whale fights a cringe \n with a polite smile. \n \n KAY"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale studies his face in the mirror. He gives his white \n hair a few final licks with his silver-backed brush. \n \n INT. WHALE'S HOUSE - KITCHEN - DAY \n \n Whale comes in from the bedroom. \n \n WHALE \n There is iced tea, Hanna? Cucumber \n sandwiches? \n"," relieves himself with the other. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \n \n Whale sits up in bed, staring dumbly at the morning paper. \n Hanna reaches in to take away the breakfast tray. \n \n WHALE \n Does the yardman come today? \n \n HANNA \n Of course. This afternoon. \n \n A thin smile forms on Whale's face. \n"," WHALE \n Quite so, mum. To the privy. \n \n And he heads cheerfully out of the room. His mother shakes \n her head. \n \n SARAH WHALE \n \"Quite so.\" \n (calls out) \n Jimmy Whale. Who are ya to put on \n airs? \n \n But Whale is already out the door. We CUT TO: \n"," Whale drifts back to the window, watches as Clay revs up the \n lawnmower, creating a cloud of white smoke. We CUT TO: \n \n EXT. STREETS OF DUDLEY - DAY (1900) \n \n A bean-pole child with flaming red hair (WHALE at age 12) \n stares up at the coal smoke pouring from a seemingly endless \n row of chimneys. We're in Dudley, a factory town in the"," His eyes are closed in dreamless sleep. \n \n Whale looks up and sees that Clay is gone. The only other \n living creature is an owl, which blinks wearily at him. \n \n Whale lies down, finding a spot next to Barnett. He takes a \n last breath and closes his eyes. We CUT TO: \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n"," Whale eats lunch off a TV tray. His attention remains \n focused on \"Queen for a Day\" as Hanna clomps into the room \n behind him. \n \n WHALE \n Who was that at the door? \n \n HANNA \n A visitor. \n \n Whale turns. His face registers surprise when he sees Clay. \n \n WHALE \n Thank you, Hanna. That will be \n all."," Whale offers a melancholy smile. \n \n WHALE \n I think I'll just rest for a \n moment. \n \n The man shrugs, disappears into the shadows. We move \n across the room and through the door... \n \n EXT. WHALE'S HOUSE - NIGHT \n \n Whale sits in a director's chair, a martini in one hand, a \n cigar in the other, a harmless old uncle watching young men"," WHALE \n So, Mr. Kay? What do you want to \n know? \n \n KAY \n Everything. Start at the \n beginning. \n \n WHALE \n I was born outside London, the only \n son of a minister who was a master \n at Harrow. Grandfather was a \n bishop. Church of...Church of \n Eng... \n"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," Whale stops, turns to Hanna. \n \n WHALE \n Do you miss having someone to talk \n to, Hanna? \n \n HANNA \n I have my family. Also our Lord \n Jesus Christ. \n \n WHALE \n Of course. How is the old boy \n these days? \n \n The naughty remark is met with a solemn stare. Whale"," Mr. Whale? \n \n Whale smiles politely to cover his momentary disorientation. \n \n WHALE \n Yes? \n \n KAY \n Your father was a schoolmaster? \n \n WHALE \n Of course. I attended Eton -- it \n wouldn't do for a master's son to \n attend where his father taught. I \n was to go up to Oxford but the war"," Whale settles into his club chair and opens a book, \n pretending to read until Hanna ushers in the visitor. \n \n HANNA \n Mr. Kay, sir. \n \n WHALE \n (feigning surprise) \n Yes? \n \n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \n weight on one slouched hip, his arms twined behind him."," WHALE \n Blast her. If we soil her holy \n floor, it's her own damn fault. \n \n Whale goes squashing down the hall. Clay remains just \n inside the open door, prying off his shoes and peeling off \n his socks. He follows Whale into: \n \n INT. WHALE'S HOUSE - KITCHEN - DUSK \n \n Whale stands over the table with his jaw open. \n \n WHALE"," Oh, that monster. How could you be \n working with him? \n \n WHALE \n Don't be silly, Hanna. He's a very \n proper actor. And the dullest \n fellow imaginable. \n \n Minnie flees in a bowlegged jig up the hill. Whale smiles \n again. \n \n INT. HARRY'S BEACHCOMBER - NIGHT \n"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," INT. WHALE'S HOUSE - DINING ROOM - NIGHT \n \n Whale passes quickly through the dining room and out to the \n kitchen. \n \n INT. WHALE'S HOUSE - GARAGE - NIGHT \n \n Whale reaches for the hatbox, which sits on top of a garbage \n can. Suddenly a large hand appears on the box. Whale gasps \n when a flash of lightning reveals the face of the Monster. \n"," INT. HOUSE - LIVING ROOM - DAY \n \n The shadow is a man with dove white hair, wearing a dress \n shirt and seersucker jacket. This is JAMES WHALE, age 67. \n \n DAVID \n I'd have more peace of mind if the \n live-in nurse were still here. \n \n HANNA \n She was nothing but bother. I not \n like her, Mr. Jimmy not like her."],[" CLAY \n You were a soldier? \n \n WHALE \n I was an officer. \n \n Clay breaks his pose to turn and look at Whale. \n \n CLAY \n This was World War I? \n \n WHALE \n No, my dear. The Crimean War. \n What do you think? The Great War. \n You had a Good War, while we had -- \n"," Whale clears his throat, bored by his standard line. \n \n WHALE \n -- a war without end. There were \n trenches when I arrived, and \n trenches when I left, two years \n later. Just like in the movies. \n Only the movies never get the \n stench of them. The world reduced \n to mud and sandbags and a narrow \n strip of rainy sky."," Whale gazes out at the storm. From his POV, we see a \n scarred and barren landscape, illuminated by occasional \n flashes of lightning. \n \n WHALE \n He caught his one night coming back \n from the reconnoiter. I wouldn't \n take him out, but McGill did. Just \n to give the lad a taste. They were \n nearly home when a Maxim gun opened \n fire. \n"," Mr. Whale? \n \n Whale smiles politely to cover his momentary disorientation. \n \n WHALE \n Yes? \n \n KAY \n Your father was a schoolmaster? \n \n WHALE \n Of course. I attended Eton -- it \n wouldn't do for a master's son to \n attend where his father taught. I \n was to go up to Oxford but the war"," I don't recall. Memories of the \n war, perhaps. \n \n CLAY \n But that was so long ago. It can't \n still bother you. \n \n WHALE \n Oh, but it does. Especially in \n light of the journey I'm about to \n make. \n \n CLAY \n You're planning a trip? \n"," Whale's gaze remains dreamy and preoccupied as SOUNDS of \n battle fill the room. A relentless rat-a-tat of gunfire. \n The whistling of bombs. The tortured wailing of dying men. \n Whale stands, moves over to the window. \n \n WHALE \n Barnett. Barnett on the wire. \n \n CLAY \n Your friend? \n"," (a dry snort) \n But we were discussing something \n else. Oh yes. Love in the \n trenches. \n \n Now he's talking only to himself. \n \n WHALE \n Barnett. Was that his name? \n Leonard Barnett. He came to the \n front straight from Harrow. And he \n looked up to me. Unlike the \n others, he didn't care that I was a"," Clay's eyes are filled with pity. \n \n WHALE \n Oh, but we were a witty lot. \n Laughing at our dead. Telling \n ourselves it was our death too. \n But with each man who died, I \n thought, \"Better you than me, poor \n sod.\" \n (bitterly) \n A whole generation was wiped out by \n that war. Millions and millions of"," vessel. Said it was a good lesson \n for me. Not to try to fill his \n shoes. \n \n WHALE \n I'm very sorry. \n \n CLAY \n Them's the breaks, right? No war \n stories for this pup. \n \n WHALE \n That's where you're wrong, Clayton. \n You've just told one. A very good"," WHALE \n But expressively broken. How did \n it happen? \n \n CLAY \n Football in college. \n \n WHALE \n You went to university? \n \n CLAY \n Just a year. I dropped out to join \n the Marines. \n \n WHALE \n Yes. You were a Marine. \n"," Clay downs his beer, refills the glass. \n \n CLAY \n My old man was a Marine. He \n enlisted the day he turned \n seventeen. \n \n WHALE \n The Great War? \n \n CLAY \n (nods) \n By the time he was ready to ship \n out, the fighting was over. He \n missed out. \n \n WHALE"," broke out and I never made it. The \n Great War, you know. You had a \n Good War, but we had a great one. \n \n He glances to see if the boy smiles at the quip. \n \n WHALE \n You can't imagine what life was \n like after the Armistice. The \n twenties in London were one long \n bank holiday, a break from \n everything dour and respectable. I"," WHALE \n Quite so, mum. To the privy. \n \n And he heads cheerfully out of the room. His mother shakes \n her head. \n \n SARAH WHALE \n \"Quite so.\" \n (calls out) \n Jimmy Whale. Who are ya to put on \n airs? \n \n But Whale is already out the door. We CUT TO: \n"," WHALE \n So, Mr. Kay? What do you want to \n know? \n \n KAY \n Everything. Start at the \n beginning. \n \n WHALE \n I was born outside London, the only \n son of a minister who was a master \n at Harrow. Grandfather was a \n bishop. Church of...Church of \n Eng... \n"," came out. \n \n EXT. TRENCHES - DAY (1917) \n \n LEONARD BARNETT, 19, boyish and handsome, peers into a \n periscope. Whale stands beside him, pointing out landmarks \n on the bleak landscape. \n \n WHALE (V.O.) \n Odd, how even there one could have \n days when the weather was enough to"," second Monster. Almost as famous \n as the first. It would be the \n great adventure you've yearned for. \n A war story for both of us to \n share. \n \n Clay's breathing comes in quick, panicked bursts. \n \n WHALE \n You'd be fully exonerated, I've \n taken care of that. I wrote a \n note, I'll even leave you the"," She makes an audible sigh and starts back up the hill. \n \n WHALE \n There was one play in particular, a \n beautiful, grim study of war called \n \"Journey's End\". Every experienced \n director turned it down, so I \n offered myself, bullying and \n begging for the job. \"Journey's \n End\" made the careers of everyone \n associated with it. It was only a"," don't know what to do with the \n creature except harness him to the \n plow. \n \n Whale seems completely lost in the past by now. \n \n WHALE \n Hatred was the only thing that kept \n my soul alive in that soul-killing \n place. And among those men I hated \n was my own poor, dumb father. Who \n put me in that hell to begin with. \n"," Whale drifts back to the window, watches as Clay revs up the \n lawnmower, creating a cloud of white smoke. We CUT TO: \n \n EXT. STREETS OF DUDLEY - DAY (1900) \n \n A bean-pole child with flaming red hair (WHALE at age 12) \n stares up at the coal smoke pouring from a seemingly endless \n row of chimneys. We're in Dudley, a factory town in the"," reenlist. He was so damn excited. \n World War II was going to be his \n second chance. \n (sighs) \n They told him he was too old...fat \n ...nearsighted. Said he'd be more \n use to his country if he stayed \n home and looked after his family. \n \n WHALE \n Is that why you joined the Marines? \n For your father's sake?"],[" You mean, like posed for pictures? \n \n WHALE \n Sat for an artist. Been sketched. \n \n CLAY \n (with a laugh) \n What's to sketch? \n \n WHALE \n You have the most architectural \n skull. And your nose. Very \n expressive. \n \n CLAY \n Broke is more like it. \n"," Whale's gaze deepens. He laughs lightly. \n \n WHALE \n I apologize for going on like this. \n It's the Sunday painter in me. Of \n course I can understand your \n refusal. It's a great deal to ask \n of someone. \n \n CLAY \n You mean -- you really want to draw \n me? \n \n WHALE"," Indeed. I'd pay for the privilege \n of drawing your head. \n \n CLAY \n But why? \n \n WHALE \n Even an amateur artist needs a \n subject to inspire him. \n \n CLAY \n And it's just my head you want? \n Nothing else? \n \n WHALE \n What are you suggesting? You'll"," Jimmy. The privy needs cleaning. \n \n WHALE \n I have my class tonight. \n \n Both have Midlands accents, like head colds that flatten \n their speech. Whale holds up the sketch to show his mother. \n \n SARAH WHALE \n Don't get above yarself, Jimmy. \n Leave the drawring to the artists. \n \n Whale squeezes the pad behind the bed, jumps up. \n"," He unbuttons the shirt and pulls it off. \n \n WHALE \n Yes. Much better. \n (steps forward) \n Here. \n \n Clay adjusts his belt buckle as Whale hangs the shirt on a \n wall peg. He moves back to the easel again. \n \n WHALE \n I think we'll have you sit slightly \n sideways, so you can rest one arm"," Pish posh, Mr. Boone. I'm not your \n Aunt Tilly. \n \n CLAY \n But it's just my face you want to \n draw. \n \n WHALE \n Oh if it's going to make you \n uncomfortable... \n (sighs) \n Perhaps we can find something else \n for you to wear. \n"," earnestly over his script. Thesiger pinches his face over \n the needle he dips in and out of an embroidery ring. \n \n Whale comes on the set with Elsa on his arm. She walks \n regally beside him, the train of her long white robe thrown \n over one arm. There's a wolf whistle from overhead, and \n applause, causing Elsa to curtsy to her admirers. Thesiger"," Clay nods, chugs his tea. When he lowers the glass, he \n finds the old man watching him. \n \n WHALE \n You must excuse me for staring, Mr. \n Boone. But you have a marvelous \n head. \n \n CLAY \n Huh? \n \n WHALE \n To an artistic eye, you understand. \n Have you ever modeled? \n \n CLAY"," The only memento I ever kept. My \n original sketch for the Monster. \n \n He hands the sketch to Clay, who stares down at the famous \n flat head, hooded eyes, bolted neck of the Monster. \n \n WHALE \n Shall we? \n \n Clay puts down the sketch, starts into the hall. Whale \n turns back, sees Barnett standing by the window. Whale \n flips off the light and closes the door."," Whale's skull. Clay jumps from the chair, knocking into an \n end table. The glass and crystal decanter fall to the \n floor. The lamp spills over and the room goes dark. \n \n Clay's ankle is caught by the sofa leg and he hits the \n floor, jamming the inhalator against his mouth. He quickly \n gets up, on his knees and elbows, pulling at the mask. \n Flashes of lightning strobe the room as Whale collapses over"," Why are you here? What do you want \n from me? \n \n CLAY \n You asked me to model. Remember? \n \n WHALE \n Of course I remember. Do you think \n I'm so senile -- \n \n Whale stands over Clay. His pale face turns left, right, \n looking at Clay with one cold eye, then the other. Clay \n returns the gaze, worried for Whale. \n"," CLAY \n No. I'm fine. \n \n WHALE \n It's a bit like being at the \n doctor, isn't it? You have to \n remain perfectly still while I \n examine and scrutinize you. \n \n Whale suddenly sniffs, as if smelling something. He sniffs \n several times more but continues to draw. \n \n WHALE \n (to himself)"," on the back of the chair. Yes. \n Just so. \n \n The arm with the tattoo faces the easel. Clay smirks. \n \n CLAY \n Take a picture, it lasts longer. \n \n WHALE \n That's exactly what I intend to do. \n \n A clatter of pencils in the easel's tray, followed by a \n moment of silence. Finally, a low, whistly scratch. Clay"," CLAY \n Excuse me, but -- are you famous? \n \n WHALE \n You know what they say. If you \n have to ask -- \n \n CLAY \n I'm just a hick who cuts lawns. \n But some of these look familiar. \n \n WHALE \n They were familiar when I painted \n them. That one's copied from a"," Whale settles into his club chair and opens a book, \n pretending to read until Hanna ushers in the visitor. \n \n HANNA \n Mr. Kay, sir. \n \n WHALE \n (feigning surprise) \n Yes? \n \n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \n weight on one slouched hip, his arms twined behind him."," ELSA LANCHESTER and BORIS KARLOFF sit side by side in \n dentist chairs, cloths around their necks, heads tilted \n back. JACK PIERCE, the makeup artist, is patting the hair \n drawn over a cage on Elsa's head. He looks up, sees Whale, \n and breaks into a conspiratorial grin. Elsa's eyes are \n closed; she hasn't heard whale enter. \n"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," Can I see what you did so far? \n \n WHALE \n It will only make you \n self-conscious. You'll have to \n remove your shirt. \n \n CLAY \n Sorry. Not today. \n \n WHALE \n But we have to match the other \n sketch. \n \n CLAY \n I just feel more comfortable \n keeping it on. You just said you"," flash goes off, a snap and a crunch of light. Whale cringes \n in pain. \n \n ELSA LANCHESTER \n (through clenched teeth) \n Don't you just love being famous? \n \n Another flash. From Whale's perspective, the bulb resembles \n nothing so much as the translucent tube of electrical \n current from Dr. Frankenstein's laboratory. Whale"," gestures at a wooden armchair across from him. \n \n WHALE \n My workshop, my studio. Hardly \n somewhere in which a sweaty workman \n should feel out of place. \n \n Clay glances at the unframed canvases on the wall and \n stacked in the corners. \n \n CLAY \n These are your paintings? \n \n WHALE \n What? Oh yes. \n"],[" I was, until last night. Publicity \n asked me to fly Miss Taylor in for \n today's reception. \n \n The waiter arrives with their drinks. Only when Clay takes \n his glass of beer does David see that Whale is not alone. \n \n DAVID \n David Lewis. \n \n CLAY \n Clay Boone. \n \n WHALE \n Our yardman. Who was kind enough"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," WHALE \n How would you like to come to a \n party with me? A reception for \n Princess Margaret. \n \n CLAY \n \n I thought you weren't going. \n \n WHALE \n If you don't mind driving, I'd like \n to take you as my guest. There \n should be lots of pretty starlets \n to keep you amused. \n \n CLAY"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale comes forward as Clay enters, offering a hand at the \n end of a spindly wrist. \n \n WHALE \n How are you, Mr. Boone? So glad \n you are free for lunch. \n \n CLAY \n All right, I guess. \n \n WHALE \n I assume you worked up an appetite"," story indeed. \n \n Whale lifts his glass in a toast. Clay empties his glass of \n beer. He motions toward the decanter. \n \n CLAY \n Do you mind? \n \n WHALE \n Not at all. \n \n He hands the decanter to Clay. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Clay sits in a straight-backed chair, smoking a cigarette"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," Kay peels off the shirt and tosses it on his shoes and \n sweater. \n \n WHALE \n George is famous for his Saturday \n dinner parties. Great artists, \n writers, society folk, all rubbing \n elbows with Hollywood royalty. But \n how many of those oh-so-proper \n people know about the Sunday \n brunches that follow? Gatherings \n of trade eating leftovers, followed"," Mr....Kay? \n \n KAY \n Bet you thought you'd never see me \n again. I didn't know if you'd be \n well enough to come to this party. \n \n WHALE \n You didn't? \n \n KAY \n I'm the one who got you on Mr. \n Cukor's guest list. \n \n WHALE"," (smiles at Clay) \n Please, Mr. Boone. Help yourself. \n \n CLAY \n What did she mean by going flooey? \n \n WHALE \n I returned recently from a stay in \n hospital. \n \n CLAY \n What was wrong? \n \n WHALE \n Nothing serious. A touch of \n stroke. \n"," the gas and the Chrysler takes off. \n \n EXT. CUKOR HOUSE - DAY \n \n The party is clearly audible from the road, where Clay has \n squeezed the Chrysler into a long row of shiny cars nuzzling \n the high brick wall. Whale puts his dark glasses on. \n \n WHALE \n Stars, you know. The suns of other \n galaxies. \n \n They walk up the steep road to the gatehouse. \n"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," Whale settles into his club chair and opens a book, \n pretending to read until Hanna ushers in the visitor. \n \n HANNA \n Mr. Kay, sir. \n \n WHALE \n (feigning surprise) \n Yes? \n \n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \n weight on one slouched hip, his arms twined behind him."," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"],[" swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," That shirt, Mr. Boone. \n \n CLAY \n It's new. \n \n WHALE \n I'm sorry. It's too white, too \n distracting. Would it be asking \n too much for you to take it off? \n \n CLAY \n I'm not wearing an undershirt. \n \n WHALE"," Pish posh, Mr. Boone. I'm not your \n Aunt Tilly. \n \n CLAY \n But it's just my face you want to \n draw. \n \n WHALE \n Oh if it's going to make you \n uncomfortable... \n (sighs) \n Perhaps we can find something else \n for you to wear. \n"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," Absolutely swims on me, but should \n take care of your upper half. \n \n Clay pulls the sweater over his head. \n \n WHALE \n That only leaves the rest. \n \n CLAY \n You don't have any baggy shorts? \n Pajama bottoms? \n \n WHALE \n Sorry. My pajamas are tailored. \n Would it be too distressing to"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," comfort me. \n \n On the tv screen, the old man starts to cry, then collapses \n onto the Monster's chest. A thick tear rolls down the \n Monster's cheek. \n \n Clay Boone sits on the sofa, a baby on his lap. He's 40 \n now, his hair starting to thin but still closely cropped at \n the top and sides. \n \n On the tv, daylight fills the hut. The blind man and the"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," makeshift village for beach bums. \n \n INT. TRAILER - DAY \n \n CLAYTON BOONE opens his eyes. He is 26, handsome in a \n rough-hewn, Chet Baker-like way, with broad shoulders and a \n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \n lights a bent cigarette. \n \n Clay stands and walks bare-assed across the single tin room,"," DWIGHT \n Damn but it's getting drunk in \n here. Late too. The bride of \n Dwight is going to bite my head \n off. \n \n He tilts toward the door. \n \n DWIGHT \n You coming, Boone? \n \n CLAY \n I think I'll hang around. \n \n HARRY"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," Getting to be a warm day. A \n scorcher, as you Yanks call it. \n \n CLAY \n Yeah. I better get on with my \n work. \n \n Whale clears his throat behind the back of his hand. \n \n WHALE \n When you're through, Mr. Boone, \n feel free to make use of the pool. \n We're quite informal here. You"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," Dwight nods, a little coolly. \n \n DWIGHT \n Hey, Boone. \n \n CLAY \n Have a drink? \n \n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \n hand on his shoulder. Dwight shrugs, heads toward the door. \n \n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s"," Whale pulls on a blazer. \n \n CLAY \n Mr. Whale? \n \n Whale jumps. He slaps a hand over his chest, twists around, \n sees Clay. \n \n WHALE \n Oh, of course. Clayton. You \n finished your shower already? \n \n CLAY \n Ten minutes ago. Didn't you hear \n me calling? \n"," KAY \n I can't believe I'm doing this. \n \n Kay stands to unbuckle his belt, glancing around the yard \n again. He unzips and steps out of his sharply creased \n flannel legs. His thighs are thin and pale. \n \n KAY \n Just like going swimming, isn't it? \n \n WHALE \n Maybe you'd like a swim when we're"," From here on out, Boone, you're \n just another tired old face on the \n other side of the bar. \n \n The car screeches away. Clay stumbles across the highway. \n \n EXT. TRAILER PARK - NIGHT \n \n Clay comes to the dump at the end of the canyon. He climbs \n into it, kicking at loose cans. \n \n CLAY"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," Thanks, doll. \n \n BETTY \n (to Harry) \n I say let loverboy watch his \n movie. And be grateful Boone's \n not cutting Shirley Temple's lawn. \n \n CLAY \n Why is everybody giving me crap \n tonight? \n \n DWIGHT \n Jesus, Boone. You come in here \n proud as a peacock because some old"],[" face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," Whale presses his lips to Clay's tattoo. Clay's muscles \n tense from head to toe. \n \n WHALE \n What a solid brute you are. \n \n Whale's tongue moves down Clay's arm. \n \n WHALE \n No? Maybe this, then? \n \n The hand slides over Clay's stomach toward his lap. The \n tattooed arm swings backward, slamming an elbow against"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," concentrates on keeping still, focusing on an open window. \n \n WHALE \n You seem to have no idea how \n handsome you are, Mr. Boone. It \n has to do with how snugly your face \n fits your skull. \n \n Clay wipes a thin line of sweat from his waist. \n \n WHALE \n Would you be more comfortable \n barefoot? Feel free to remove your \n boots and socks. \n"," INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale comes forward as Clay enters, offering a hand at the \n end of a spindly wrist. \n \n WHALE \n How are you, Mr. Boone? So glad \n you are free for lunch. \n \n CLAY \n All right, I guess. \n \n WHALE \n I assume you worked up an appetite"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," Hanna retreats toward the kitchen. Clay steps tentatively \n into the room. \n \n WHALE \n Mr. Boone. You're not due to cut \n the lawn until Wednesday. \n \n CLAY \n I'd like to sit for you again. But \n only if you ease up on the locker \n room talk. Okay? \n \n Whale holds up two fingers, affects an American accent. \n"," Whale lurches from the table. Kay jumps forward, catching \n him under an arm. \n \n KAY \n Oh my God. What's wrong, Mr. \n Whale? Is it your heart? \n \n WHALE \n Head. Not heart. \n \n He leans against Kay, who leads him toward the studio. \n \n WHALE \n Forgive me. \n"," Whale nods, sensing that he's touched a sore spot. \n \n WHALE \n And the fear you showed at our last \n session? How did you overcome \n that? \n \n CLAY \n Not fear. More like disgust. \n \n WHALE \n Same difference, Mr. Boone. \n Disgust, fear of the unknown -- all \n part of the great gulf that stands"," Clay nods, chugs his tea. When he lowers the glass, he \n finds the old man watching him. \n \n WHALE \n You must excuse me for staring, Mr. \n Boone. But you have a marvelous \n head. \n \n CLAY \n Huh? \n \n WHALE \n To an artistic eye, you understand. \n Have you ever modeled? \n \n CLAY"," Whale is suddenly behind him. Clay's vision is enclosed in \n two round windows, so he can't see Whale buckling the second \n strap. \n \n CLAY \n Now what? \n \n Mouth muffled by the inhalator, Clay hears his voice from \n inside his head. Whale comes around to stand in front of \n him. He grins as he steps back to examine Clay. Clay \n nervously taps his knees with his hands."," You have to excuse me, Mr. Boone. \n Since my stroke, I am often \n overcome with nostalgia. \n \n CLAY \n I don't mind. I'm not crazy about \n my old man either. \n \n Whale rubs a hand across his eyes and steps into the open. \n \n WHALE \n Why don't we break for five \n minutes? You probably want to"," WHALE \n Scout's honor. \n \n Clay smiles. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale and Boone are back in their familiar positions. An \n empty glass of beer sits on the floor next to Clay. \n \n WHALE \n I'm curious, Mr. Boone. What \n convinced you to come back? \n \n CLAY"],[" Clay snatches Whale's wrist before it can touch his crotch. \n With his other hand he picks up the heavy crystal decanter. \n \n CLAY \n What the hell do you want from me?! \n \n Whale tilts his face up for another blow. \n \n WHALE \n <u>I want you to kill me</u>. \n \n Clay freezes. He stares down at the old man with white hair"," WHALE \n No, I don't want to die alone. But \n to be killed by you -- that would \n make death bearable. They say you \n never see the one with your name on \n it. But I want to see death coming \n at me. I want it to be sharp and \n hard, with a human face. Your \n face. Think, Clayton. You'd be my"," Whale offers a melancholy smile. \n \n WHALE \n I think I'll just rest for a \n moment. \n \n The man shrugs, disappears into the shadows. We move \n across the room and through the door... \n \n EXT. WHALE'S HOUSE - NIGHT \n \n Whale sits in a director's chair, a martini in one hand, a \n cigar in the other, a harmless old uncle watching young men"," WHALE \n Certainly, Mr. Kay. Is there \n anything in particular you want to \n know? \n \n KAY \n Will you tell me everything you \n remember about making \n \"Frankenstein\"? \n \n He glances down at his few remaining articles of clothing. \n \n KAY \n Can that count as one question? \n \n WHALE \n Of course. \n"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," Tell me something, Clayton. Do \n you believe in mercy killing? \n \n CLAY \n Never gave it much thought. \n \n WHALE \n Come now. I'm sure you came across \n such situations in Korea. A \n wounded comrade, or perhaps one of \n the enemy? Someone for whom death \n would be a blessing. \n \n Clay stops chewing. He stares down at his plate."," He is not going to kill the old \n man? \n \n WHALE \n No, Hanna. My heart isn't that \n black. \n \n In a crypt, the Monster meets Dr. Pretorius, who is having a \n midnight snack on top of a closed coffin. \"Friend?\" the \n monster asks. \"Yes, I hope so,\" answers Pretorius, without"," WHALE \n It isn't working. The experiment \n is a failure. \n \n Clay glances down at Whale, whose breathing is slowing. \n Realizing that the new brain hasn't taken: \n \n CLAY \n Just go to sleep. \n \n A serenity suffuses Whale's features as he stares up at the \n pale flicker of lightning. His breathing finally stops, his"," The Monster is heartbroken. Nobody loves him, not even his \n Bride. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n The Bride shrieks again. \n \n HANNA \n She is horrible. \n \n WHALE \n She is beautiful. \n \n The Monster's pain turns to anger. He tears through the"," and wild eyes lying beneath him. \n \n WHALE \n Break my neck. Or strangle me. It \n would be oh so easy to wrap your \n hands around my neck and choke the \n life out of me. Please, Clayton. \n We've come this far. \n \n CLAY \n You're crazy. \n \n Whale's eyes glimmer in the sporadic bursts of lightning. \n"," Whale lurches from the table. Kay jumps forward, catching \n him under an arm. \n \n KAY \n Oh my God. What's wrong, Mr. \n Whale? Is it your heart? \n \n WHALE \n Head. Not heart. \n \n He leans against Kay, who leads him toward the studio. \n \n WHALE \n Forgive me. \n"," How long were you...? \n \n WHALE \n Twenty years. Too long. We were \n like a play whose run outlasted the \n cast's ability to keep it fresh. \n So I finally decided to close down \n the show. \n \n Whale places a pill on his tongue and swallows. He fixes \n Clay with a pinched smile. \n \n WHALE"," WHALE \n One likes to live simply. \n \n KAY \n I know. People's movies aren't \n their lives. \n \n He suddenly growls out an imitation of Boris Karloff. \n \n KAY \n Love dead. Hate living. \n \n Kay laughs, a high, girlish giggle. Whale fights a cringe \n with a polite smile. \n \n KAY"," Why are you here? What do you want \n from me? \n \n CLAY \n You asked me to model. Remember? \n \n WHALE \n Of course I remember. Do you think \n I'm so senile -- \n \n Whale stands over Clay. His pale face turns left, right, \n looking at Clay with one cold eye, then the other. Clay \n returns the gaze, worried for Whale. \n"," WHALE \n I have a proposal, Mr. Kay. This \n mode of questioning is getting old, \n don't you think? \n \n KAY \n I don't mind. \n \n WHALE \n Let's make it more interesting. I \n will answer any question you ask. \n But, for each answer, you must \n remove one article of clothing. \n"," Whale's skull. Clay jumps from the chair, knocking into an \n end table. The glass and crystal decanter fall to the \n floor. The lamp spills over and the room goes dark. \n \n Clay's ankle is caught by the sofa leg and he hits the \n floor, jamming the inhalator against his mouth. He quickly \n gets up, on his knees and elbows, pulling at the mask. \n Flashes of lightning strobe the room as Whale collapses over"," Please. Excuse me. I must go \n lie -- \n \n He forces himself up with one hand. Kay finally looks up, \n notices Whale's colorless lips and desperate eyes. \n \n KAY \n Mr. Whale? Are you all right? \n \n WHALE \n I just need to -- lie down. \n Studio. Daybed in studio. \n"," CLAY \n Mr. Whale? Are you okay? \n \n Whale turns away. He yanks out a handkerchief. \n \n WHALE \n Stupid. Very stupid. What have I \n been thinking? \n \n He sits on the daybed and bends over, covering both eyes \n with the handkerchief. \n \n WHALE \n Just go. Please. Why don't you"," relieves himself with the other. \n \n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \n \n Whale sits up in bed, staring dumbly at the morning paper. \n Hanna reaches in to take away the breakfast tray. \n \n WHALE \n Does the yardman come today? \n \n HANNA \n Of course. This afternoon. \n \n A thin smile forms on Whale's face. \n"," Whale eats lunch off a TV tray. His attention remains \n focused on \"Queen for a Day\" as Hanna clomps into the room \n behind him. \n \n WHALE \n Who was that at the door? \n \n HANNA \n A visitor. \n \n Whale turns. His face registers surprise when he sees Clay. \n \n WHALE \n Thank you, Hanna. That will be \n all."],[" comfort me. \n \n On the tv screen, the old man starts to cry, then collapses \n onto the Monster's chest. A thick tear rolls down the \n Monster's cheek. \n \n Clay Boone sits on the sofa, a baby on his lap. He's 40 \n now, his hair starting to thin but still closely cropped at \n the top and sides. \n \n On the tv, daylight fills the hut. The blind man and the"," INT. SUBURBAN HOUSE - NIGHT (1972) \n \n MICHAEL BOONE, 10, lies on the living room carpet, staring \n raptly at the movie playing on the large Zenith console. \n The house is small but tidy and comfortable. \n \n BLIND MAN (O.S.) \n It's been a long time since any \n human being came into this hut. I \n shall look after you. And you will"," CLAY \n (explodes) \n We're watching the movie, Harry. \n You got that! We are watching my \n fucking movie. \n \n HARRY \n Calm down, Clay. Just calm down. \n We'll watch it. \n \n CLAY \n Good. Fine. \n \n Harry reaches up, turns on a battered Motorola. On the tv,"," Thanks, doll. \n \n BETTY \n (to Harry) \n I say let loverboy watch his \n movie. And be grateful Boone's \n not cutting Shirley Temple's lawn. \n \n CLAY \n Why is everybody giving me crap \n tonight? \n \n DWIGHT \n Jesus, Boone. You come in here \n proud as a peacock because some old"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," A baseball-capped head is visible through the louvered glass \n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \n squints to see inside. \n \n CLAY \n I'm up. Thanks. \n \n DWIGHT \n Hasta la vista, Boone. And give \n the jail bait a squeeze for me. \n \n Clay glances over, seems surprised to see a naked back"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," From here on out, Boone, you're \n just another tired old face on the \n other side of the bar. \n \n The car screeches away. Clay stumbles across the highway. \n \n EXT. TRAILER PARK - NIGHT \n \n Clay comes to the dump at the end of the canyon. He climbs \n into it, kicking at loose cans. \n \n CLAY"," MONSTER \n Friend, good. \n \n The blind man nods. On the sofa, Clay watches his son watch \n the movie. \n \n INT. LIVING ROOM - NIGHT (LATER) \n \n A color promo for \"Chiller Theater\" fills the screen. Clay \n turns off the set. \n \n CLAY \n Time for bed, sport. \n \n Michael groans, slowly stands. \n"," Hey! Some of us are watching a \n movie! \n \n SAYLOR \n Go ahead. Free country. \n \n Clay jumps from his stool. Saylor sees him coming, steps \n aside. \n \n SAYLOR \n You want me to turn it down? \n \n Clay slams the heel of his hand against Saylor's chest. The"," (refusing to be \n sidetracked) \n And your lighting and camera \n angles. You're got to go back to \n German silent movies to find \n anything like it. \n \n EXT. WHALE'S HOUSE - UPPER PATIO - DAY \n \n Clay Boone gulps some water from the garden hose. He \n glances down at the pool, where Kay and Whale sit in \n cast-iron chairs. \n"," WHALE \n Scout's honor. \n \n Clay smiles. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale and Boone are back in their familiar positions. An \n empty glass of beer sits on the floor next to Clay. \n \n WHALE \n I'm curious, Mr. Boone. What \n convinced you to come back? \n \n CLAY"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," A FIST \n \n which smashes against sheet metal. \n \n INT. CLAY'S TRAILER - DAY \n \n Clay Boone's eyes dart open. \n \n DWIGHT (O.S.) \n Boone! You awake? Eight o'clock. \n \n CLAY \n Fuck off! \n \n DWIGHT (O.S.) \n You told me to get you up, asshole. \n"," makeshift village for beach bums. \n \n INT. TRAILER - DAY \n \n CLAYTON BOONE opens his eyes. He is 26, handsome in a \n rough-hewn, Chet Baker-like way, with broad shoulders and a \n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \n lights a bent cigarette. \n \n Clay stands and walks bare-assed across the single tin room,"," Dwight nods, a little coolly. \n \n DWIGHT \n Hey, Boone. \n \n CLAY \n Have a drink? \n \n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \n hand on his shoulder. Dwight shrugs, heads toward the door. \n \n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," HARRY \n You're like a dog with a bone over \n this movie, Clay. \n \n CLAY \n I just want to watch it, okay? \n \n On the tv, the blind man thanks God for sending him a \n friend. \n \n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \n \n Hanna's frown pops open. \n \n HANNA"," Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"],[" Whale continues to smile, slyly. \n \n WHALE \n What are you afraid of, Mr. Boone? \n Certainly not a frail old man like \n me. \n \n Clay has no answer. He gives in with a sigh. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay sits sideways on the chair again. Whale stands at the \n easel. \n \n CLAY"," WILLIAM WHALE \n Straighten up, son. \n \n Young Whale's movements thicken into a dim imitation of \n manly reserve. The Whale family marches up a steeply \n mounting street to Dixon's Green Methodist Church. \n \n INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale's eyes tighten. He focuses on Clay Boone as he peels"," told David. I never even \n remembered it until you got me \n going. \n \n CLAY \n You're the one who started it. \n \n WHALE \n You're very clever, Mr. Boone. You \n just sit there and let me talk. \n What a sorry old man, you're \n thinking. What a crazy old poof. \n (comes closer)"," CLAY \n (not looking up) \n Mornin'. \n \n WHALE \n My name is Whale. This is my \n house. \n \n CLAY \n Nice place. \n \n WHALE \n And your name is --? \n \n CLAY \n Boone. Clayton Boone. \n \n WHALE"," Of course. I don't want to scare \n you off. Not before I'm finished \n with you. \n \n Whale glides behind the easel. The pencils rattle in the \n tray. \n \n WHALE \n Tell me more about yourself, Mr. \n Boone. You have a steady \n companion? \n \n CLAY \n Not at the moment. \n"," Is this David's doing? \n \n CLAY \n This David's a friend? \n \n WHALE \n Yes. An old, useless friend. You \n must excuse me, Mr. Boone. This is \n a world I finished with long ago. \n I pay them no mind and expect them \n to return the compliment. \n (a deep breath) \n Lunch should be ready. Shall we? \n"," INT. WHALE'S HOUSE - BEDROOM - DAY \n \n Whale and Hanna go through the closet together. \n \n HANNA \n Mr. Boone. He is an interesting \n friend. \n \n WHALE \n I'd hardly call our yardman a \n friend. \n \n HANNA \n No. But someone you can talk to. \n"," Whale peers out from behind the square of paper. He pales \n when he sees his father William, his face covered with \n grime, glaring at him from across the room. Whale retreats \n behind the pad, takes a breath. \n \n CLAY (O.S.) \n Mr. Whale? \n \n Relief floods Whale's face. He looks out, smiles at Clay. \n \n WHALE"," Whale nods, sensing that he's touched a sore spot. \n \n WHALE \n And the fear you showed at our last \n session? How did you overcome \n that? \n \n CLAY \n Not fear. More like disgust. \n \n WHALE \n Same difference, Mr. Boone. \n Disgust, fear of the unknown -- all \n part of the great gulf that stands"," INT. WHALE'S HOUSE - LIVING ROOM - DAY \n \n Whale comes forward as Clay enters, offering a hand at the \n end of a spindly wrist. \n \n WHALE \n How are you, Mr. Boone? So glad \n you are free for lunch. \n \n CLAY \n All right, I guess. \n \n WHALE \n I assume you worked up an appetite"," The mower slips out of Clay's hands momentarily. he looks \n around, spots Whale inside the studio. \n \n WHALE \n Everything alright, Mr. Boone? \n \n CLAY \n Just got away from me. Sorry to \n disturb you. \n \n The screen door squeaks open, clatters shut. A leather \n slipper and rubber-tipped cane appear. Whale strolls into"," You have to excuse me, Mr. Boone. \n Since my stroke, I am often \n overcome with nostalgia. \n \n CLAY \n I don't mind. I'm not crazy about \n my old man either. \n \n Whale rubs a hand across his eyes and steps into the open. \n \n WHALE \n Why don't we break for five \n minutes? You probably want to"," slowly closes over them. \n \n CLAY \n I better get you home before you \n catch your death from pneumonia. \n \n WHALE \n Catch my death. \n \n Clay glances over, sees Whale sitting very wet and rigid, \n staring straight ahead. \n \n CLAY \n You all right, Mr. Whale? \n \n Whale blinks, slowly turns. There is a cracked look in his"," Clay hoses the crumbs of grass off his arms. He dries his \n hands and arms with his hat, then wads it up and stuffs it \n into his shirt to wipe out his armpits. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Clay stands at the screen door. \n \n WHALE \n Come in, Mr. Boone. \n \n Whale sits on a daybed, next to a pile of newspapers. He"," face for the first time. It is Clay Boone, dressed in a \n Marine parade uniform. He uses his hedge clippers to cut \n the chains from around Whale's chest. \n \n WHALE \n Thank you. Thank you so much. \n \n Clay leans down and takes Whale in his arms, cradling him \n like a child. They move across the sound stage -- Clay \n carefully sidestepping the lights and cables on the floor --"," swagger and splash in the pool. \n \n WHALE \n I think we're ready to go. \n \n He glances over, sees Clay in plaid bathing trunks, sitting \n apart from the others. He is puffing on a Camel. \n \n WHALE \n You're up, Mr. Boone. \n \n Clay ignores him. Whale puts down his martini and cigar,"," Clay nods, chugs his tea. When he lowers the glass, he \n finds the old man watching him. \n \n WHALE \n You must excuse me for staring, Mr. \n Boone. But you have a marvelous \n head. \n \n CLAY \n Huh? \n \n WHALE \n To an artistic eye, you understand. \n Have you ever modeled? \n \n CLAY"," WHALE \n Scout's honor. \n \n Clay smiles. \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale and Boone are back in their familiar positions. An \n empty glass of beer sits on the floor next to Clay. \n \n WHALE \n I'm curious, Mr. Boone. What \n convinced you to come back? \n \n CLAY"," WHALE \n Yes, yes, yes. I merely invited \n Mr. Boone in for a glass of tea. \n We'll have a brief chat and he'll \n finish the yard. \n \n HANNA \n I am not forgetting your last brief \n chat. \n \n WHALE \n Just go. We can manage without \n you. \n \n Hanna stares up at Clay. \n"," and trusted me. \n \n Whale reaches over and lays his arm across Barnett's \n shoulder. Barnett smiles timidly at him. We CUT TO: \n \n INT. WHALE'S HOUSE - STUDIO - DAY \n \n Whale leans forward, completely disoriented. His eyes fix \n on Clay, the white eyebrows screwed down, until he is able \n to recognize the face. \n \n WHALE"]],"string":"[\n [\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" WHALE \\n Scout's honor. \\n \\n Clay smiles. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale and Boone are back in their familiar positions. An \\n empty glass of beer sits on the floor next to Clay. \\n \\n WHALE \\n I'm curious, Mr. Boone. What \\n convinced you to come back? \\n \\n CLAY\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale comes forward as Clay enters, offering a hand at the \\n end of a spindly wrist. \\n \\n WHALE \\n How are you, Mr. Boone? So glad \\n you are free for lunch. \\n \\n CLAY \\n All right, I guess. \\n \\n WHALE \\n I assume you worked up an appetite\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" Clay nods, chugs his tea. When he lowers the glass, he \\n finds the old man watching him. \\n \\n WHALE \\n You must excuse me for staring, Mr. \\n Boone. But you have a marvelous \\n head. \\n \\n CLAY \\n Huh? \\n \\n WHALE \\n To an artistic eye, you understand. \\n Have you ever modeled? \\n \\n CLAY\",\n \" I'm game. Sure. \\n \\n WHALE \\n Very good, Clayton. May I call you \\n Clayton? Or do you prefer Boone? \\n \\n CLAY \\n Clayton is fine. \\n \\n Whale smiles gently. \\n \\n EXT. OCEAN PROMENADE - DUSK \\n \\n The sun is setting over the Pacific. Clay stands in a phone \\n booth on the strand. \\n\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" Whale offers a melancholy smile. \\n \\n WHALE \\n I think I'll just rest for a \\n moment. \\n \\n The man shrugs, disappears into the shadows. We move \\n across the room and through the door... \\n \\n EXT. WHALE'S HOUSE - NIGHT \\n \\n Whale sits in a director's chair, a martini in one hand, a \\n cigar in the other, a harmless old uncle watching young men\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" That shirt, Mr. Boone. \\n \\n CLAY \\n It's new. \\n \\n WHALE \\n I'm sorry. It's too white, too \\n distracting. Would it be asking \\n too much for you to take it off? \\n \\n CLAY \\n I'm not wearing an undershirt. \\n \\n WHALE\",\n \" charge extra if I include a hand or \\n a bit of shoulder. \\n \\n CLAY \\n You don't want to draw pictures of \\n me in my birthday suit, right? \\n \\n WHALE \\n I have no interest in your body, \\n Mr. Boone. I can assure you of \\n that. \\n \\n Clay takes a moment to size up Whale -- whose innocent, \\n slightly befuddled smile makes him appear about as\",\n \" relieves himself with the other. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \\n \\n Whale sits up in bed, staring dumbly at the morning paper. \\n Hanna reaches in to take away the breakfast tray. \\n \\n WHALE \\n Does the yardman come today? \\n \\n HANNA \\n Of course. This afternoon. \\n \\n A thin smile forms on Whale's face. \\n\"\n ],\n [\n \" The Monster is heartbroken. Nobody loves him, not even his \\n Bride. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n The Bride shrieks again. \\n \\n HANNA \\n She is horrible. \\n \\n WHALE \\n She is beautiful. \\n \\n The Monster's pain turns to anger. He tears through the\",\n \" Monster share a meal. \\n \\n BLIND MAN \\n We are friends, you and I. \\n Friends. \\n \\n MONSTER \\n Friends. \\n \\n BLIND MAN \\n Before you came, I was all alone. \\n It is bad to be alone. \\n \\n MONSTER \\n Alone, bad. Friend, good. \\n \\n He takes the old man's hand. \\n\",\n \" Neither of us really belongs here. \\n \\n CLAY \\n Must have been funny for you. \\n Seeing your monsters again. \\n \\n WHALE \\n Monsters? The only monsters... \\n (closes his eyes) \\n ...are here. \\n \\n Across the lawn, conversation has stopped. Birdlike shrieks \\n come from all directions. \\n \\n CLAY\",\n \" Who is it? You're welcome, my \\n friend, whoever you are. \\n \\n The Monster attempts to communicate, manages only a \\n plaintive moan. The blind man stands. \\n \\n BLIND MAN \\n I cannot see you. I cannot see \\n anything. You must please excuse \\n me. But I am blind. \\n \\n The Monster holds out his burned hands. \\n \\n BLIND MAN\",\n \" Elsa Lanchester, as the Monster's Bride, looks up, down, \\n left, right, startled to be alive. The Monster stares at \\n her. \\\"Friend?\\\" he asks, tenderly, desperately. \\n \\n EXT. COUNTRYSIDE - NIGHT (B & W) \\n \\n Lightning splits the black-and-white sky, revealing a single \\n shattered oak in a desolate landscape. Below, a HUMAN\",\n \" and sipping his Scotch. Whale sketches from a wing chair \\n across the room. \\n \\n CLAY \\n Storm's getting worse. \\n \\n WHALE \\n \\\"A perfect night for mystery and \\n horror. The air itself is filled \\n with monsters.\\\" \\n \\n CLAY \\n That's from your movie, right? \\n \\\"The only monsters are here.\\\" \\n \\n WHALE\",\n \" Come in, my poor friend. No one \\n will hurt you here. If you're in \\n trouble, perhaps I can help you. \\n \\n The old man touches the Monster, who recoils with a \\n defensive growl. \\n \\n BLIND MAN \\n Can you not speak? It's strange. \\n Perhaps you're afflicted too. I \\n cannot see and you cannot speak. \\n\",\n \" On the tv, Dr. Pretorius (played by Ernest Thesiger) \\n delivers a toast with inimitably ripe enunciation: \\\"To a \\n new world of gods and monsters!\\\" Dwight and Harry and \\n Betty all laugh. \\n \\n BETTY \\n These old movies are such a hoot. \\n They thought they were being scary, \\n but they're just funny. \\n \\n CLAY\",\n \" Oh, that monster. How could you be \\n working with him? \\n \\n WHALE \\n Don't be silly, Hanna. He's a very \\n proper actor. And the dullest \\n fellow imaginable. \\n \\n Minnie flees in a bowlegged jig up the hill. Whale smiles \\n again. \\n \\n INT. HARRY'S BEACHCOMBER - NIGHT \\n\",\n \" The Monster growls out an inarticulate greeting. He picks \\n up the box and hands it to Whale. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Whale removes the lid, sets the hatbox on the sofa. \\n \\n WHALE \\n I would like you to wear this? \\n \\n Whale steps back. Clay takes the box and covers his lap \\n with it. He lifts out the gas mask.\",\n \" house, the car... \\n \\n Clay's body starts to tremble. \\n \\n WHALE \\n Do it now, Clayton. Make me \\n invisible. \\n \\n Clay lets out a howl -- his shoulders heave and shake. \\n \\n CLAY \\n I am not your monster. \\n \\n He climbs off Whale, crawls away, his body collapsing in\",\n \" Not bad. Two down and it's just \\n started. \\n \\n Minnie, a hatchet-faced woman with fluttering ribbons, is \\n now alone with the Monster. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Whale and Hanna are in bathrobes and slippers, and there is \\n a glass of milk and a plate of cookies on Whale's TV tray.\",\n \" INT. HARRY'S BEACHCOMBER - NIGHT \\n \\n Finally, the Bride comes to life. She looks up, down, left, \\n right, uncertain who she is. The Monster stares \\n tenderly. \\\"Friend?\\\" He timidly touches her arm and she \\n screams. \\n \\n BETTY \\n All right! You don't want <u>him</u>. \\n\",\n \" dinosaurs. \\n \\n KAY \\n Don't think that, Mr. Whale. I \\n love your movies. That's why I \\n wanted you to come to this. So I \\n could see you with your monsters. \\n \\n WHALE \\n My monsters? \\n \\n KAY \\n Don't go away. \\n \\n Whale tries to do just that, but finds himself caught in the\",\n \" batting an eyelash. He offers the Monster a drink, then \\n adds: \\\"Have a cigar. They're my only weakness.\\\" \\n \\n WHALE \\n The cigars were my own brand. So \\n that I could have the leftovers. \\n \\n On the tv, the Monster groans: \\\"Love dead. Hate living.\\\" \\n Whale's focus sharpens, prompted by the unexpected \\n discussion of death. \\n\",\n \" INT. WHALE'S HOUSE - DINING ROOM - NIGHT \\n \\n Whale passes quickly through the dining room and out to the \\n kitchen. \\n \\n INT. WHALE'S HOUSE - GARAGE - NIGHT \\n \\n Whale reaches for the hatbox, which sits on top of a garbage \\n can. Suddenly a large hand appears on the box. Whale gasps \\n when a flash of lightning reveals the face of the Monster. \\n\",\n \" He is not going to kill the old \\n man? \\n \\n WHALE \\n No, Hanna. My heart isn't that \\n black. \\n \\n In a crypt, the Monster meets Dr. Pretorius, who is having a \\n midnight snack on top of a closed coffin. \\\"Friend?\\\" the \\n monster asks. \\\"Yes, I hope so,\\\" answers Pretorius, without\",\n \" flaming wreckage of a mill. \\n \\n BETTY \\n This looks corny. \\n \\n CLAY \\n Go wash glasses if you don't like \\n it. \\n \\n In a flooded crater under the mill, the Monster kills an old \\n man. He climbs up, flips the man's wife into the pit below. \\n An owl blinks impassively. \\n \\n DWIGHT\",\n \" Frankenstein.\\\" Whale sits in a massive chair, straining \\n against thick iron chains, as a lightning storm rages \\n outside. In the distance, heavy footsteps, coming closer, \\n until the cell door is filled with the silhouette of the \\n Monster. Whale hardly dares to breathe as the Monster rips \\n off the door and enters the cell. \\n \\n The Monster steps into the light, allowing us to see his\",\n \" story, and wanted me so baldly -- I \\n mean badly, not baldly. I was \\n given the pick of stories being \\n developed, and I picked that one. \\n \\n KAY \\n Who came up with the Monster's \\n makeup and look? \\n \\n WHALE \\n My idea. Muchly. My sketches. \\n Big heavy brow. Head flat on top \\n so they could take out the old\"\n ],\n [\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" comfort me. \\n \\n On the tv screen, the old man starts to cry, then collapses \\n onto the Monster's chest. A thick tear rolls down the \\n Monster's cheek. \\n \\n Clay Boone sits on the sofa, a baby on his lap. He's 40 \\n now, his hair starting to thin but still closely cropped at \\n the top and sides. \\n \\n On the tv, daylight fills the hut. The blind man and the\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" DWIGHT \\n Damn but it's getting drunk in \\n here. Late too. The bride of \\n Dwight is going to bite my head \\n off. \\n \\n He tilts toward the door. \\n \\n DWIGHT \\n You coming, Boone? \\n \\n CLAY \\n I think I'll hang around. \\n \\n HARRY\",\n \" Dwight nods, a little coolly. \\n \\n DWIGHT \\n Hey, Boone. \\n \\n CLAY \\n Have a drink? \\n \\n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \\n hand on his shoulder. Dwight shrugs, heads toward the door. \\n \\n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s\",\n \" INT. SUBURBAN HOUSE - NIGHT (1972) \\n \\n MICHAEL BOONE, 10, lies on the living room carpet, staring \\n raptly at the movie playing on the large Zenith console. \\n The house is small but tidy and comfortable. \\n \\n BLIND MAN (O.S.) \\n It's been a long time since any \\n human being came into this hut. I \\n shall look after you. And you will\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" From here on out, Boone, you're \\n just another tired old face on the \\n other side of the bar. \\n \\n The car screeches away. Clay stumbles across the highway. \\n \\n EXT. TRAILER PARK - NIGHT \\n \\n Clay comes to the dump at the end of the canyon. He climbs \\n into it, kicking at loose cans. \\n \\n CLAY\",\n \" Thanks, doll. \\n \\n BETTY \\n (to Harry) \\n I say let loverboy watch his \\n movie. And be grateful Boone's \\n not cutting Shirley Temple's lawn. \\n \\n CLAY \\n Why is everybody giving me crap \\n tonight? \\n \\n DWIGHT \\n Jesus, Boone. You come in here \\n proud as a peacock because some old\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" (refusing to be \\n sidetracked) \\n And your lighting and camera \\n angles. You're got to go back to \\n German silent movies to find \\n anything like it. \\n \\n EXT. WHALE'S HOUSE - UPPER PATIO - DAY \\n \\n Clay Boone gulps some water from the garden hose. He \\n glances down at the pool, where Kay and Whale sit in \\n cast-iron chairs. \\n\",\n \" A FIST \\n \\n which smashes against sheet metal. \\n \\n INT. CLAY'S TRAILER - DAY \\n \\n Clay Boone's eyes dart open. \\n \\n DWIGHT (O.S.) \\n Boone! You awake? Eight o'clock. \\n \\n CLAY \\n Fuck off! \\n \\n DWIGHT (O.S.) \\n You told me to get you up, asshole. \\n\",\n \" people come and go? Movie stars? \\n \\n HANNA \\n No. We live simply, Mr. Jimmy and \\n I. People come to play bridge. \\n And now and then, young men to \\n swim. You have people, Boone? \\n \\n CLAY \\n You mean family? All in Joplin, \\n Missouri. \\n \\n HANNA \\n Your wife? \\n\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" the bar with the owner, HARRY, a balding hep cat with a \\n scraggly tuft of beard. And, in a booth, KID SAYLOR, a \\n cocky 20-year-old, necking with a pony-tailed TEENAGER. \\n \\n CLAY \\n I liked it. You learn stuff \\n listening to old-timers. \\n \\n DWIGHT \\n (to Harry)\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" Whale nods, sensing that he's touched a sore spot. \\n \\n WHALE \\n And the fear you showed at our last \\n session? How did you overcome \\n that? \\n \\n CLAY \\n Not fear. More like disgust. \\n \\n WHALE \\n Same difference, Mr. Boone. \\n Disgust, fear of the unknown -- all \\n part of the great gulf that stands\"\n ],\n [\n \" I had no idea you'd be here. \\n \\n She seizes Whale's hand in her little white gloves. \\n \\n PRINCESS MARGARET \\n How are you? \\n \\n WHALE \\n (taken aback) \\n Fine. Quite fine. And Your Royal \\n Highness? \\n \\n PRINCESS MARGARET \\n Splendid. Now that I know you're\",\n \" Ma'am, may I present Mr. Clayton \\n Boone? \\n \\n Clay steps forward to shake hands. \\n \\n WHALE \\n My gardener, who insisted I bring \\n him today. He so wanted to meet \\n royalty. \\n \\n Cukor's face goes blank with indignation. \\n \\n CLAY \\n Pleased to meet you. \\n \\n PRINCESS MARGARET\",\n \" woman in a white dress with polka dots. GEORGE CUKOR and \\n PRINCESS MARGARET. \\n \\n WHALE \\n Let's get this over with quickly. \\n \\n Whale forgets to remove his hat when he comes forward. \\n Before he can give Cukor their names Princess Margaret's \\n polite smile bursts open in a joyful display of teeth. \\n \\n PRINCESS MARGARET\",\n \" around. \\n \\n Standing beside him, Clay is clearly impressed that Whale \\n knows a princess. \\n \\n PRINCESS MARGARET \\n Can we get together while I'm in \\n town? I so badly want to sit for \\n you again. \\n \\n WHALE \\n Sit? \\n \\n PRINCESS MARGARET \\n I've changed my hair, you see.\",\n \" PRINCESS MARGARET \\n (laughs) \\n I am such a goose. I mistook you \\n for Cecil Beaton. It's the hat. \\n You're wearing one of Cecil's hats, \\n you know. \\n \\n Whale attempts to chuckle while he fights a feeling of \\n humiliation. He turns to Cukor for help. \\n \\n WHALE\",\n \" WHALE \\n How would you like to come to a \\n party with me? A reception for \\n Princess Margaret. \\n \\n CLAY \\n \\n I thought you weren't going. \\n \\n WHALE \\n If you don't mind driving, I'd like \\n to take you as my guest. There \\n should be lots of pretty starlets \\n to keep you amused. \\n \\n CLAY\",\n \" Since our last session. Those old \\n snaps look rather dowdy now. \\n \\n Whale realizes she's mistaken him for someone else. He tugs \\n his sunglasses down his nose so she can see his eyes. \\n \\n PRINCESS MARGARET \\n Oh dear. Have I made a blunder? \\n \\n WHALE \\n Ma'am, the pleasure is all mine. James \\n Whale. \\n\",\n \" the home of...Mr. George Cukor! \\n \\n His lips smack open in disgust. \\n \\n WHALE \\n That pushy little -- horning in on \\n the Queen's sister, then offering \\n to share her with the whole damn \\n raj? I live in this country to get \\n away from this rubbish! \\n \\n He tosses the invitation on the table. \\n \\n WHALE\",\n \" CLAY \\n Go ahead. \\n \\n Clay looks off while Whale opens the envelope. \\n \\n WHALE \\n Hmmm? Princess Margaret? \\n \\n He is examining a folded card. He rubs a thumb over the \\n printed lettering. \\n \\n WHALE \\n Her Majesty's Loyal Subjects in the \\n Motion Picture Industry... \\n Cordially invited...Reception at\",\n \" I think I'll go look at Elizabeth \\n Taylor. \\n \\n He hurries off. \\n \\n WHALE \\n You should have seen Georgie's face \\n when he met Clayton. \\n \\n DAVID \\n You didn't, Jimmy. \\n \\n WHALE \\n I did. But Princess Margaret was a \\n doll. We're all equals in her\",\n \" earnestly over his script. Thesiger pinches his face over \\n the needle he dips in and out of an embroidery ring. \\n \\n Whale comes on the set with Elsa on his arm. She walks \\n regally beside him, the train of her long white robe thrown \\n over one arm. There's a wolf whistle from overhead, and \\n applause, causing Elsa to curtsy to her admirers. Thesiger\",\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" I came for the sake of my visiting \\n niece. Alice. And Miranda, my \\n great-niece. \\n \\n His huge hand lifts the blanket in Alice's arms, revealing a \\n bald infant with enormous blue eyes. Karloff gurgles and \\n coos at the child. \\n \\n ELSA LANCHESTER \\n And what do you make of our royal \\n visitant? \\n\",\n \" Mr....Kay? \\n \\n KAY \\n Bet you thought you'd never see me \\n again. I didn't know if you'd be \\n well enough to come to this party. \\n \\n WHALE \\n You didn't? \\n \\n KAY \\n I'm the one who got you on Mr. \\n Cukor's guest list. \\n \\n WHALE\",\n \" Quite. I adore gardens. \\n \\n Whale narrows his eyes at Cukor and sharpens his smile. \\n \\n WHALE \\n He's never met a princess. Only \\n queens. \\n \\n Cukor puffs out his chest, quivers a bulbous lower lip at \\n Whale. \\n \\n WHALE \\n George, Ma'am, this has been an \\n honor. An occasion to remember for\",\n \" No. The girl. \\n \\n WHALE \\n Girl? Oh. Elizabeth Taylor. \\n \\n Clay watches in amazement as ELIZABETH TAYLOR waves to \\n someone and pipes out a happy hello. She hurriedly unties \\n her scarf, thrusts it at David and runs off on tiptoes to \\n embrace a woman. \\n \\n CLAY \\n Is that really her? \\n \\n WHALE\",\n \" Kay peels off the shirt and tosses it on his shoes and \\n sweater. \\n \\n WHALE \\n George is famous for his Saturday \\n dinner parties. Great artists, \\n writers, society folk, all rubbing \\n elbows with Hollywood royalty. But \\n how many of those oh-so-proper \\n people know about the Sunday \\n brunches that follow? Gatherings \\n of trade eating leftovers, followed\",\n \" story indeed. \\n \\n Whale lifts his glass in a toast. Clay empties his glass of \\n beer. He motions toward the decanter. \\n \\n CLAY \\n Do you mind? \\n \\n WHALE \\n Not at all. \\n \\n He hands the decanter to Clay. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Clay sits in a straight-backed chair, smoking a cigarette\",\n \" Oh dear. \\n \\n Karloff, age 70, comes reluctantly, followed by his niece \\n ALICE, a bashful young woman who carried a blanket-wrapped \\n bundle. \\n \\n ELSA LANCHESTER \\n Boris, darling. I didn't know you \\n were here. These public revels are \\n hardly up your alley. \\n \\n BORIS KARLOFF\",\n \" DAVID \\n Well the rest of us aren't. Can't \\n you remember that? \\n \\n WHALE \\n No. I never could. You must \\n regret having had the invitation \\n sent. \\n \\n David is looking over Whale's shoulder. \\n \\n DAVID \\n I didn't ask George to invite you. \\n \\n WHALE \\n Then who did? \\n\"\n ],\n [\n \" WHALE \\n How would you like to come to a \\n party with me? A reception for \\n Princess Margaret. \\n \\n CLAY \\n \\n I thought you weren't going. \\n \\n WHALE \\n If you don't mind driving, I'd like \\n to take you as my guest. There \\n should be lots of pretty starlets \\n to keep you amused. \\n \\n CLAY\",\n \" I had no idea you'd be here. \\n \\n She seizes Whale's hand in her little white gloves. \\n \\n PRINCESS MARGARET \\n How are you? \\n \\n WHALE \\n (taken aback) \\n Fine. Quite fine. And Your Royal \\n Highness? \\n \\n PRINCESS MARGARET \\n Splendid. Now that I know you're\",\n \" Ma'am, may I present Mr. Clayton \\n Boone? \\n \\n Clay steps forward to shake hands. \\n \\n WHALE \\n My gardener, who insisted I bring \\n him today. He so wanted to meet \\n royalty. \\n \\n Cukor's face goes blank with indignation. \\n \\n CLAY \\n Pleased to meet you. \\n \\n PRINCESS MARGARET\",\n \" woman in a white dress with polka dots. GEORGE CUKOR and \\n PRINCESS MARGARET. \\n \\n WHALE \\n Let's get this over with quickly. \\n \\n Whale forgets to remove his hat when he comes forward. \\n Before he can give Cukor their names Princess Margaret's \\n polite smile bursts open in a joyful display of teeth. \\n \\n PRINCESS MARGARET\",\n \" around. \\n \\n Standing beside him, Clay is clearly impressed that Whale \\n knows a princess. \\n \\n PRINCESS MARGARET \\n Can we get together while I'm in \\n town? I so badly want to sit for \\n you again. \\n \\n WHALE \\n Sit? \\n \\n PRINCESS MARGARET \\n I've changed my hair, you see.\",\n \" Since our last session. Those old \\n snaps look rather dowdy now. \\n \\n Whale realizes she's mistaken him for someone else. He tugs \\n his sunglasses down his nose so she can see his eyes. \\n \\n PRINCESS MARGARET \\n Oh dear. Have I made a blunder? \\n \\n WHALE \\n Ma'am, the pleasure is all mine. James \\n Whale. \\n\",\n \" PRINCESS MARGARET \\n (laughs) \\n I am such a goose. I mistook you \\n for Cecil Beaton. It's the hat. \\n You're wearing one of Cecil's hats, \\n you know. \\n \\n Whale attempts to chuckle while he fights a feeling of \\n humiliation. He turns to Cukor for help. \\n \\n WHALE\",\n \" CLAY \\n Go ahead. \\n \\n Clay looks off while Whale opens the envelope. \\n \\n WHALE \\n Hmmm? Princess Margaret? \\n \\n He is examining a folded card. He rubs a thumb over the \\n printed lettering. \\n \\n WHALE \\n Her Majesty's Loyal Subjects in the \\n Motion Picture Industry... \\n Cordially invited...Reception at\",\n \" WHALE \\n Quite so, mum. To the privy. \\n \\n And he heads cheerfully out of the room. His mother shakes \\n her head. \\n \\n SARAH WHALE \\n \\\"Quite so.\\\" \\n (calls out) \\n Jimmy Whale. Who are ya to put on \\n airs? \\n \\n But Whale is already out the door. We CUT TO: \\n\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" I think I'll go look at Elizabeth \\n Taylor. \\n \\n He hurries off. \\n \\n WHALE \\n You should have seen Georgie's face \\n when he met Clayton. \\n \\n DAVID \\n You didn't, Jimmy. \\n \\n WHALE \\n I did. But Princess Margaret was a \\n doll. We're all equals in her\",\n \" Whale glances up -- the kite is gone. Thunder rumbles as \\n the group starts to disperse. Whale nods to the faces \\n exchanging good-byes. \\n \\n BORIS KARLOFF \\n So good to see you again, James. \\n \\n He strolls off, clucking and cooing at his baby. \\n \\n KAY \\n Catch you before you go, Mr. Whale.\",\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" (smiles at Clay) \\n Please, Mr. Boone. Help yourself. \\n \\n CLAY \\n What did she mean by going flooey? \\n \\n WHALE \\n I returned recently from a stay in \\n hospital. \\n \\n CLAY \\n What was wrong? \\n \\n WHALE \\n Nothing serious. A touch of \\n stroke. \\n\",\n \" You have to excuse me, Mr. Boone. \\n Since my stroke, I am often \\n overcome with nostalgia. \\n \\n CLAY \\n I don't mind. I'm not crazy about \\n my old man either. \\n \\n Whale rubs a hand across his eyes and steps into the open. \\n \\n WHALE \\n Why don't we break for five \\n minutes? You probably want to\",\n \" Hanna sets the tray down. \\n \\n WHALE \\n Very good, Hanna. Now goodbye. \\n \\n She goes toward the door, wrinkling her forehead at Clay. \\n The screen door bangs shut. \\n \\n WHALE \\n I'm sure you'd like something to \\n wet your whistle while I work. \\n \\n Whale opens a bottle of beer, pours it into a glass, hands\",\n \" Oh, that monster. How could you be \\n working with him? \\n \\n WHALE \\n Don't be silly, Hanna. He's a very \\n proper actor. And the dullest \\n fellow imaginable. \\n \\n Minnie flees in a bowlegged jig up the hill. Whale smiles \\n again. \\n \\n INT. HARRY'S BEACHCOMBER - NIGHT \\n\"\n ],\n [\n \" relieves himself with the other. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \\n \\n Whale sits up in bed, staring dumbly at the morning paper. \\n Hanna reaches in to take away the breakfast tray. \\n \\n WHALE \\n Does the yardman come today? \\n \\n HANNA \\n Of course. This afternoon. \\n \\n A thin smile forms on Whale's face. \\n\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale studies his face in the mirror. He gives his white \\n hair a few final licks with his silver-backed brush. \\n \\n INT. WHALE'S HOUSE - KITCHEN - DAY \\n \\n Whale comes in from the bedroom. \\n \\n WHALE \\n There is iced tea, Hanna? Cucumber \\n sandwiches? \\n\",\n \" HANNA \\n He looks plenty big. You won't \\n need my help if anything goes \\n flooey. \\n \\n WHALE \\n Go. \\n \\n She shakes her head and marches out the door. Clay returns \\n to his chair and sits down again. \\n \\n WHALE \\n When they stay in your employ too \\n long, servants begin to think \\n they're married to you.\",\n \" HANNA \\n Yes, Mr. Jimmy. \\n (smiles) \\n An interview. After so many years. \\n Very exciting. \\n \\n WHALE \\n Don't be daft. It's just a student \\n from the university. \\n \\n The doorbell rings. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n\",\n \" Hanna sets the tray down. \\n \\n WHALE \\n Very good, Hanna. Now goodbye. \\n \\n She goes toward the door, wrinkling her forehead at Clay. \\n The screen door bangs shut. \\n \\n WHALE \\n I'm sure you'd like something to \\n wet your whistle while I work. \\n \\n Whale opens a bottle of beer, pours it into a glass, hands\",\n \" Whale eats lunch off a TV tray. His attention remains \\n focused on \\\"Queen for a Day\\\" as Hanna clomps into the room \\n behind him. \\n \\n WHALE \\n Who was that at the door? \\n \\n HANNA \\n A visitor. \\n \\n Whale turns. His face registers surprise when he sees Clay. \\n \\n WHALE \\n Thank you, Hanna. That will be \\n all.\",\n \" Whale settles into his club chair and opens a book, \\n pretending to read until Hanna ushers in the visitor. \\n \\n HANNA \\n Mr. Kay, sir. \\n \\n WHALE \\n (feigning surprise) \\n Yes? \\n \\n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \\n weight on one slouched hip, his arms twined behind him.\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" I saw Una O'Conner a few weeks ago. \\n She said you'd been under the \\n weather. \\n \\n WHALE \\n Oh, nothing out of the ordinary. \\n Growing old. \\n \\n ELSA LANCHESTER \\n We're all getting a bit long in the \\n tooth. \\n \\n WHALE \\n But you appear quite fresh, my \\n dear. \\n\",\n \" Since our last session. Those old \\n snaps look rather dowdy now. \\n \\n Whale realizes she's mistaken him for someone else. He tugs \\n his sunglasses down his nose so she can see his eyes. \\n \\n PRINCESS MARGARET \\n Oh dear. Have I made a blunder? \\n \\n WHALE \\n Ma'am, the pleasure is all mine. James \\n Whale. \\n\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" INT. WHALE'S HOUSE - BEDROOM - NIGHT \\n \\n Whale is sitting up n bed when Hanna knocks. She enters \\n with a tray loaded with bottles and vials. \\n \\n HANNA \\n You will take them all, Mr. Jimmy? \\n \\n WHALE \\n I'll be fine, Hanna. Thank you. \\n \\n HANNA \\n Good night. \\n\",\n \" Oh, that monster. How could you be \\n working with him? \\n \\n WHALE \\n Don't be silly, Hanna. He's a very \\n proper actor. And the dullest \\n fellow imaginable. \\n \\n Minnie flees in a bowlegged jig up the hill. Whale smiles \\n again. \\n \\n INT. HARRY'S BEACHCOMBER - NIGHT \\n\",\n \" INT. HOUSE - LIVING ROOM - DAY \\n \\n The shadow is a man with dove white hair, wearing a dress \\n shirt and seersucker jacket. This is JAMES WHALE, age 67. \\n \\n DAVID \\n I'd have more peace of mind if the \\n live-in nurse were still here. \\n \\n HANNA \\n She was nothing but bother. I not \\n like her, Mr. Jimmy not like her.\",\n \" Whale drifts back to the window, watches as Clay revs up the \\n lawnmower, creating a cloud of white smoke. We CUT TO: \\n \\n EXT. STREETS OF DUDLEY - DAY (1900) \\n \\n A bean-pole child with flaming red hair (WHALE at age 12) \\n stares up at the coal smoke pouring from a seemingly endless \\n row of chimneys. We're in Dudley, a factory town in the\",\n \" Mr. Whale? \\n \\n Whale smiles politely to cover his momentary disorientation. \\n \\n WHALE \\n Yes? \\n \\n KAY \\n Your father was a schoolmaster? \\n \\n WHALE \\n Of course. I attended Eton -- it \\n wouldn't do for a master's son to \\n attend where his father taught. I \\n was to go up to Oxford but the war\",\n \" Whale stops, turns to Hanna. \\n \\n WHALE \\n Do you miss having someone to talk \\n to, Hanna? \\n \\n HANNA \\n I have my family. Also our Lord \\n Jesus Christ. \\n \\n WHALE \\n Of course. How is the old boy \\n these days? \\n \\n The naughty remark is met with a solemn stare. Whale\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" earnestly over his script. Thesiger pinches his face over \\n the needle he dips in and out of an embroidery ring. \\n \\n Whale comes on the set with Elsa on his arm. She walks \\n regally beside him, the train of her long white robe thrown \\n over one arm. There's a wolf whistle from overhead, and \\n applause, causing Elsa to curtsy to her admirers. Thesiger\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\"\n ],\n [\n \" This and that. The only ones you \\n maybe have heard of are the \\n \\\"Frankenstein\\\" pictures. \\n \\n CLAY \\n Really? \\n \\n Clay sits up, surprised, skeptical and impressed all at \\n once. \\n \\n CLAY \\n \\\"Frankenstein\\\" and \\\"Bride of\\\" and \\n \\\"Son of\\\" and all the rest? \\n \\n WHALE\",\n \" WHALE \\n Twenty-one. The romantic comedies \\n and dramas were much more to my \\n liking. The horror pictures were \\n trifles. Grand guignol for the \\n masses. \\n \\n KAY \\n But it's the horror movies you'll \\n be remembered for. \\n \\n An abrupt look of anger flashes across Whale's face. \\n \\n WHALE\",\n \" WHALE \\n Certainly, Mr. Kay. Is there \\n anything in particular you want to \\n know? \\n \\n KAY \\n Will you tell me everything you \\n remember about making \\n \\\"Frankenstein\\\"? \\n \\n He glances down at his few remaining articles of clothing. \\n \\n KAY \\n Can that count as one question? \\n \\n WHALE \\n Of course. \\n\",\n \" This is Mr. James Whale, who made \\n \\\"Frankenstein\\\" and \\\"Bride of \\n Frankenstein.\\\" and this is the \\n Monster and his Bride. \\n \\n Clay looks up when he hears Kay identify Karloff. \\n \\n PHOTOGRAPHER \\n Oh, Karloff. Right. \\n \\n Karloff and Elsa drift into position next to Whale. The\",\n \" WHALE \\n One likes to live simply. \\n \\n KAY \\n I know. People's movies aren't \\n their lives. \\n \\n He suddenly growls out an imitation of Boris Karloff. \\n \\n KAY \\n Love dead. Hate living. \\n \\n Kay laughs, a high, girlish giggle. Whale fights a cringe \\n with a polite smile. \\n \\n KAY\",\n \" a voice announces: \\\"Tonight, Boris Karloff in 'The Bride of \\n Frankenstein.'\\\" The titles come on. Ending with the phrase \\n \\\"Directed by\\\", which floats over a white blob. The blob \\n jumps forward to form letters: \\\"James Whale.\\\" \\n \\n CLAY \\n Right there. What did I tell you? \\n James Whale. \\n \\n The movie starts. The Monster being roasted alive in the\",\n \" 1936. \\\"Interview With a Passing Whale.\\\" There is a picture \\n of Whale, captioned \\\"Famous British Director.\\\" A LIBRARIAN \\n approaches with more leatherbound books. \\n \\n LIBRARIAN \\n Here are the trade newspapers you \\n wanted. \\n \\n Clay takes the books, opens one. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n\",\n \" ELSA LANCHESTER and BORIS KARLOFF sit side by side in \\n dentist chairs, cloths around their necks, heads tilted \\n back. JACK PIERCE, the makeup artist, is patting the hair \\n drawn over a cage on Elsa's head. He looks up, sees Whale, \\n and breaks into a conspiratorial grin. Elsa's eyes are \\n closed; she hasn't heard whale enter. \\n\",\n \" matter of time until Hollywood \\n beckoned. \\n \\n KAY \\n How much longer before we get to \\n \\\"Frankenstein\\\"? \\n \\n WHALE \\n Am I correct in assuming, Mr. Kay, \\n that it's not me you're interested \\n in, only my horror pictures? \\n \\n KAY \\n Oh no, I want to hear everything. \\n You made twenty pictures in all -- \\n\",\n \" flash goes off, a snap and a crunch of light. Whale cringes \\n in pain. \\n \\n ELSA LANCHESTER \\n (through clenched teeth) \\n Don't you just love being famous? \\n \\n Another flash. From Whale's perspective, the bulb resembles \\n nothing so much as the translucent tube of electrical \\n current from Dr. Frankenstein's laboratory. Whale\",\n \" snaps her head left, right, up, down, startled by the sight \\n of herself, electrocuted into frightened, spastic jerks. \\n \\n ELSA LANCHESTER \\n Oh, James. \\n \\n As Whale observes his star we see her spasms through his \\n eyes -- as a series of dissonant, line-jumping close-ups. \\n \\n ELSA LANCHESTER \\n And you said there'd be some of me\",\n \" CLAY \\n \\\"Bride of Frankenstein.\\\" \\n \\n WHALE \\n Hmmm. I much prefer \\\"Show Boat\\\" or \\n \\\"The Invisible Man.\\\" Shall we \\n begin? \\n \\n Clay takes a swig of beer and sets the glass on the floor. \\n \\n CLAY \\n Ready when you are. \\n \\n Whale stares at Clay. \\n \\n WHALE\",\n \" directors. I can't believe I'm \\n meeting you. \\n \\n WHALE \\n (gently, teasing) \\n No. I expect you can't. \\n \\n KAY \\n And this is your house. Wow. The \\n house of Frankenstein. \\n (looks around) \\n I thought you'd live in a spooky \\n old mansion or villa. \\n\",\n \" That's my favorite line in my \\n favorite movie of yours. \\\"Bride of \\n Frankenstein.\\\" \\n \\n WHALE \\n Is it now? Hanna? I think we'll \\n take our tea down by the swimming \\n pool. \\n \\n It's clear from Hanna's frown that she doesn't approve of \\n the idea. Whale ignores her, turns back to Kay. \\n \\n WHALE\",\n \" WHALE \\n Good morning. And a very good \\n morning to you. \\n \\n Elsa's eyes snap open. There are no mirrors on the walls. \\n \\n ELSA LANCHESTER \\n Uh-oh. The way you look at me, \\n James. What have you done this \\n time? \\n \\n WHALE \\n Bring a mirror. Let the Bride\",\n \" concentrates on his smile as another snap of light stabs his \\n brain. He clutches Elsa Lanchester's hand. \\n \\n ELSA LANCHESTER \\n Are you all right, Jimmy? \\n \\n A sharp nod from Whale. The photographer motions to \\n Karloff's niece. \\n \\n PHOTOGRAPHER \\n Let me get one with Frankenstein \\n holding the kid. \\n\",\n \" Hello, George. James Whale. David \\n Lewis's friend. I once made \\n pictures myself, Ma'am. \\n \\n GEORGE CUKOR \\n Yes. Of course. One can't throw a \\n rock in this town without hitting \\n one of us old movie directors. \\n \\n Whale feels the sting. He turns to Clay. \\n \\n WHALE\",\n \" pool. \\n \\n KAY \\n I love the great horror films. And \\n yours are the best. \\\"The Old Dark \\n House.\\\" \\\"The Invisible Man.\\\" They \\n look great and have style. And \\n funny! \\n \\n Whale points to a small shingled house near the pool. \\n \\n WHALE \\n This is the studio where I paint. \\n \\n KAY \\n Nice.\",\n \" through. I never swim myself, so \\n the pool tends to go to waste. \\n \\n KAY \\n Okay. \\\"Frankenstein.\\\" Tell me \\n everything. \\n \\n WHALE \\n Righto. Let me see. \\n \\n Whale swallows a wince, trying to block the pain pushing \\n against his skull. \\n \\n WHALE \\n Universal wanted me for another\",\n \" Frankenstein.\\\" Whale sits in a massive chair, straining \\n against thick iron chains, as a lightning storm rages \\n outside. In the distance, heavy footsteps, coming closer, \\n until the cell door is filled with the silhouette of the \\n Monster. Whale hardly dares to breathe as the Monster rips \\n off the door and enters the cell. \\n \\n The Monster steps into the light, allowing us to see his\"\n ],\n [\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" WHALE \\n Scout's honor. \\n \\n Clay smiles. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale and Boone are back in their familiar positions. An \\n empty glass of beer sits on the floor next to Clay. \\n \\n WHALE \\n I'm curious, Mr. Boone. What \\n convinced you to come back? \\n \\n CLAY\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale comes forward as Clay enters, offering a hand at the \\n end of a spindly wrist. \\n \\n WHALE \\n How are you, Mr. Boone? So glad \\n you are free for lunch. \\n \\n CLAY \\n All right, I guess. \\n \\n WHALE \\n I assume you worked up an appetite\",\n \" Whale nods, sensing that he's touched a sore spot. \\n \\n WHALE \\n And the fear you showed at our last \\n session? How did you overcome \\n that? \\n \\n CLAY \\n Not fear. More like disgust. \\n \\n WHALE \\n Same difference, Mr. Boone. \\n Disgust, fear of the unknown -- all \\n part of the great gulf that stands\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" (smiles at Clay) \\n Please, Mr. Boone. Help yourself. \\n \\n CLAY \\n What did she mean by going flooey? \\n \\n WHALE \\n I returned recently from a stay in \\n hospital. \\n \\n CLAY \\n What was wrong? \\n \\n WHALE \\n Nothing serious. A touch of \\n stroke. \\n\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" and trusted me. \\n \\n Whale reaches over and lays his arm across Barnett's \\n shoulder. Barnett smiles timidly at him. We CUT TO: \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale leans forward, completely disoriented. His eyes fix \\n on Clay, the white eyebrows screwed down, until he is able \\n to recognize the face. \\n \\n WHALE\",\n \" Don't do this to me again, Mr. \\n Boone. I absolutely refuse. \\n \\n Whale stands, his legs shaky. \\n \\n WHALE \\n You will not set me on another walk \\n down memory lane. Not this lane. \\n Not today. \\n \\n CLAY \\n I didn't -- \\n \\n WHALE \\n Why do I tell you this? I never\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" Whale offers a melancholy smile. \\n \\n WHALE \\n I think I'll just rest for a \\n moment. \\n \\n The man shrugs, disappears into the shadows. We move \\n across the room and through the door... \\n \\n EXT. WHALE'S HOUSE - NIGHT \\n \\n Whale sits in a director's chair, a martini in one hand, a \\n cigar in the other, a harmless old uncle watching young men\"\n ],\n [\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" Hanna sets the tray down. \\n \\n WHALE \\n Very good, Hanna. Now goodbye. \\n \\n She goes toward the door, wrinkling her forehead at Clay. \\n The screen door bangs shut. \\n \\n WHALE \\n I'm sure you'd like something to \\n wet your whistle while I work. \\n \\n Whale opens a bottle of beer, pours it into a glass, hands\",\n \" chasing after boys. \\n \\n WHALE \\n Oh shut up. All we did was talk. \\n My attack had nothing to do with \\n him. \\n \\n HANNA \\n Perhaps we should get you uphill \\n before the pills knock you cold. \\n \\n WHALE \\n No. Let me lie here. Thank you. \\n \\n Hanna nods, moves to the door. Whale closes his eyes,\",\n \" long, final look, then drops it in the box. \\n \\n WHALE \\n You can toss this one in the trash. \\n \\n Hanna clamps the lid on the box. \\n \\n INT. WHALE'S HOUSE - FOYER - DAY \\n \\n Hanna has opened the door. At the end of the hall, \\n silhouetted against the bright afternoon sky, is Clay. His \\n shoulders fill the doorway. The top of his head is\",\n \" Whale eats lunch off a TV tray. His attention remains \\n focused on \\\"Queen for a Day\\\" as Hanna clomps into the room \\n behind him. \\n \\n WHALE \\n Who was that at the door? \\n \\n HANNA \\n A visitor. \\n \\n Whale turns. His face registers surprise when he sees Clay. \\n \\n WHALE \\n Thank you, Hanna. That will be \\n all.\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" Hanna retreats toward the kitchen. Clay steps tentatively \\n into the room. \\n \\n WHALE \\n Mr. Boone. You're not due to cut \\n the lawn until Wednesday. \\n \\n CLAY \\n I'd like to sit for you again. But \\n only if you ease up on the locker \\n room talk. Okay? \\n \\n Whale holds up two fingers, affects an American accent. \\n\",\n \" HANNA \\n Oh no, Mr. Jimmy. \\n \\n Hanna kneels next to the body. She makes a Sign on the \\n Cross, launches into a frantic \\\"Hail Mary.\\\" We CUT TO: \\n \\n INT. WHALE'S HOUSE - BEDROOM - NIGHT \\n \\n Whale snorts at the imagined scene. One by one, he returns \\n the capsules to their bottle, until a single pill remains.\",\n \" reaches up, chooses a lightweight blue suit. \\n \\n WHALE \\n It needs a hat. There was a \\n wide-brimmed cream fedora... \\n \\n HANNA \\n It must be up in your old room. I \\n will look. \\n \\n The phone rings. Hanna hurries to answer it. \\n \\n INT. WHALE'S HOUSE - MAIN HALL - DAY \\n\",\n \" Whale opens his eyes groggily. He scans the room in panic, \\n clearly unable to get his bearings. \\n \\n Whale tries to stand but his legs give way beneath him. \\n \\n INT. WHALE'S HOUSE - BATHROOM - DAY (LATER) \\n \\n Whale and Hanna stare straight out as she reaches down and \\n unbuttons the tiny buttons on his pajama fly. Whale \\n supports himself with one hand on Hanna's shoulder as he\",\n \" relieves himself with the other. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \\n \\n Whale sits up in bed, staring dumbly at the morning paper. \\n Hanna reaches in to take away the breakfast tray. \\n \\n WHALE \\n Does the yardman come today? \\n \\n HANNA \\n Of course. This afternoon. \\n \\n A thin smile forms on Whale's face. \\n\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" off his T-shirt, revealing a tattoo on his upper right \\n forearm. \\n \\n WHALE \\n Hanna? Who's the new yardman? \\n \\n HANNA \\n Bone? Boom? Something Bee. I \\n hire him while you were in the \\n hospital. He came cheap. \\n \\n Whale nods, chooses a walking stick. He emerges into the \\n sunlight. \\n\",\n \" EXT. WHALE'S HOUSE - DAY \\n \\n Hanna runs down the path, clutching the front of her apron \\n in two tight fists. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Hanna swings open the screen door -- and grimaces when she \\n sees Kay in his BVDs. He is kneeling next to Whale, who is \\n stretched out on the daybed. \\n \\n HANNA\",\n \" Oh, that monster. How could you be \\n working with him? \\n \\n WHALE \\n Don't be silly, Hanna. He's a very \\n proper actor. And the dullest \\n fellow imaginable. \\n \\n Minnie flees in a bowlegged jig up the hill. Whale smiles \\n again. \\n \\n INT. HARRY'S BEACHCOMBER - NIGHT \\n\",\n \" BARNETT \\n Don't mind me, Lieutenant. Save \\n yourself. \\n \\n Whale slips the mask over Barnett's face, fastens it. He \\n slides his own mask into position moments before the trench \\n is obliterated by the yellowish smoke. We CUT TO: \\n \\n INT. WHALE'S HOUSE - MASTER BEDROOM - DAY \\n \\n Hanna stands in the door with a forlorn frown. \\n\",\n \" Whale takes the pills, one by one, until he comes to the \\n bottle of Luminal. He opens the pheno bottle to shake out a \\n capsule and a dozen spill into his palm. He stares at them. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Hanna opens the door, gasps when she sees Whale lying \\n motionless on the bed. She spots the empty bottle of \\n Luminal. \\n\",\n \" eyes. \\n \\n WHALE \\n Jimmy. Please. Call me Jimmy. \\n \\n Clay smiles, starts to back the car out. \\n \\n INT. WHALE'S HOUSE - FOYER - DUSK \\n \\n The hallway is pitch-dark as Whale and Clay enter. \\n \\n WHALE \\n Hanna! Bring us some towels. \\n We're drenched to the bone! \\n \\n No response. \\n\",\n \" Hanna speaks softly in Hungarian. Whale points upstairs to \\n let her know he will look for the hat himself. \\n \\n INT. WHALE'S HOUSE - MASTER BEDROOM - DAY \\n \\n Whale opens the closet door and takes down a stack of \\n hatboxes from the overhead shelf. He opens the first box, \\n takes out a rubbery wad of heavy fabric with two round \\n windows like eyes. It's a gas mask. We CUT TO: \\n\"\n ],\n [\n \" This is Mr. James Whale, who made \\n \\\"Frankenstein\\\" and \\\"Bride of \\n Frankenstein.\\\" and this is the \\n Monster and his Bride. \\n \\n Clay looks up when he hears Kay identify Karloff. \\n \\n PHOTOGRAPHER \\n Oh, Karloff. Right. \\n \\n Karloff and Elsa drift into position next to Whale. The\",\n \" a voice announces: \\\"Tonight, Boris Karloff in 'The Bride of \\n Frankenstein.'\\\" The titles come on. Ending with the phrase \\n \\\"Directed by\\\", which floats over a white blob. The blob \\n jumps forward to form letters: \\\"James Whale.\\\" \\n \\n CLAY \\n Right there. What did I tell you? \\n James Whale. \\n \\n The movie starts. The Monster being roasted alive in the\",\n \" This and that. The only ones you \\n maybe have heard of are the \\n \\\"Frankenstein\\\" pictures. \\n \\n CLAY \\n Really? \\n \\n Clay sits up, surprised, skeptical and impressed all at \\n once. \\n \\n CLAY \\n \\\"Frankenstein\\\" and \\\"Bride of\\\" and \\n \\\"Son of\\\" and all the rest? \\n \\n WHALE\",\n \" I don't remember that one. \\n \\n CLAY \\n James Whale. This afternoon at the \\n party. \\n \\n Whale looks up. \\n \\n CLAY \\n I said it must be weird seeing your \\n monsters again, and you said, \\\"The \\n only monsters are here.\\\" I was \\n wondering which here you meant. \\n \\n WHALE\",\n \" matter of time until Hollywood \\n beckoned. \\n \\n KAY \\n How much longer before we get to \\n \\\"Frankenstein\\\"? \\n \\n WHALE \\n Am I correct in assuming, Mr. Kay, \\n that it's not me you're interested \\n in, only my horror pictures? \\n \\n KAY \\n Oh no, I want to hear everything. \\n You made twenty pictures in all -- \\n\",\n \" WHALE \\n Twenty-one. The romantic comedies \\n and dramas were much more to my \\n liking. The horror pictures were \\n trifles. Grand guignol for the \\n masses. \\n \\n KAY \\n But it's the horror movies you'll \\n be remembered for. \\n \\n An abrupt look of anger flashes across Whale's face. \\n \\n WHALE\",\n \" Hello, George. James Whale. David \\n Lewis's friend. I once made \\n pictures myself, Ma'am. \\n \\n GEORGE CUKOR \\n Yes. Of course. One can't throw a \\n rock in this town without hitting \\n one of us old movie directors. \\n \\n Whale feels the sting. He turns to Clay. \\n \\n WHALE\",\n \" WHALE \\n Certainly, Mr. Kay. Is there \\n anything in particular you want to \\n know? \\n \\n KAY \\n Will you tell me everything you \\n remember about making \\n \\\"Frankenstein\\\"? \\n \\n He glances down at his few remaining articles of clothing. \\n \\n KAY \\n Can that count as one question? \\n \\n WHALE \\n Of course. \\n\",\n \" snaps her head left, right, up, down, startled by the sight \\n of herself, electrocuted into frightened, spastic jerks. \\n \\n ELSA LANCHESTER \\n Oh, James. \\n \\n As Whale observes his star we see her spasms through his \\n eyes -- as a series of dissonant, line-jumping close-ups. \\n \\n ELSA LANCHESTER \\n And you said there'd be some of me\",\n \" flash goes off, a snap and a crunch of light. Whale cringes \\n in pain. \\n \\n ELSA LANCHESTER \\n (through clenched teeth) \\n Don't you just love being famous? \\n \\n Another flash. From Whale's perspective, the bulb resembles \\n nothing so much as the translucent tube of electrical \\n current from Dr. Frankenstein's laboratory. Whale\",\n \" WHALE \\n One likes to live simply. \\n \\n KAY \\n I know. People's movies aren't \\n their lives. \\n \\n He suddenly growls out an imitation of Boris Karloff. \\n \\n KAY \\n Love dead. Hate living. \\n \\n Kay laughs, a high, girlish giggle. Whale fights a cringe \\n with a polite smile. \\n \\n KAY\",\n \" CLAY \\n \\\"Bride of Frankenstein.\\\" \\n \\n WHALE \\n Hmmm. I much prefer \\\"Show Boat\\\" or \\n \\\"The Invisible Man.\\\" Shall we \\n begin? \\n \\n Clay takes a swig of beer and sets the glass on the floor. \\n \\n CLAY \\n Ready when you are. \\n \\n Whale stares at Clay. \\n \\n WHALE\",\n \" Since our last session. Those old \\n snaps look rather dowdy now. \\n \\n Whale realizes she's mistaken him for someone else. He tugs \\n his sunglasses down his nose so she can see his eyes. \\n \\n PRINCESS MARGARET \\n Oh dear. Have I made a blunder? \\n \\n WHALE \\n Ma'am, the pleasure is all mine. James \\n Whale. \\n\",\n \" ELSA LANCHESTER and BORIS KARLOFF sit side by side in \\n dentist chairs, cloths around their necks, heads tilted \\n back. JACK PIERCE, the makeup artist, is patting the hair \\n drawn over a cage on Elsa's head. He looks up, sees Whale, \\n and breaks into a conspiratorial grin. Elsa's eyes are \\n closed; she hasn't heard whale enter. \\n\",\n \" Frankenstein.\\\" Whale sits in a massive chair, straining \\n against thick iron chains, as a lightning storm rages \\n outside. In the distance, heavy footsteps, coming closer, \\n until the cell door is filled with the silhouette of the \\n Monster. Whale hardly dares to breathe as the Monster rips \\n off the door and enters the cell. \\n \\n The Monster steps into the light, allowing us to see his\",\n \" BORIS KARLOFF \\n Perfectly charming. A real lady. \\n \\n ELSA LANCHESTER \\n Of course she's a lady. What did \\n you expect? A hussy in tennis \\n shoes? \\n \\n Whale looks up and discovers Clay standing a few feet behind \\n Karloff. He is ogling two bosomy actresses who are \\n listening intently to the monocled British consul. \\n\",\n \" concentrates on his smile as another snap of light stabs his \\n brain. He clutches Elsa Lanchester's hand. \\n \\n ELSA LANCHESTER \\n Are you all right, Jimmy? \\n \\n A sharp nod from Whale. The photographer motions to \\n Karloff's niece. \\n \\n PHOTOGRAPHER \\n Let me get one with Frankenstein \\n holding the kid. \\n\",\n \" 1936. \\\"Interview With a Passing Whale.\\\" There is a picture \\n of Whale, captioned \\\"Famous British Director.\\\" A LIBRARIAN \\n approaches with more leatherbound books. \\n \\n LIBRARIAN \\n Here are the trade newspapers you \\n wanted. \\n \\n Clay takes the books, opens one. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n\",\n \" Whale glances up -- the kite is gone. Thunder rumbles as \\n the group starts to disperse. Whale nods to the faces \\n exchanging good-byes. \\n \\n BORIS KARLOFF \\n So good to see you again, James. \\n \\n He strolls off, clucking and cooing at his baby. \\n \\n KAY \\n Catch you before you go, Mr. Whale.\",\n \" chair. He is stumbling to his feet when Kay returns with \\n Elsa Lanchester, 55, at his side. \\n \\n ELSA LANCHESTER \\n Jimmy. How are you? \\n \\n WHALE \\n Elsa? \\n \\n She takes Whale's hand, with a look of deep concern and \\n sympathy. Kay races off again. \\n \\n ELSA LANCHESTER\"\n ],\n [\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" A FIST \\n \\n which smashes against sheet metal. \\n \\n INT. CLAY'S TRAILER - DAY \\n \\n Clay Boone's eyes dart open. \\n \\n DWIGHT (O.S.) \\n Boone! You awake? Eight o'clock. \\n \\n CLAY \\n Fuck off! \\n \\n DWIGHT (O.S.) \\n You told me to get you up, asshole. \\n\",\n \" CLAY \\n Isn't it enough you told me you're \\n a fairy? Do you have to rub my \\n nose in it? \\n \\n WHALE \\n I assure you, Mr. Boone, I meant \\n no -- \\n \\n CLAY \\n From now on, Mr. Whale, I cut your \\n grass and that's it. Understand? \\n\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" makeshift village for beach bums. \\n \\n INT. TRAILER - DAY \\n \\n CLAYTON BOONE opens his eyes. He is 26, handsome in a \\n rough-hewn, Chet Baker-like way, with broad shoulders and a \\n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \\n lights a bent cigarette. \\n \\n Clay stands and walks bare-assed across the single tin room,\",\n \" DWIGHT \\n Damn but it's getting drunk in \\n here. Late too. The bride of \\n Dwight is going to bite my head \\n off. \\n \\n He tilts toward the door. \\n \\n DWIGHT \\n You coming, Boone? \\n \\n CLAY \\n I think I'll hang around. \\n \\n HARRY\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" Clay nods, chugs his tea. When he lowers the glass, he \\n finds the old man watching him. \\n \\n WHALE \\n You must excuse me for staring, Mr. \\n Boone. But you have a marvelous \\n head. \\n \\n CLAY \\n Huh? \\n \\n WHALE \\n To an artistic eye, you understand. \\n Have you ever modeled? \\n \\n CLAY\",\n \" comfort me. \\n \\n On the tv screen, the old man starts to cry, then collapses \\n onto the Monster's chest. A thick tear rolls down the \\n Monster's cheek. \\n \\n Clay Boone sits on the sofa, a baby on his lap. He's 40 \\n now, his hair starting to thin but still closely cropped at \\n the top and sides. \\n \\n On the tv, daylight fills the hut. The blind man and the\",\n \" (smiles at Clay) \\n Please, Mr. Boone. Help yourself. \\n \\n CLAY \\n What did she mean by going flooey? \\n \\n WHALE \\n I returned recently from a stay in \\n hospital. \\n \\n CLAY \\n What was wrong? \\n \\n WHALE \\n Nothing serious. A touch of \\n stroke. \\n\",\n \" perfectly flat. \\n \\n WHALE \\n Good afternoon, Clayton. \\n \\n CLAY \\n Do I look okay? \\n \\n Clay steps into the light. His khaki pants are clean and \\n pressed. A blue knit shirt fits his muscles snugly. \\n \\n WHALE \\n You look splendid, my boy. Quite \\n splendid. \\n\",\n \" story indeed. \\n \\n Whale lifts his glass in a toast. Clay empties his glass of \\n beer. He motions toward the decanter. \\n \\n CLAY \\n Do you mind? \\n \\n WHALE \\n Not at all. \\n \\n He hands the decanter to Clay. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Clay sits in a straight-backed chair, smoking a cigarette\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\"\n ],\n [\n \" The only memento I ever kept. My \\n original sketch for the Monster. \\n \\n He hands the sketch to Clay, who stares down at the famous \\n flat head, hooded eyes, bolted neck of the Monster. \\n \\n WHALE \\n Shall we? \\n \\n Clay puts down the sketch, starts into the hall. Whale \\n turns back, sees Barnett standing by the window. Whale \\n flips off the light and closes the door.\",\n \" This is Mr. James Whale, who made \\n \\\"Frankenstein\\\" and \\\"Bride of \\n Frankenstein.\\\" and this is the \\n Monster and his Bride. \\n \\n Clay looks up when he hears Kay identify Karloff. \\n \\n PHOTOGRAPHER \\n Oh, Karloff. Right. \\n \\n Karloff and Elsa drift into position next to Whale. The\",\n \" a voice announces: \\\"Tonight, Boris Karloff in 'The Bride of \\n Frankenstein.'\\\" The titles come on. Ending with the phrase \\n \\\"Directed by\\\", which floats over a white blob. The blob \\n jumps forward to form letters: \\\"James Whale.\\\" \\n \\n CLAY \\n Right there. What did I tell you? \\n James Whale. \\n \\n The movie starts. The Monster being roasted alive in the\",\n \" the floor next to the chair. He picks it up. On the front \\n is scrawled the word 'CLAYTON'. Clay opens the envelope. \\n Inside is Whale's original sketch of the Monster's head. He \\n turns it over. There is a message written on the back. \\n \\n CLAY \\n No. \\n \\n Clay drops the sketch, looks out. He sees something. \\n\",\n \" CLAY \\n \\\"Bride of Frankenstein.\\\" \\n \\n WHALE \\n Hmmm. I much prefer \\\"Show Boat\\\" or \\n \\\"The Invisible Man.\\\" Shall we \\n begin? \\n \\n Clay takes a swig of beer and sets the glass on the floor. \\n \\n CLAY \\n Ready when you are. \\n \\n Whale stares at Clay. \\n \\n WHALE\",\n \" ELSA LANCHESTER and BORIS KARLOFF sit side by side in \\n dentist chairs, cloths around their necks, heads tilted \\n back. JACK PIERCE, the makeup artist, is patting the hair \\n drawn over a cage on Elsa's head. He looks up, sees Whale, \\n and breaks into a conspiratorial grin. Elsa's eyes are \\n closed; she hasn't heard whale enter. \\n\",\n \" The Monster growls out an inarticulate greeting. He picks \\n up the box and hands it to Whale. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Whale removes the lid, sets the hatbox on the sofa. \\n \\n WHALE \\n I would like you to wear this? \\n \\n Whale steps back. Clay takes the box and covers his lap \\n with it. He lifts out the gas mask.\",\n \" This and that. The only ones you \\n maybe have heard of are the \\n \\\"Frankenstein\\\" pictures. \\n \\n CLAY \\n Really? \\n \\n Clay sits up, surprised, skeptical and impressed all at \\n once. \\n \\n CLAY \\n \\\"Frankenstein\\\" and \\\"Bride of\\\" and \\n \\\"Son of\\\" and all the rest? \\n \\n WHALE\",\n \" until they reach the next set: \\n \\n EXT. COUNTRYSIDE - NIGHT \\n \\n Clay carries Whale past a painted backdrop of a stormy \\n English countryside. \\n \\n INT. FRANKENSTEIN'S LAB - NIGHT \\n \\n Whale lies on the Bride's table. Clay pulls on a doctor's \\n smock, picks up a scalpel from a table covered with various \\n medical instruments. he carves a thin circle around the top\",\n \" BORIS KARLOFF \\n Perfectly charming. A real lady. \\n \\n ELSA LANCHESTER \\n Of course she's a lady. What did \\n you expect? A hussy in tennis \\n shoes? \\n \\n Whale looks up and discovers Clay standing a few feet behind \\n Karloff. He is ogling two bosomy actresses who are \\n listening intently to the monocled British consul. \\n\",\n \" WHALE \\n One likes to live simply. \\n \\n KAY \\n I know. People's movies aren't \\n their lives. \\n \\n He suddenly growls out an imitation of Boris Karloff. \\n \\n KAY \\n Love dead. Hate living. \\n \\n Kay laughs, a high, girlish giggle. Whale fights a cringe \\n with a polite smile. \\n \\n KAY\",\n \" concentrates on his smile as another snap of light stabs his \\n brain. He clutches Elsa Lanchester's hand. \\n \\n ELSA LANCHESTER \\n Are you all right, Jimmy? \\n \\n A sharp nod from Whale. The photographer motions to \\n Karloff's niece. \\n \\n PHOTOGRAPHER \\n Let me get one with Frankenstein \\n holding the kid. \\n\",\n \" 1936. \\\"Interview With a Passing Whale.\\\" There is a picture \\n of Whale, captioned \\\"Famous British Director.\\\" A LIBRARIAN \\n approaches with more leatherbound books. \\n \\n LIBRARIAN \\n Here are the trade newspapers you \\n wanted. \\n \\n Clay takes the books, opens one. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n\",\n \" WHALE \\n Certainly, Mr. Kay. Is there \\n anything in particular you want to \\n know? \\n \\n KAY \\n Will you tell me everything you \\n remember about making \\n \\\"Frankenstein\\\"? \\n \\n He glances down at his few remaining articles of clothing. \\n \\n KAY \\n Can that count as one question? \\n \\n WHALE \\n Of course. \\n\",\n \" and sipping his Scotch. Whale sketches from a wing chair \\n across the room. \\n \\n CLAY \\n Storm's getting worse. \\n \\n WHALE \\n \\\"A perfect night for mystery and \\n horror. The air itself is filled \\n with monsters.\\\" \\n \\n CLAY \\n That's from your movie, right? \\n \\\"The only monsters are here.\\\" \\n \\n WHALE\",\n \" I don't remember that one. \\n \\n CLAY \\n James Whale. This afternoon at the \\n party. \\n \\n Whale looks up. \\n \\n CLAY \\n I said it must be weird seeing your \\n monsters again, and you said, \\\"The \\n only monsters are here.\\\" I was \\n wondering which here you meant. \\n \\n WHALE\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" snaps her head left, right, up, down, startled by the sight \\n of herself, electrocuted into frightened, spastic jerks. \\n \\n ELSA LANCHESTER \\n Oh, James. \\n \\n As Whale observes his star we see her spasms through his \\n eyes -- as a series of dissonant, line-jumping close-ups. \\n \\n ELSA LANCHESTER \\n And you said there'd be some of me\",\n \" and trusted me. \\n \\n Whale reaches over and lays his arm across Barnett's \\n shoulder. Barnett smiles timidly at him. We CUT TO: \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale leans forward, completely disoriented. His eyes fix \\n on Clay, the white eyebrows screwed down, until he is able \\n to recognize the face. \\n \\n WHALE\",\n \" matter of time until Hollywood \\n beckoned. \\n \\n KAY \\n How much longer before we get to \\n \\\"Frankenstein\\\"? \\n \\n WHALE \\n Am I correct in assuming, Mr. Kay, \\n that it's not me you're interested \\n in, only my horror pictures? \\n \\n KAY \\n Oh no, I want to hear everything. \\n You made twenty pictures in all -- \\n\"\n ],\n [\n \" things with his life. \\n \\n BETTY \\n Do you realize you're more \\n interested in this old goober than \\n you ever were in me? \\n \\n CLAY \\n It's different. He's a man. And \\n by the way you have no business \\n calling him a homo. \\n \\n BETTY \\n It never crossed your mind? \\n \\n CLAY\",\n \" His hands clasp Clay's hips. Clay's fist opens as it comes \\n down; he slaps Whale across the face. \\n \\n WHALE \\n That didn't even sting. You're not \\n such a real man after all. Are \\n you? \\n \\n Clay whacks Whale's face again. \\n \\n WHALE \\n Wait until I tell my friends I had\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" and his apartment. \\n \\n CLAY \\n You know what? I think you guys \\n are all jealous. \\n \\n BETTY \\n (laughs) \\n What's to be jealous of? \\n \\n CLAY \\n I've gotten to know someone who's \\n famous. \\n \\n BETTY \\n Not so famous any of us have ever \\n heard of him. \\n\",\n \" Does that surprise you? \\n \\n CLAY \\n No, I -- you're a homosexual. \\n \\n WHALE \\n Oh dear. If one must have a \\n clinical name. \\n \\n CLAY \\n I'm not, you know. \\n \\n WHALE \\n I never thought you were. \\n \\n CLAY \\n You don't think of me that way, do\",\n \" Clay jabs with his elbow, flipping Whale on his back. His \\n body straddles Whale's and pins him, face to face. \\n \\n CLAY \\n I'm not that way. Get it through \\n your fucking head. I don't want to \\n mess with you. \\n \\n WHALE \\n Oh, but you feel good, Clayton. \\n\",\n \" CLAY \\n Well...no, not really -- \\n \\n HANNA \\n You and he are not doing things? \\n \\n CLAY \\n No! \\n \\n HANNA \\n Good. That is what I hope. I did \\n not think you a bugger too. I fear \\n only that you might hurt him if he \\n tries. \\n \\n CLAY\",\n \" Whale leads Clay to a tented bar. Across the way, David \\n Lewis has come through the gate with a WOMAN on his arm. \\n People look discreetly, not at David but at the woman, \\n lightly veiled in a scarf and sunglasses. \\n \\n CLAY \\n Who's that? \\n \\n WHALE \\n David. The friend I thought was in \\n New York. \\n \\n CLAY\",\n \" Whale's gaze remains dreamy and preoccupied as SOUNDS of \\n battle fill the room. A relentless rat-a-tat of gunfire. \\n The whistling of bombs. The tortured wailing of dying men. \\n Whale stands, moves over to the window. \\n \\n WHALE \\n Barnett. Barnett on the wire. \\n \\n CLAY \\n Your friend? \\n\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" DWIGHT \\n Couldn't make it any deader, doll. \\n Set me up. \\n \\n BETTY \\n Sure. Your friend want one? \\n \\n Clay reacts to the silent treatment with a tight smile. \\n \\n DWIGHT \\n Yeah, one for what's-his-name here. \\n \\n She sets down two bottles of Pabst without looking at Clay. \\n \\n CLAY\",\n \" No. Definitely not. \\n \\n Clay chuckles. Whale smiles. \\n \\n WHALE \\n Very good, Clayton. \\n \\n He takes a robe from a hook on the closet door. Clay tries \\n it on but it won't close over the towel. \\n \\n WHALE \\n I know. \\n \\n Whale opens a drawer, takes out a crewneck sweater. \\n \\n WHALE\",\n \" Clay's eyes are filled with pity. \\n \\n WHALE \\n Oh, but we were a witty lot. \\n Laughing at our dead. Telling \\n ourselves it was our death too. \\n But with each man who died, I \\n thought, \\\"Better you than me, poor \\n sod.\\\" \\n (bitterly) \\n A whole generation was wiped out by \\n that war. Millions and millions of\",\n \" Clay suddenly laughs. Whale's smile deepens. \\n \\n WHALE \\n So we understand each other? \\n \\n CLAY \\n What you do is no business of mine. \\n Live and let live, I say. \\n \\n WHALE \\n I hope this has nothing to do with \\n your refusing to sit for me today? \\n \\n CLAY \\n No. I -- \\n\",\n \" HARRY \\n She took the night off. Heavy \\n date. Some guy she's had her eye \\n on for a while. \\n \\n Harry smiles pointedly at Clay, hands him the beer. \\n \\n CLAY \\n Thanks a lot, pal. \\n \\n Clay turns his back on the bar. He sees Dwight moving \\n through the crowd. \\n \\n CLAY \\n Dwight! \\n\",\n \" I don't believe this. \\n \\n He slides a note to Clay. \\n \\n WHALE \\n It's not like her. \\n \\n CLAY \\n (reading) \\n Just a night out. Sounds like she \\n can't say no to her daughter. \\n \\n WHALE \\n Certainly you have better things to \\n do than babysit an old man? \\n \\n CLAY\",\n \" I made only the first two. The \\n others were done by hacks. \\n \\n CLAY \\n Still. You must be rich. Making a \\n couple of famous movies like those. \\n \\n WHALE \\n Merely comfortable. Here's Hanna \\n with our refreshments. Can you get \\n the door? \\n \\n Clay jumps up to open the screen door. Hanna walks past,\",\n \" Hanna nods, steals a glance at Clay as she leaves. \\n \\n CLAY \\n Saw your movie the other night. \\n Watched it with some friends. \\n \\n WHALE \\n Did you now? \\n \\n CLAY \\n I liked it. We all did. \\n \\n WHALE \\n Did anyone laugh? \\n \\n CLAY \\n (covering) \\n No. \\n\",\n \" him back. \\n \\n They both hesitate, looking down at Whale. Then Clay drags \\n the body parallel with the pool. Hanna stoops over to \\n adjust the collar of Whale's shirt. \\n \\n HANNA \\n Poor Mr. Jimmy. We do not mean \\n disrespect. You will keep better \\n in water. \\n \\n She nods to Clay. He rolls the body over and it splashes on\"\n ],\n [\n \" things with his life. \\n \\n BETTY \\n Do you realize you're more \\n interested in this old goober than \\n you ever were in me? \\n \\n CLAY \\n It's different. He's a man. And \\n by the way you have no business \\n calling him a homo. \\n \\n BETTY \\n It never crossed your mind? \\n \\n CLAY\",\n \" Whale presses his lips to Clay's tattoo. Clay's muscles \\n tense from head to toe. \\n \\n WHALE \\n What a solid brute you are. \\n \\n Whale's tongue moves down Clay's arm. \\n \\n WHALE \\n No? Maybe this, then? \\n \\n The hand slides over Clay's stomach toward his lap. The \\n tattooed arm swings backward, slamming an elbow against\",\n \" didn't want me self-conscious. \\n \\n Whale steps forward. \\n \\n WHALE \\n Perhaps if we open the shirt and \\n pull -- \\n \\n Whale's hands to in. Clay's flesh tightens; he shrinks \\n back. The hands stop, palms raised. \\n \\n WHALE \\n Oh dear. I <u>have</u> made you \\n nervous. \\n \\n CLAY\",\n \" Clay jabs with his elbow, flipping Whale on his back. His \\n body straddles Whale's and pins him, face to face. \\n \\n CLAY \\n I'm not that way. Get it through \\n your fucking head. I don't want to \\n mess with you. \\n \\n WHALE \\n Oh, but you feel good, Clayton. \\n\",\n \" CLAY \\n Well...no, not really -- \\n \\n HANNA \\n You and he are not doing things? \\n \\n CLAY \\n No! \\n \\n HANNA \\n Good. That is what I hope. I did \\n not think you a bugger too. I fear \\n only that you might hurt him if he \\n tries. \\n \\n CLAY\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" story indeed. \\n \\n Whale lifts his glass in a toast. Clay empties his glass of \\n beer. He motions toward the decanter. \\n \\n CLAY \\n Do you mind? \\n \\n WHALE \\n Not at all. \\n \\n He hands the decanter to Clay. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Clay sits in a straight-backed chair, smoking a cigarette\",\n \" bashful. No, this room was once \\n filled with bare buttocks. And \\n pricks. Hard, arrogant pricks -- \\n \\n CLAY \\n Cut it out! \\n \\n Clay explodes out of his chair, knocking over a small side \\n table. \\n \\n CLAY \\n Fuck it. I can't do this anymore. \\n \\n He looms over Whale, whose breathing starts to quicken. \\n\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" is standing at the end of the bar, eyeing Clay. He lifts \\n his glass and she responds with an open smile. \\n \\n EXT. CLAY'S TRAILER - NIGHT \\n \\n Clay and the woman go at it, their shadows visible through \\n the glass louvers. \\n \\n INT. CLAY'S TRAILER - BATHROOM - DAY \\n \\n Clay tugs on a cord and the harsh overhead fluorescent\",\n \" No. Definitely not. \\n \\n Clay chuckles. Whale smiles. \\n \\n WHALE \\n Very good, Clayton. \\n \\n He takes a robe from a hook on the closet door. Clay tries \\n it on but it won't close over the towel. \\n \\n WHALE \\n I know. \\n \\n Whale opens a drawer, takes out a crewneck sweater. \\n \\n WHALE\",\n \" So you don't want to fuck. That's \\n what you're telling me? \\n \\n BETTY \\n Is that all this conversation means \\n to you? Am I going to put out or \\n not? \\n \\n CLAY \\n Damn straight. I'm sick of playing \\n games. \\n \\n Betty quickly gets into the car. before she can pull the\",\n \" don't have to worry about a suit. \\n \\n Clay glances warily at Whale. \\n \\n CLAY \\n No thanks. I got another job to \\n get to this afternoon. \\n \\n Whale holds Clay's look. \\n \\n WHALE \\n Some other time, perhaps? Keep up \\n the fine work. \\n \\n Whale heads off, smiling to himself. Pleased to be naughty \\n again.\",\n \" breath. \\n \\n HANNA \\n Ohhh! \\n \\n Hanna comes down the path, her run slowing to a walk. She \\n stares at Clay. \\n \\n CLAY \\n I didn't do it. This wasn't me. \\n \\n HANNA \\n Oh, Mr. Jimmy. \\n \\n CLAY \\n He wanted me to kill him, but I\",\n \" Clay glares at her, his jaw working forward in anger. \\n \\n CLAY \\n I like my life. I'm a free man. \\n \\n BETTY \\n Sure you're free, for now at least. \\n But how long before you're just \\n alone? Pathetic and alone. \\n \\n Clay's anger jumps from his jaw into his shoulders and arms. \\n He grabs the door handle. \\n \\n CLAY\",\n \" and wild eyes lying beneath him. \\n \\n WHALE \\n Break my neck. Or strangle me. It \\n would be oh so easy to wrap your \\n hands around my neck and choke the \\n life out of me. Please, Clayton. \\n We've come this far. \\n \\n CLAY \\n You're crazy. \\n \\n Whale's eyes glimmer in the sporadic bursts of lightning. \\n\",\n \" Whale is suddenly behind him. Clay's vision is enclosed in \\n two round windows, so he can't see Whale buckling the second \\n strap. \\n \\n CLAY \\n Now what? \\n \\n Mouth muffled by the inhalator, Clay hears his voice from \\n inside his head. Whale comes around to stand in front of \\n him. He grins as he steps back to examine Clay. Clay \\n nervously taps his knees with his hands.\",\n \" you naked in my arms. Won't they \\n be surprised? \\n \\n CLAY \\n I haven't done a damn thing with \\n you! \\n \\n WHALE \\n Oh, but you have. You undressed \\n for me. I kissed you. I even \\n touched your prick. How will you \\n be able to live with yourself? \\n\",\n \" What? \\n \\n WHALE \\n I've spent most of my life \\n outrunning my past. Now it's \\n flooding all over me. \\n \\n Clay stares out blankly. \\n \\n WHALE \\n There's something about the \\n openness of your face that makes me \\n want to speak the truth. Yes, my \\n family ate dripping. Beef dripping\",\n \" Before Whale can respond Clay storms out, nearly ripping the \\n screen door off its hinges. Whale sits on the daybed, takes \\n a few quick breaths. Suddenly the air is filled with the \\n sounds of people cavorting in the pool. \\n \\n Whale looks up, sees a young man standing outside the screen \\n door. It is now dark outside. \\n \\n YOUNG MAN \\n Come on, Jimmy. Watch me dive. \\n\"\n ],\n [\n \" didn't want me self-conscious. \\n \\n Whale steps forward. \\n \\n WHALE \\n Perhaps if we open the shirt and \\n pull -- \\n \\n Whale's hands to in. Clay's flesh tightens; he shrinks \\n back. The hands stop, palms raised. \\n \\n WHALE \\n Oh dear. I <u>have</u> made you \\n nervous. \\n \\n CLAY\",\n \" things with his life. \\n \\n BETTY \\n Do you realize you're more \\n interested in this old goober than \\n you ever were in me? \\n \\n CLAY \\n It's different. He's a man. And \\n by the way you have no business \\n calling him a homo. \\n \\n BETTY \\n It never crossed your mind? \\n \\n CLAY\",\n \" Clay jabs with his elbow, flipping Whale on his back. His \\n body straddles Whale's and pins him, face to face. \\n \\n CLAY \\n I'm not that way. Get it through \\n your fucking head. I don't want to \\n mess with you. \\n \\n WHALE \\n Oh, but you feel good, Clayton. \\n\",\n \" Does that surprise you? \\n \\n CLAY \\n No, I -- you're a homosexual. \\n \\n WHALE \\n Oh dear. If one must have a \\n clinical name. \\n \\n CLAY \\n I'm not, you know. \\n \\n WHALE \\n I never thought you were. \\n \\n CLAY \\n You don't think of me that way, do\",\n \" His hands clasp Clay's hips. Clay's fist opens as it comes \\n down; he slaps Whale across the face. \\n \\n WHALE \\n That didn't even sting. You're not \\n such a real man after all. Are \\n you? \\n \\n Clay whacks Whale's face again. \\n \\n WHALE \\n Wait until I tell my friends I had\",\n \" CLAY \\n You okay? \\n \\n Whale gazes up at Clay. \\n \\n WHALE \\n Tired. A bit tired. \\n \\n Clay nods. Whale smiles at him. \\n \\n WHALE \\n Are you enjoying yourself? \\n \\n CLAY \\n Actually, no. I feel a little out \\n of place. \\n \\n WHALE\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" snapping at you. \\n \\n CLAY \\n No harm done. \\n \\n WHALE \\n It was foolishness to attempt this \\n portrait. You cannot force what \\n will not flow. \\n \\n CLAY \\n You don't want me to sit for you \\n anymore? \\n \\n Whale shakes his head sadly. He gazes up at Clay, sees the \\n disappointment on his face. \\n\",\n \" CLAY \\n I don't like to talk about that. \\n \\n WHALE \\n It's nothing to be ashamed of, in \\n the service of one's country. \\n That's something to be proud of. \\n \\n CLAY \\n Proud? Any jerk with a gun can \\n kill someone. \\n \\n WHALE \\n Quite true. Hand-to-hand combat is\",\n \" CLAY \\n I figured he'd think, you know -- \\n it was the next best thing. Hey, I \\n loved it too. A chance to be a \\n part of something important. \\n Something bigger than yourself. \\n \\n WHALE \\n What happened? \\n \\n CLAY \\n I didn't have the guts for it. \\n \\n A look of surprise crosses Whale's face. \\n\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" CLAY \\n If he were that famous, he probably \\n wouldn't give me the time of day. \\n This way, he's like <u>my</u> famous \\n person. \\n (laughs at himself) \\n Yeah, my own personal famous \\n person. Who treats me like I'm \\n somebody worth talking to. \\n \\n Clay leans down to plug in the jukebox. \\n \\n CLAY\",\n \" and his apartment. \\n \\n CLAY \\n You know what? I think you guys \\n are all jealous. \\n \\n BETTY \\n (laughs) \\n What's to be jealous of? \\n \\n CLAY \\n I've gotten to know someone who's \\n famous. \\n \\n BETTY \\n Not so famous any of us have ever \\n heard of him. \\n\",\n \" CLAY \\n Well...no, not really -- \\n \\n HANNA \\n You and he are not doing things? \\n \\n CLAY \\n No! \\n \\n HANNA \\n Good. That is what I hope. I did \\n not think you a bugger too. I fear \\n only that you might hurt him if he \\n tries. \\n \\n CLAY\",\n \" Whale nods, sensing that he's touched a sore spot. \\n \\n WHALE \\n And the fear you showed at our last \\n session? How did you overcome \\n that? \\n \\n CLAY \\n Not fear. More like disgust. \\n \\n WHALE \\n Same difference, Mr. Boone. \\n Disgust, fear of the unknown -- all \\n part of the great gulf that stands\",\n \" gestures at a wooden armchair across from him. \\n \\n WHALE \\n My workshop, my studio. Hardly \\n somewhere in which a sweaty workman \\n should feel out of place. \\n \\n Clay glances at the unframed canvases on the wall and \\n stacked in the corners. \\n \\n CLAY \\n These are your paintings? \\n \\n WHALE \\n What? Oh yes. \\n\",\n \" CLAY \\n No. I'm fine. \\n \\n WHALE \\n It's a bit like being at the \\n doctor, isn't it? You have to \\n remain perfectly still while I \\n examine and scrutinize you. \\n \\n Whale suddenly sniffs, as if smelling something. He sniffs \\n several times more but continues to draw. \\n \\n WHALE \\n (to himself)\",\n \" and trusted me. \\n \\n Whale reaches over and lays his arm across Barnett's \\n shoulder. Barnett smiles timidly at him. We CUT TO: \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale leans forward, completely disoriented. His eyes fix \\n on Clay, the white eyebrows screwed down, until he is able \\n to recognize the face. \\n \\n WHALE\",\n \" No. Definitely not. \\n \\n Clay chuckles. Whale smiles. \\n \\n WHALE \\n Very good, Clayton. \\n \\n He takes a robe from a hook on the closet door. Clay tries \\n it on but it won't close over the towel. \\n \\n WHALE \\n I know. \\n \\n Whale opens a drawer, takes out a crewneck sweater. \\n \\n WHALE\",\n \" Whale is suddenly behind him. Clay's vision is enclosed in \\n two round windows, so he can't see Whale buckling the second \\n strap. \\n \\n CLAY \\n Now what? \\n \\n Mouth muffled by the inhalator, Clay hears his voice from \\n inside his head. Whale comes around to stand in front of \\n him. He grins as he steps back to examine Clay. Clay \\n nervously taps his knees with his hands.\"\n ],\n [\n \" itself up. There is nothing in the \\n here and now to take my mind off \\n it. All my diversions have \\n abandoned me. Parties. Reading. \\n Painting. Work. Love. All gone \\n to me now. \\n \\n Whale remains perfectly still, staring out the window. Clay \\n deliberates a moment, then puts down his drink next to the \\n decanter of Scotch. He stands and yanks the neck of the \",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" refusing to look at him. She sets the tray on a table very \\n hard, ringing the glasses and silverware. \\n \\n HANNA \\n How are you feeling, Mr. Jimmy? \\n How is your mind today? \\n \\n WHALE \\n My mind's lovely. And yours? \\n \\n Hanna flares her nostrils at him. \\n \\n HANNA \\n You remember what the doctor tells \\n us.\",\n \" Whale drifts back to the window, watches as Clay revs up the \\n lawnmower, creating a cloud of white smoke. We CUT TO: \\n \\n EXT. STREETS OF DUDLEY - DAY (1900) \\n \\n A bean-pole child with flaming red hair (WHALE at age 12) \\n stares up at the coal smoke pouring from a seemingly endless \\n row of chimneys. We're in Dudley, a factory town in the\",\n \" breathes deeply, trying to block the throbbing SOUND in his \\n brain. We CUT TO: \\n \\n INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) \\n \\n The noise is deafening -- the clank of chains, the screech \\n of wheels and the endless banging of hammers. William Whale \\n continues to knock away at the hot casting. The rhythmic \\n sound blends into the insistent knocking of: \\n\",\n \" I want a glass of water. \\n \\n Clay gets up and goes to the sink. \\n \\n WHALE \\n A touch of headache. \\n \\n Clay hands him the water. \\n \\n WHALE \\n Thank you. \\n \\n Whale sets the glass down and sits with his head lowered, \\n his body folded like a bundle of sticks. \\n \\n WHALE \\n My apologies. I had no business\",\n \" its belly. It bounces a moment in the waves of the splash, \\n then begins to sink. As it drops, the air in the chest \\n slowly flips the body around. \\n \\n Looking up at them with open eyes, Whale sinks backward into \\n the thickening light. His arms trail upward and the hands \\n lightly flutter as if waving good-bye. The melancholy sound \\n of a solo violin pierces the silence as we CUT TO: \\n\",\n \" story indeed. \\n \\n Whale lifts his glass in a toast. Clay empties his glass of \\n beer. He motions toward the decanter. \\n \\n CLAY \\n Do you mind? \\n \\n WHALE \\n Not at all. \\n \\n He hands the decanter to Clay. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Clay sits in a straight-backed chair, smoking a cigarette\",\n \" workingman impersonating his \\n betters. How strange, to be \\n admired so blindly. I suppose he \\n loved me. But chastely, like a \\n schoolboy. \\n \\n CLAY \\n Something happened to him? \\n \\n Whale looks up at Clay, stares at him. \\n \\n WHALE \\n I remember one morning in \\n particular. A morning when the sun\",\n \" What have you done with him? \\n \\n CLAY \\n I put him to bed. He's not there? \\n \\n She goes to the foot of the stairs and shouts: \\n \\n HANNA \\n Mr. Jimmy! Mr. Jimmy! \\n \\n Hanna starts up the stairs. \\n \\n HANNA \\n Look for him! \\n \\n Clay reaches for his socks when he notices an envelope on\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" don't know what to do with the \\n creature except harness him to the \\n plow. \\n \\n Whale seems completely lost in the past by now. \\n \\n WHALE \\n Hatred was the only thing that kept \\n my soul alive in that soul-killing \\n place. And among those men I hated \\n was my own poor, dumb father. Who \\n put me in that hell to begin with. \\n\",\n \" Jimmy. I will make it short. \\n \\n WHALE \\n I'll be out this afternoon, \\n remember? Your family can visit as \\n long as they like. \\n \\n HANNA \\n No. I do not cook for them. My \\n daughter's no-good husband will not \\n take one bite of our food. \\n \\n Hanna holds out the box for the gas mask. Whale gives it a\",\n \" Then take the pills. \\n \\n WHALE \\n I wanted to be alert for your visit \\n today. Especially since I saw so \\n little of you in the hospital. \\n \\n The remark hits its target. \\n \\n DAVID \\n I'm sorry, Jimmy. But with this \\n movie and two difficult stars -- \\n \\n WHALE \\n \\\"The fault, dear David, is not in\",\n \" Whale's tongue trips on the word, his voice suddenly drowned \\n out by the blast of a factory whistle. We CUT TO: \\n \\n INT. FACTORY SHOP FLOOR - DUDLEY - DAY (1908) \\n \\n Fiery melt is poured into molds on the shop floor of a \\n machine parts factory. WHALE, 16, grips the hot casting \\n with tongs. His father WILLIAM, his face blackened with\",\n \" He places it on the table, then turns out the lamp and lies \\n on his back in the dark, waiting for sleep. \\n \\n The distant sound of laughter invades the darkness. Whale \\n sits up, straining to identify the voices. The bedroom wall \\n opposite him melts away, revealing: \\n \\n INT. SPECIAL MAKEUP TRAILER - UNIVERSAL STUDIOS - DAY (1935) \\n\",\n \" Hanna sets the tray down. \\n \\n WHALE \\n Very good, Hanna. Now goodbye. \\n \\n She goes toward the door, wrinkling her forehead at Clay. \\n The screen door bangs shut. \\n \\n WHALE \\n I'm sure you'd like something to \\n wet your whistle while I work. \\n \\n Whale opens a bottle of beer, pours it into a glass, hands\",\n \" He is dead now, twenty years. \\n \\n CLAY \\n Then you're as single as I am. \\n \\n HANNA \\n No. I have children, grandchildren \\n too. I visit when I can. But now \\n that Mr. Jimmy cannot be left very \\n long, I do not get away much. \\n (sighs) \\n Poor Mr. Jimmy. There is much good\",\n \" What? \\n \\n WHALE \\n I've spent most of my life \\n outrunning my past. Now it's \\n flooding all over me. \\n \\n Clay stares out blankly. \\n \\n WHALE \\n There's something about the \\n openness of your face that makes me \\n want to speak the truth. Yes, my \\n family ate dripping. Beef dripping\",\n \" I am not dead yet, Mr. Kay. \\n \\n KAY \\n No. I never said you were. Or \\n will be soon. \\n \\n Kay leans over the steno pad, determined to be more worthy. \\n \\n KAY \\n So. \\\"Journey's End\\\" brought you to \\n Hollywood -- \\n \\n Whale takes in the boy's blank, bored expression. He sighs. \\n\"\n ],\n [\n \" Ma'am, may I present Mr. Clayton \\n Boone? \\n \\n Clay steps forward to shake hands. \\n \\n WHALE \\n My gardener, who insisted I bring \\n him today. He so wanted to meet \\n royalty. \\n \\n Cukor's face goes blank with indignation. \\n \\n CLAY \\n Pleased to meet you. \\n \\n PRINCESS MARGARET\",\n \" I had no idea you'd be here. \\n \\n She seizes Whale's hand in her little white gloves. \\n \\n PRINCESS MARGARET \\n How are you? \\n \\n WHALE \\n (taken aback) \\n Fine. Quite fine. And Your Royal \\n Highness? \\n \\n PRINCESS MARGARET \\n Splendid. Now that I know you're\",\n \" Since our last session. Those old \\n snaps look rather dowdy now. \\n \\n Whale realizes she's mistaken him for someone else. He tugs \\n his sunglasses down his nose so she can see his eyes. \\n \\n PRINCESS MARGARET \\n Oh dear. Have I made a blunder? \\n \\n WHALE \\n Ma'am, the pleasure is all mine. James \\n Whale. \\n\",\n \" around. \\n \\n Standing beside him, Clay is clearly impressed that Whale \\n knows a princess. \\n \\n PRINCESS MARGARET \\n Can we get together while I'm in \\n town? I so badly want to sit for \\n you again. \\n \\n WHALE \\n Sit? \\n \\n PRINCESS MARGARET \\n I've changed my hair, you see.\",\n \" I think I'll go look at Elizabeth \\n Taylor. \\n \\n He hurries off. \\n \\n WHALE \\n You should have seen Georgie's face \\n when he met Clayton. \\n \\n DAVID \\n You didn't, Jimmy. \\n \\n WHALE \\n I did. But Princess Margaret was a \\n doll. We're all equals in her\",\n \" woman in a white dress with polka dots. GEORGE CUKOR and \\n PRINCESS MARGARET. \\n \\n WHALE \\n Let's get this over with quickly. \\n \\n Whale forgets to remove his hat when he comes forward. \\n Before he can give Cukor their names Princess Margaret's \\n polite smile bursts open in a joyful display of teeth. \\n \\n PRINCESS MARGARET\",\n \" WHALE \\n How would you like to come to a \\n party with me? A reception for \\n Princess Margaret. \\n \\n CLAY \\n \\n I thought you weren't going. \\n \\n WHALE \\n If you don't mind driving, I'd like \\n to take you as my guest. There \\n should be lots of pretty starlets \\n to keep you amused. \\n \\n CLAY\",\n \" PRINCESS MARGARET \\n (laughs) \\n I am such a goose. I mistook you \\n for Cecil Beaton. It's the hat. \\n You're wearing one of Cecil's hats, \\n you know. \\n \\n Whale attempts to chuckle while he fights a feeling of \\n humiliation. He turns to Cukor for help. \\n \\n WHALE\",\n \" CLAY \\n Go ahead. \\n \\n Clay looks off while Whale opens the envelope. \\n \\n WHALE \\n Hmmm? Princess Margaret? \\n \\n He is examining a folded card. He rubs a thumb over the \\n printed lettering. \\n \\n WHALE \\n Her Majesty's Loyal Subjects in the \\n Motion Picture Industry... \\n Cordially invited...Reception at\",\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" earnestly over his script. Thesiger pinches his face over \\n the needle he dips in and out of an embroidery ring. \\n \\n Whale comes on the set with Elsa on his arm. She walks \\n regally beside him, the train of her long white robe thrown \\n over one arm. There's a wolf whistle from overhead, and \\n applause, causing Elsa to curtsy to her admirers. Thesiger\",\n \" Whale glances up -- the kite is gone. Thunder rumbles as \\n the group starts to disperse. Whale nods to the faces \\n exchanging good-byes. \\n \\n BORIS KARLOFF \\n So good to see you again, James. \\n \\n He strolls off, clucking and cooing at his baby. \\n \\n KAY \\n Catch you before you go, Mr. Whale.\",\n \" the home of...Mr. George Cukor! \\n \\n His lips smack open in disgust. \\n \\n WHALE \\n That pushy little -- horning in on \\n the Queen's sister, then offering \\n to share her with the whole damn \\n raj? I live in this country to get \\n away from this rubbish! \\n \\n He tosses the invitation on the table. \\n \\n WHALE\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" Quite. I adore gardens. \\n \\n Whale narrows his eyes at Cukor and sharpens his smile. \\n \\n WHALE \\n He's never met a princess. Only \\n queens. \\n \\n Cukor puffs out his chest, quivers a bulbous lower lip at \\n Whale. \\n \\n WHALE \\n George, Ma'am, this has been an \\n honor. An occasion to remember for\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" DWIGHT \\n Damn but it's getting drunk in \\n here. Late too. The bride of \\n Dwight is going to bite my head \\n off. \\n \\n He tilts toward the door. \\n \\n DWIGHT \\n You coming, Boone? \\n \\n CLAY \\n I think I'll hang around. \\n \\n HARRY\",\n \" ERNEST THESIGER \\n Stiff as a board. \\n (calls out) \\n Yes, Colin. Come see what they've \\n done to our Elsa. \\n \\n Clive walks over, glumly. \\n \\n COLIN CLIVE \\n I'm not at my best today, Jimmy. \\n A touch of flu, you know. \\n \\n Whale sees through the excuse, rests an arm on Clive's\",\n \" Jimmy. The privy needs cleaning. \\n \\n WHALE \\n I have my class tonight. \\n \\n Both have Midlands accents, like head colds that flatten \\n their speech. Whale holds up the sketch to show his mother. \\n \\n SARAH WHALE \\n Don't get above yarself, Jimmy. \\n Leave the drawring to the artists. \\n \\n Whale squeezes the pad behind the bed, jumps up. \\n\",\n \" Thanks, doll. \\n \\n BETTY \\n (to Harry) \\n I say let loverboy watch his \\n movie. And be grateful Boone's \\n not cutting Shirley Temple's lawn. \\n \\n CLAY \\n Why is everybody giving me crap \\n tonight? \\n \\n DWIGHT \\n Jesus, Boone. You come in here \\n proud as a peacock because some old\"\n ],\n [\n \" Whale presses his lips to Clay's tattoo. Clay's muscles \\n tense from head to toe. \\n \\n WHALE \\n What a solid brute you are. \\n \\n Whale's tongue moves down Clay's arm. \\n \\n WHALE \\n No? Maybe this, then? \\n \\n The hand slides over Clay's stomach toward his lap. The \\n tattooed arm swings backward, slamming an elbow against\",\n \" So you don't want to fuck. That's \\n what you're telling me? \\n \\n BETTY \\n Is that all this conversation means \\n to you? Am I going to put out or \\n not? \\n \\n CLAY \\n Damn straight. I'm sick of playing \\n games. \\n \\n Betty quickly gets into the car. before she can pull the\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" things with his life. \\n \\n BETTY \\n Do you realize you're more \\n interested in this old goober than \\n you ever were in me? \\n \\n CLAY \\n It's different. He's a man. And \\n by the way you have no business \\n calling him a homo. \\n \\n BETTY \\n It never crossed your mind? \\n \\n CLAY\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" didn't want me self-conscious. \\n \\n Whale steps forward. \\n \\n WHALE \\n Perhaps if we open the shirt and \\n pull -- \\n \\n Whale's hands to in. Clay's flesh tightens; he shrinks \\n back. The hands stop, palms raised. \\n \\n WHALE \\n Oh dear. I <u>have</u> made you \\n nervous. \\n \\n CLAY\",\n \" Hanna retreats toward the kitchen. Clay steps tentatively \\n into the room. \\n \\n WHALE \\n Mr. Boone. You're not due to cut \\n the lawn until Wednesday. \\n \\n CLAY \\n I'd like to sit for you again. But \\n only if you ease up on the locker \\n room talk. Okay? \\n \\n Whale holds up two fingers, affects an American accent. \\n\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" DWIGHT \\n Damn but it's getting drunk in \\n here. Late too. The bride of \\n Dwight is going to bite my head \\n off. \\n \\n He tilts toward the door. \\n \\n DWIGHT \\n You coming, Boone? \\n \\n CLAY \\n I think I'll hang around. \\n \\n HARRY\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" and wild eyes lying beneath him. \\n \\n WHALE \\n Break my neck. Or strangle me. It \\n would be oh so easy to wrap your \\n hands around my neck and choke the \\n life out of me. Please, Clayton. \\n We've come this far. \\n \\n CLAY \\n You're crazy. \\n \\n Whale's eyes glimmer in the sporadic bursts of lightning. \\n\",\n \" comfort me. \\n \\n On the tv screen, the old man starts to cry, then collapses \\n onto the Monster's chest. A thick tear rolls down the \\n Monster's cheek. \\n \\n Clay Boone sits on the sofa, a baby on his lap. He's 40 \\n now, his hair starting to thin but still closely cropped at \\n the top and sides. \\n \\n On the tv, daylight fills the hut. The blind man and the\",\n \" Before Whale can respond Clay storms out, nearly ripping the \\n screen door off its hinges. Whale sits on the daybed, takes \\n a few quick breaths. Suddenly the air is filled with the \\n sounds of people cavorting in the pool. \\n \\n Whale looks up, sees a young man standing outside the screen \\n door. It is now dark outside. \\n \\n YOUNG MAN \\n Come on, Jimmy. Watch me dive. \\n\",\n \" Thanks, doll. \\n \\n BETTY \\n (to Harry) \\n I say let loverboy watch his \\n movie. And be grateful Boone's \\n not cutting Shirley Temple's lawn. \\n \\n CLAY \\n Why is everybody giving me crap \\n tonight? \\n \\n DWIGHT \\n Jesus, Boone. You come in here \\n proud as a peacock because some old\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\"\n ],\n [\n \" Clay snatches Whale's wrist before it can touch his crotch. \\n With his other hand he picks up the heavy crystal decanter. \\n \\n CLAY \\n What the hell do you want from me?! \\n \\n Whale tilts his face up for another blow. \\n \\n WHALE \\n <u>I want you to kill me</u>. \\n \\n Clay freezes. He stares down at the old man with white hair\",\n \" breath. \\n \\n HANNA \\n Ohhh! \\n \\n Hanna comes down the path, her run slowing to a walk. She \\n stares at Clay. \\n \\n CLAY \\n I didn't do it. This wasn't me. \\n \\n HANNA \\n Oh, Mr. Jimmy. \\n \\n CLAY \\n He wanted me to kill him, but I\",\n \" A very lucky thing indeed. \\n \\n CLAY \\n That's not the way he saw it. To \\n him, it was like his life never got \\n started. Nothing else really \\n mattered. Definitely not his \\n family. \\n \\n Whale gazes sympathetically at Clay. \\n \\n CLAY \\n The morning after Pearl Harbor, he \\n drove down to St. Louis to\",\n \" and wild eyes lying beneath him. \\n \\n WHALE \\n Break my neck. Or strangle me. It \\n would be oh so easy to wrap your \\n hands around my neck and choke the \\n life out of me. Please, Clayton. \\n We've come this far. \\n \\n CLAY \\n You're crazy. \\n \\n Whale's eyes glimmer in the sporadic bursts of lightning. \\n\",\n \" WHALE \\n No, I don't want to die alone. But \\n to be killed by you -- that would \\n make death bearable. They say you \\n never see the one with your name on \\n it. But I want to see death coming \\n at me. I want it to be sharp and \\n hard, with a human face. Your \\n face. Think, Clayton. You'd be my\",\n \" Do you want to be questioned about \\n you and Mr. Jimmy? Please, \\n Clayton. It will be better if I \\n find the body alone. \\n \\n CLAY \\n But how're you going to explain \\n this? \\n (points at the body) \\n How did you get him out of the \\n pool? \\n \\n HANNA \\n You are right. Yes. We must put\",\n \" CLAY \\n I don't like to talk about that. \\n \\n WHALE \\n It's nothing to be ashamed of, in \\n the service of one's country. \\n That's something to be proud of. \\n \\n CLAY \\n Proud? Any jerk with a gun can \\n kill someone. \\n \\n WHALE \\n Quite true. Hand-to-hand combat is\",\n \" Tell me something, Clayton. Do \\n you believe in mercy killing? \\n \\n CLAY \\n Never gave it much thought. \\n \\n WHALE \\n Come now. I'm sure you came across \\n such situations in Korea. A \\n wounded comrade, or perhaps one of \\n the enemy? Someone for whom death \\n would be a blessing. \\n \\n Clay stops chewing. He stares down at his plate.\",\n \" Clay jabs with his elbow, flipping Whale on his back. His \\n body straddles Whale's and pins him, face to face. \\n \\n CLAY \\n I'm not that way. Get it through \\n your fucking head. I don't want to \\n mess with you. \\n \\n WHALE \\n Oh, but you feel good, Clayton. \\n\",\n \" him back. \\n \\n They both hesitate, looking down at Whale. Then Clay drags \\n the body parallel with the pool. Hanna stoops over to \\n adjust the collar of Whale's shirt. \\n \\n HANNA \\n Poor Mr. Jimmy. We do not mean \\n disrespect. You will keep better \\n in water. \\n \\n She nods to Clay. He rolls the body over and it splashes on\",\n \" the true test. Did you ever slay \\n anyone hand-to-hand? \\n \\n CLAY \\n (defensive) \\n No. I could have, though. \\n \\n WHALE \\n Yes, I believe you could. \\n (a sip of wine) \\n How free is your schedule this \\n afternoon? \\n \\n CLAY \\n Full up. I got the hedges to do\",\n \" things with his life. \\n \\n BETTY \\n Do you realize you're more \\n interested in this old goober than \\n you ever were in me? \\n \\n CLAY \\n It's different. He's a man. And \\n by the way you have no business \\n calling him a homo. \\n \\n BETTY \\n It never crossed your mind? \\n \\n CLAY\",\n \" CLAY \\n Mr. Whale? Are you okay? \\n \\n Whale turns away. He yanks out a handkerchief. \\n \\n WHALE \\n Stupid. Very stupid. What have I \\n been thinking? \\n \\n He sits on the daybed and bends over, covering both eyes \\n with the handkerchief. \\n \\n WHALE \\n Just go. Please. Why don't you\",\n \" Clay glares at her, his jaw working forward in anger. \\n \\n CLAY \\n I like my life. I'm a free man. \\n \\n BETTY \\n Sure you're free, for now at least. \\n But how long before you're just \\n alone? Pathetic and alone. \\n \\n Clay's anger jumps from his jaw into his shoulders and arms. \\n He grabs the door handle. \\n \\n CLAY\",\n \" Clay's back and holds on. \\n \\n WHALE \\n Oh yes. I have you now. \\n \\n A strap breaks. Clay rips the mask off. \\n \\n CLAY \\n Get the fuck off! \\n \\n Whale's hand squeezes between Clay's legs. \\n \\n WHALE \\n What will you do to get yourself \\n back? \\n\",\n \" Clay's eyes are filled with pity. \\n \\n WHALE \\n Oh, but we were a witty lot. \\n Laughing at our dead. Telling \\n ourselves it was our death too. \\n But with each man who died, I \\n thought, \\\"Better you than me, poor \\n sod.\\\" \\n (bitterly) \\n A whole generation was wiped out by \\n that war. Millions and millions of\",\n \" CLAY \\n I figured he'd think, you know -- \\n it was the next best thing. Hey, I \\n loved it too. A chance to be a \\n part of something important. \\n Something bigger than yourself. \\n \\n WHALE \\n What happened? \\n \\n CLAY \\n I didn't have the guts for it. \\n \\n A look of surprise crosses Whale's face. \\n\",\n \" CLAY \\n Why? \\n \\n WHALE \\n For the artistic effect. The \\n combination of your human body and \\n that inhuman mask. It's quite \\n striking. \\n \\n CLAY \\n I don't know. \\n \\n WHALE \\n Please, Clayton. Just for a \\n minute. Long enough for me to see \\n the effect. \\n\",\n \" Why are you here? What do you want \\n from me? \\n \\n CLAY \\n You asked me to model. Remember? \\n \\n WHALE \\n Of course I remember. Do you think \\n I'm so senile -- \\n \\n Whale stands over Clay. His pale face turns left, right, \\n looking at Clay with one cold eye, then the other. Clay \\n returns the gaze, worried for Whale. \\n\",\n \" He gets an arm around Whale's chest and heaves the body over \\n the curb. he climbs out, drags the body forward to rest in \\n the grass. He grabs the wrist. Nothing. \\n \\n CLAY \\n Son of a bitch. You crazy son of a \\n bitch. \\n \\n Clay straddles Whale's thighs and applies pressure on his \\n rib cage. But it's no use. Clay sits up and takes a deep\"\n ],\n [\n \" WHALE \\n One likes to live simply. \\n \\n KAY \\n I know. People's movies aren't \\n their lives. \\n \\n He suddenly growls out an imitation of Boris Karloff. \\n \\n KAY \\n Love dead. Hate living. \\n \\n Kay laughs, a high, girlish giggle. Whale fights a cringe \\n with a polite smile. \\n \\n KAY\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale studies his face in the mirror. He gives his white \\n hair a few final licks with his silver-backed brush. \\n \\n INT. WHALE'S HOUSE - KITCHEN - DAY \\n \\n Whale comes in from the bedroom. \\n \\n WHALE \\n There is iced tea, Hanna? Cucumber \\n sandwiches? \\n\",\n \" relieves himself with the other. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \\n \\n Whale sits up in bed, staring dumbly at the morning paper. \\n Hanna reaches in to take away the breakfast tray. \\n \\n WHALE \\n Does the yardman come today? \\n \\n HANNA \\n Of course. This afternoon. \\n \\n A thin smile forms on Whale's face. \\n\",\n \" WHALE \\n Quite so, mum. To the privy. \\n \\n And he heads cheerfully out of the room. His mother shakes \\n her head. \\n \\n SARAH WHALE \\n \\\"Quite so.\\\" \\n (calls out) \\n Jimmy Whale. Who are ya to put on \\n airs? \\n \\n But Whale is already out the door. We CUT TO: \\n\",\n \" Whale drifts back to the window, watches as Clay revs up the \\n lawnmower, creating a cloud of white smoke. We CUT TO: \\n \\n EXT. STREETS OF DUDLEY - DAY (1900) \\n \\n A bean-pole child with flaming red hair (WHALE at age 12) \\n stares up at the coal smoke pouring from a seemingly endless \\n row of chimneys. We're in Dudley, a factory town in the\",\n \" His eyes are closed in dreamless sleep. \\n \\n Whale looks up and sees that Clay is gone. The only other \\n living creature is an owl, which blinks wearily at him. \\n \\n Whale lies down, finding a spot next to Barnett. He takes a \\n last breath and closes his eyes. We CUT TO: \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n\",\n \" Whale eats lunch off a TV tray. His attention remains \\n focused on \\\"Queen for a Day\\\" as Hanna clomps into the room \\n behind him. \\n \\n WHALE \\n Who was that at the door? \\n \\n HANNA \\n A visitor. \\n \\n Whale turns. His face registers surprise when he sees Clay. \\n \\n WHALE \\n Thank you, Hanna. That will be \\n all.\",\n \" Whale offers a melancholy smile. \\n \\n WHALE \\n I think I'll just rest for a \\n moment. \\n \\n The man shrugs, disappears into the shadows. We move \\n across the room and through the door... \\n \\n EXT. WHALE'S HOUSE - NIGHT \\n \\n Whale sits in a director's chair, a martini in one hand, a \\n cigar in the other, a harmless old uncle watching young men\",\n \" WHALE \\n So, Mr. Kay? What do you want to \\n know? \\n \\n KAY \\n Everything. Start at the \\n beginning. \\n \\n WHALE \\n I was born outside London, the only \\n son of a minister who was a master \\n at Harrow. Grandfather was a \\n bishop. Church of...Church of \\n Eng... \\n\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" Whale stops, turns to Hanna. \\n \\n WHALE \\n Do you miss having someone to talk \\n to, Hanna? \\n \\n HANNA \\n I have my family. Also our Lord \\n Jesus Christ. \\n \\n WHALE \\n Of course. How is the old boy \\n these days? \\n \\n The naughty remark is met with a solemn stare. Whale\",\n \" Mr. Whale? \\n \\n Whale smiles politely to cover his momentary disorientation. \\n \\n WHALE \\n Yes? \\n \\n KAY \\n Your father was a schoolmaster? \\n \\n WHALE \\n Of course. I attended Eton -- it \\n wouldn't do for a master's son to \\n attend where his father taught. I \\n was to go up to Oxford but the war\",\n \" Whale settles into his club chair and opens a book, \\n pretending to read until Hanna ushers in the visitor. \\n \\n HANNA \\n Mr. Kay, sir. \\n \\n WHALE \\n (feigning surprise) \\n Yes? \\n \\n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \\n weight on one slouched hip, his arms twined behind him.\",\n \" WHALE \\n Blast her. If we soil her holy \\n floor, it's her own damn fault. \\n \\n Whale goes squashing down the hall. Clay remains just \\n inside the open door, prying off his shoes and peeling off \\n his socks. He follows Whale into: \\n \\n INT. WHALE'S HOUSE - KITCHEN - DUSK \\n \\n Whale stands over the table with his jaw open. \\n \\n WHALE\",\n \" Oh, that monster. How could you be \\n working with him? \\n \\n WHALE \\n Don't be silly, Hanna. He's a very \\n proper actor. And the dullest \\n fellow imaginable. \\n \\n Minnie flees in a bowlegged jig up the hill. Whale smiles \\n again. \\n \\n INT. HARRY'S BEACHCOMBER - NIGHT \\n\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" INT. WHALE'S HOUSE - DINING ROOM - NIGHT \\n \\n Whale passes quickly through the dining room and out to the \\n kitchen. \\n \\n INT. WHALE'S HOUSE - GARAGE - NIGHT \\n \\n Whale reaches for the hatbox, which sits on top of a garbage \\n can. Suddenly a large hand appears on the box. Whale gasps \\n when a flash of lightning reveals the face of the Monster. \\n\",\n \" INT. HOUSE - LIVING ROOM - DAY \\n \\n The shadow is a man with dove white hair, wearing a dress \\n shirt and seersucker jacket. This is JAMES WHALE, age 67. \\n \\n DAVID \\n I'd have more peace of mind if the \\n live-in nurse were still here. \\n \\n HANNA \\n She was nothing but bother. I not \\n like her, Mr. Jimmy not like her.\"\n ],\n [\n \" CLAY \\n You were a soldier? \\n \\n WHALE \\n I was an officer. \\n \\n Clay breaks his pose to turn and look at Whale. \\n \\n CLAY \\n This was World War I? \\n \\n WHALE \\n No, my dear. The Crimean War. \\n What do you think? The Great War. \\n You had a Good War, while we had -- \\n\",\n \" Whale clears his throat, bored by his standard line. \\n \\n WHALE \\n -- a war without end. There were \\n trenches when I arrived, and \\n trenches when I left, two years \\n later. Just like in the movies. \\n Only the movies never get the \\n stench of them. The world reduced \\n to mud and sandbags and a narrow \\n strip of rainy sky.\",\n \" Whale gazes out at the storm. From his POV, we see a \\n scarred and barren landscape, illuminated by occasional \\n flashes of lightning. \\n \\n WHALE \\n He caught his one night coming back \\n from the reconnoiter. I wouldn't \\n take him out, but McGill did. Just \\n to give the lad a taste. They were \\n nearly home when a Maxim gun opened \\n fire. \\n\",\n \" Mr. Whale? \\n \\n Whale smiles politely to cover his momentary disorientation. \\n \\n WHALE \\n Yes? \\n \\n KAY \\n Your father was a schoolmaster? \\n \\n WHALE \\n Of course. I attended Eton -- it \\n wouldn't do for a master's son to \\n attend where his father taught. I \\n was to go up to Oxford but the war\",\n \" I don't recall. Memories of the \\n war, perhaps. \\n \\n CLAY \\n But that was so long ago. It can't \\n still bother you. \\n \\n WHALE \\n Oh, but it does. Especially in \\n light of the journey I'm about to \\n make. \\n \\n CLAY \\n You're planning a trip? \\n\",\n \" Whale's gaze remains dreamy and preoccupied as SOUNDS of \\n battle fill the room. A relentless rat-a-tat of gunfire. \\n The whistling of bombs. The tortured wailing of dying men. \\n Whale stands, moves over to the window. \\n \\n WHALE \\n Barnett. Barnett on the wire. \\n \\n CLAY \\n Your friend? \\n\",\n \" (a dry snort) \\n But we were discussing something \\n else. Oh yes. Love in the \\n trenches. \\n \\n Now he's talking only to himself. \\n \\n WHALE \\n Barnett. Was that his name? \\n Leonard Barnett. He came to the \\n front straight from Harrow. And he \\n looked up to me. Unlike the \\n others, he didn't care that I was a\",\n \" Clay's eyes are filled with pity. \\n \\n WHALE \\n Oh, but we were a witty lot. \\n Laughing at our dead. Telling \\n ourselves it was our death too. \\n But with each man who died, I \\n thought, \\\"Better you than me, poor \\n sod.\\\" \\n (bitterly) \\n A whole generation was wiped out by \\n that war. Millions and millions of\",\n \" vessel. Said it was a good lesson \\n for me. Not to try to fill his \\n shoes. \\n \\n WHALE \\n I'm very sorry. \\n \\n CLAY \\n Them's the breaks, right? No war \\n stories for this pup. \\n \\n WHALE \\n That's where you're wrong, Clayton. \\n You've just told one. A very good\",\n \" WHALE \\n But expressively broken. How did \\n it happen? \\n \\n CLAY \\n Football in college. \\n \\n WHALE \\n You went to university? \\n \\n CLAY \\n Just a year. I dropped out to join \\n the Marines. \\n \\n WHALE \\n Yes. You were a Marine. \\n\",\n \" Clay downs his beer, refills the glass. \\n \\n CLAY \\n My old man was a Marine. He \\n enlisted the day he turned \\n seventeen. \\n \\n WHALE \\n The Great War? \\n \\n CLAY \\n (nods) \\n By the time he was ready to ship \\n out, the fighting was over. He \\n missed out. \\n \\n WHALE\",\n \" broke out and I never made it. The \\n Great War, you know. You had a \\n Good War, but we had a great one. \\n \\n He glances to see if the boy smiles at the quip. \\n \\n WHALE \\n You can't imagine what life was \\n like after the Armistice. The \\n twenties in London were one long \\n bank holiday, a break from \\n everything dour and respectable. I\",\n \" WHALE \\n Quite so, mum. To the privy. \\n \\n And he heads cheerfully out of the room. His mother shakes \\n her head. \\n \\n SARAH WHALE \\n \\\"Quite so.\\\" \\n (calls out) \\n Jimmy Whale. Who are ya to put on \\n airs? \\n \\n But Whale is already out the door. We CUT TO: \\n\",\n \" WHALE \\n So, Mr. Kay? What do you want to \\n know? \\n \\n KAY \\n Everything. Start at the \\n beginning. \\n \\n WHALE \\n I was born outside London, the only \\n son of a minister who was a master \\n at Harrow. Grandfather was a \\n bishop. Church of...Church of \\n Eng... \\n\",\n \" came out. \\n \\n EXT. TRENCHES - DAY (1917) \\n \\n LEONARD BARNETT, 19, boyish and handsome, peers into a \\n periscope. Whale stands beside him, pointing out landmarks \\n on the bleak landscape. \\n \\n WHALE (V.O.) \\n Odd, how even there one could have \\n days when the weather was enough to\",\n \" second Monster. Almost as famous \\n as the first. It would be the \\n great adventure you've yearned for. \\n A war story for both of us to \\n share. \\n \\n Clay's breathing comes in quick, panicked bursts. \\n \\n WHALE \\n You'd be fully exonerated, I've \\n taken care of that. I wrote a \\n note, I'll even leave you the\",\n \" She makes an audible sigh and starts back up the hill. \\n \\n WHALE \\n There was one play in particular, a \\n beautiful, grim study of war called \\n \\\"Journey's End\\\". Every experienced \\n director turned it down, so I \\n offered myself, bullying and \\n begging for the job. \\\"Journey's \\n End\\\" made the careers of everyone \\n associated with it. It was only a\",\n \" don't know what to do with the \\n creature except harness him to the \\n plow. \\n \\n Whale seems completely lost in the past by now. \\n \\n WHALE \\n Hatred was the only thing that kept \\n my soul alive in that soul-killing \\n place. And among those men I hated \\n was my own poor, dumb father. Who \\n put me in that hell to begin with. \\n\",\n \" Whale drifts back to the window, watches as Clay revs up the \\n lawnmower, creating a cloud of white smoke. We CUT TO: \\n \\n EXT. STREETS OF DUDLEY - DAY (1900) \\n \\n A bean-pole child with flaming red hair (WHALE at age 12) \\n stares up at the coal smoke pouring from a seemingly endless \\n row of chimneys. We're in Dudley, a factory town in the\",\n \" reenlist. He was so damn excited. \\n World War II was going to be his \\n second chance. \\n (sighs) \\n They told him he was too old...fat \\n ...nearsighted. Said he'd be more \\n use to his country if he stayed \\n home and looked after his family. \\n \\n WHALE \\n Is that why you joined the Marines? \\n For your father's sake?\"\n ],\n [\n \" You mean, like posed for pictures? \\n \\n WHALE \\n Sat for an artist. Been sketched. \\n \\n CLAY \\n (with a laugh) \\n What's to sketch? \\n \\n WHALE \\n You have the most architectural \\n skull. And your nose. Very \\n expressive. \\n \\n CLAY \\n Broke is more like it. \\n\",\n \" Whale's gaze deepens. He laughs lightly. \\n \\n WHALE \\n I apologize for going on like this. \\n It's the Sunday painter in me. Of \\n course I can understand your \\n refusal. It's a great deal to ask \\n of someone. \\n \\n CLAY \\n You mean -- you really want to draw \\n me? \\n \\n WHALE\",\n \" Indeed. I'd pay for the privilege \\n of drawing your head. \\n \\n CLAY \\n But why? \\n \\n WHALE \\n Even an amateur artist needs a \\n subject to inspire him. \\n \\n CLAY \\n And it's just my head you want? \\n Nothing else? \\n \\n WHALE \\n What are you suggesting? You'll\",\n \" Jimmy. The privy needs cleaning. \\n \\n WHALE \\n I have my class tonight. \\n \\n Both have Midlands accents, like head colds that flatten \\n their speech. Whale holds up the sketch to show his mother. \\n \\n SARAH WHALE \\n Don't get above yarself, Jimmy. \\n Leave the drawring to the artists. \\n \\n Whale squeezes the pad behind the bed, jumps up. \\n\",\n \" He unbuttons the shirt and pulls it off. \\n \\n WHALE \\n Yes. Much better. \\n (steps forward) \\n Here. \\n \\n Clay adjusts his belt buckle as Whale hangs the shirt on a \\n wall peg. He moves back to the easel again. \\n \\n WHALE \\n I think we'll have you sit slightly \\n sideways, so you can rest one arm\",\n \" Pish posh, Mr. Boone. I'm not your \\n Aunt Tilly. \\n \\n CLAY \\n But it's just my face you want to \\n draw. \\n \\n WHALE \\n Oh if it's going to make you \\n uncomfortable... \\n (sighs) \\n Perhaps we can find something else \\n for you to wear. \\n\",\n \" earnestly over his script. Thesiger pinches his face over \\n the needle he dips in and out of an embroidery ring. \\n \\n Whale comes on the set with Elsa on his arm. She walks \\n regally beside him, the train of her long white robe thrown \\n over one arm. There's a wolf whistle from overhead, and \\n applause, causing Elsa to curtsy to her admirers. Thesiger\",\n \" Clay nods, chugs his tea. When he lowers the glass, he \\n finds the old man watching him. \\n \\n WHALE \\n You must excuse me for staring, Mr. \\n Boone. But you have a marvelous \\n head. \\n \\n CLAY \\n Huh? \\n \\n WHALE \\n To an artistic eye, you understand. \\n Have you ever modeled? \\n \\n CLAY\",\n \" The only memento I ever kept. My \\n original sketch for the Monster. \\n \\n He hands the sketch to Clay, who stares down at the famous \\n flat head, hooded eyes, bolted neck of the Monster. \\n \\n WHALE \\n Shall we? \\n \\n Clay puts down the sketch, starts into the hall. Whale \\n turns back, sees Barnett standing by the window. Whale \\n flips off the light and closes the door.\",\n \" Whale's skull. Clay jumps from the chair, knocking into an \\n end table. The glass and crystal decanter fall to the \\n floor. The lamp spills over and the room goes dark. \\n \\n Clay's ankle is caught by the sofa leg and he hits the \\n floor, jamming the inhalator against his mouth. He quickly \\n gets up, on his knees and elbows, pulling at the mask. \\n Flashes of lightning strobe the room as Whale collapses over\",\n \" Why are you here? What do you want \\n from me? \\n \\n CLAY \\n You asked me to model. Remember? \\n \\n WHALE \\n Of course I remember. Do you think \\n I'm so senile -- \\n \\n Whale stands over Clay. His pale face turns left, right, \\n looking at Clay with one cold eye, then the other. Clay \\n returns the gaze, worried for Whale. \\n\",\n \" CLAY \\n No. I'm fine. \\n \\n WHALE \\n It's a bit like being at the \\n doctor, isn't it? You have to \\n remain perfectly still while I \\n examine and scrutinize you. \\n \\n Whale suddenly sniffs, as if smelling something. He sniffs \\n several times more but continues to draw. \\n \\n WHALE \\n (to himself)\",\n \" on the back of the chair. Yes. \\n Just so. \\n \\n The arm with the tattoo faces the easel. Clay smirks. \\n \\n CLAY \\n Take a picture, it lasts longer. \\n \\n WHALE \\n That's exactly what I intend to do. \\n \\n A clatter of pencils in the easel's tray, followed by a \\n moment of silence. Finally, a low, whistly scratch. Clay\",\n \" CLAY \\n Excuse me, but -- are you famous? \\n \\n WHALE \\n You know what they say. If you \\n have to ask -- \\n \\n CLAY \\n I'm just a hick who cuts lawns. \\n But some of these look familiar. \\n \\n WHALE \\n They were familiar when I painted \\n them. That one's copied from a\",\n \" Whale settles into his club chair and opens a book, \\n pretending to read until Hanna ushers in the visitor. \\n \\n HANNA \\n Mr. Kay, sir. \\n \\n WHALE \\n (feigning surprise) \\n Yes? \\n \\n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \\n weight on one slouched hip, his arms twined behind him.\",\n \" ELSA LANCHESTER and BORIS KARLOFF sit side by side in \\n dentist chairs, cloths around their necks, heads tilted \\n back. JACK PIERCE, the makeup artist, is patting the hair \\n drawn over a cage on Elsa's head. He looks up, sees Whale, \\n and breaks into a conspiratorial grin. Elsa's eyes are \\n closed; she hasn't heard whale enter. \\n\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" Can I see what you did so far? \\n \\n WHALE \\n It will only make you \\n self-conscious. You'll have to \\n remove your shirt. \\n \\n CLAY \\n Sorry. Not today. \\n \\n WHALE \\n But we have to match the other \\n sketch. \\n \\n CLAY \\n I just feel more comfortable \\n keeping it on. You just said you\",\n \" flash goes off, a snap and a crunch of light. Whale cringes \\n in pain. \\n \\n ELSA LANCHESTER \\n (through clenched teeth) \\n Don't you just love being famous? \\n \\n Another flash. From Whale's perspective, the bulb resembles \\n nothing so much as the translucent tube of electrical \\n current from Dr. Frankenstein's laboratory. Whale\",\n \" gestures at a wooden armchair across from him. \\n \\n WHALE \\n My workshop, my studio. Hardly \\n somewhere in which a sweaty workman \\n should feel out of place. \\n \\n Clay glances at the unframed canvases on the wall and \\n stacked in the corners. \\n \\n CLAY \\n These are your paintings? \\n \\n WHALE \\n What? Oh yes. \\n\"\n ],\n [\n \" I was, until last night. Publicity \\n asked me to fly Miss Taylor in for \\n today's reception. \\n \\n The waiter arrives with their drinks. Only when Clay takes \\n his glass of beer does David see that Whale is not alone. \\n \\n DAVID \\n David Lewis. \\n \\n CLAY \\n Clay Boone. \\n \\n WHALE \\n Our yardman. Who was kind enough\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" WHALE \\n How would you like to come to a \\n party with me? A reception for \\n Princess Margaret. \\n \\n CLAY \\n \\n I thought you weren't going. \\n \\n WHALE \\n If you don't mind driving, I'd like \\n to take you as my guest. There \\n should be lots of pretty starlets \\n to keep you amused. \\n \\n CLAY\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale comes forward as Clay enters, offering a hand at the \\n end of a spindly wrist. \\n \\n WHALE \\n How are you, Mr. Boone? So glad \\n you are free for lunch. \\n \\n CLAY \\n All right, I guess. \\n \\n WHALE \\n I assume you worked up an appetite\",\n \" story indeed. \\n \\n Whale lifts his glass in a toast. Clay empties his glass of \\n beer. He motions toward the decanter. \\n \\n CLAY \\n Do you mind? \\n \\n WHALE \\n Not at all. \\n \\n He hands the decanter to Clay. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Clay sits in a straight-backed chair, smoking a cigarette\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" Kay peels off the shirt and tosses it on his shoes and \\n sweater. \\n \\n WHALE \\n George is famous for his Saturday \\n dinner parties. Great artists, \\n writers, society folk, all rubbing \\n elbows with Hollywood royalty. But \\n how many of those oh-so-proper \\n people know about the Sunday \\n brunches that follow? Gatherings \\n of trade eating leftovers, followed\",\n \" Mr....Kay? \\n \\n KAY \\n Bet you thought you'd never see me \\n again. I didn't know if you'd be \\n well enough to come to this party. \\n \\n WHALE \\n You didn't? \\n \\n KAY \\n I'm the one who got you on Mr. \\n Cukor's guest list. \\n \\n WHALE\",\n \" (smiles at Clay) \\n Please, Mr. Boone. Help yourself. \\n \\n CLAY \\n What did she mean by going flooey? \\n \\n WHALE \\n I returned recently from a stay in \\n hospital. \\n \\n CLAY \\n What was wrong? \\n \\n WHALE \\n Nothing serious. A touch of \\n stroke. \\n\",\n \" the gas and the Chrysler takes off. \\n \\n EXT. CUKOR HOUSE - DAY \\n \\n The party is clearly audible from the road, where Clay has \\n squeezed the Chrysler into a long row of shiny cars nuzzling \\n the high brick wall. Whale puts his dark glasses on. \\n \\n WHALE \\n Stars, you know. The suns of other \\n galaxies. \\n \\n They walk up the steep road to the gatehouse. \\n\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" Whale settles into his club chair and opens a book, \\n pretending to read until Hanna ushers in the visitor. \\n \\n HANNA \\n Mr. Kay, sir. \\n \\n WHALE \\n (feigning surprise) \\n Yes? \\n \\n Whale looks up at EDMUND KAY, 22, a slim boy who rests his \\n weight on one slouched hip, his arms twined behind him.\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\"\n ],\n [\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" That shirt, Mr. Boone. \\n \\n CLAY \\n It's new. \\n \\n WHALE \\n I'm sorry. It's too white, too \\n distracting. Would it be asking \\n too much for you to take it off? \\n \\n CLAY \\n I'm not wearing an undershirt. \\n \\n WHALE\",\n \" Pish posh, Mr. Boone. I'm not your \\n Aunt Tilly. \\n \\n CLAY \\n But it's just my face you want to \\n draw. \\n \\n WHALE \\n Oh if it's going to make you \\n uncomfortable... \\n (sighs) \\n Perhaps we can find something else \\n for you to wear. \\n\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" Absolutely swims on me, but should \\n take care of your upper half. \\n \\n Clay pulls the sweater over his head. \\n \\n WHALE \\n That only leaves the rest. \\n \\n CLAY \\n You don't have any baggy shorts? \\n Pajama bottoms? \\n \\n WHALE \\n Sorry. My pajamas are tailored. \\n Would it be too distressing to\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" comfort me. \\n \\n On the tv screen, the old man starts to cry, then collapses \\n onto the Monster's chest. A thick tear rolls down the \\n Monster's cheek. \\n \\n Clay Boone sits on the sofa, a baby on his lap. He's 40 \\n now, his hair starting to thin but still closely cropped at \\n the top and sides. \\n \\n On the tv, daylight fills the hut. The blind man and the\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" makeshift village for beach bums. \\n \\n INT. TRAILER - DAY \\n \\n CLAYTON BOONE opens his eyes. He is 26, handsome in a \\n rough-hewn, Chet Baker-like way, with broad shoulders and a \\n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \\n lights a bent cigarette. \\n \\n Clay stands and walks bare-assed across the single tin room,\",\n \" DWIGHT \\n Damn but it's getting drunk in \\n here. Late too. The bride of \\n Dwight is going to bite my head \\n off. \\n \\n He tilts toward the door. \\n \\n DWIGHT \\n You coming, Boone? \\n \\n CLAY \\n I think I'll hang around. \\n \\n HARRY\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" Getting to be a warm day. A \\n scorcher, as you Yanks call it. \\n \\n CLAY \\n Yeah. I better get on with my \\n work. \\n \\n Whale clears his throat behind the back of his hand. \\n \\n WHALE \\n When you're through, Mr. Boone, \\n feel free to make use of the pool. \\n We're quite informal here. You\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" Dwight nods, a little coolly. \\n \\n DWIGHT \\n Hey, Boone. \\n \\n CLAY \\n Have a drink? \\n \\n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \\n hand on his shoulder. Dwight shrugs, heads toward the door. \\n \\n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s\",\n \" Whale pulls on a blazer. \\n \\n CLAY \\n Mr. Whale? \\n \\n Whale jumps. He slaps a hand over his chest, twists around, \\n sees Clay. \\n \\n WHALE \\n Oh, of course. Clayton. You \\n finished your shower already? \\n \\n CLAY \\n Ten minutes ago. Didn't you hear \\n me calling? \\n\",\n \" KAY \\n I can't believe I'm doing this. \\n \\n Kay stands to unbuckle his belt, glancing around the yard \\n again. He unzips and steps out of his sharply creased \\n flannel legs. His thighs are thin and pale. \\n \\n KAY \\n Just like going swimming, isn't it? \\n \\n WHALE \\n Maybe you'd like a swim when we're\",\n \" From here on out, Boone, you're \\n just another tired old face on the \\n other side of the bar. \\n \\n The car screeches away. Clay stumbles across the highway. \\n \\n EXT. TRAILER PARK - NIGHT \\n \\n Clay comes to the dump at the end of the canyon. He climbs \\n into it, kicking at loose cans. \\n \\n CLAY\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" Thanks, doll. \\n \\n BETTY \\n (to Harry) \\n I say let loverboy watch his \\n movie. And be grateful Boone's \\n not cutting Shirley Temple's lawn. \\n \\n CLAY \\n Why is everybody giving me crap \\n tonight? \\n \\n DWIGHT \\n Jesus, Boone. You come in here \\n proud as a peacock because some old\"\n ],\n [\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" Whale presses his lips to Clay's tattoo. Clay's muscles \\n tense from head to toe. \\n \\n WHALE \\n What a solid brute you are. \\n \\n Whale's tongue moves down Clay's arm. \\n \\n WHALE \\n No? Maybe this, then? \\n \\n The hand slides over Clay's stomach toward his lap. The \\n tattooed arm swings backward, slamming an elbow against\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" concentrates on keeping still, focusing on an open window. \\n \\n WHALE \\n You seem to have no idea how \\n handsome you are, Mr. Boone. It \\n has to do with how snugly your face \\n fits your skull. \\n \\n Clay wipes a thin line of sweat from his waist. \\n \\n WHALE \\n Would you be more comfortable \\n barefoot? Feel free to remove your \\n boots and socks. \\n\",\n \" INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale comes forward as Clay enters, offering a hand at the \\n end of a spindly wrist. \\n \\n WHALE \\n How are you, Mr. Boone? So glad \\n you are free for lunch. \\n \\n CLAY \\n All right, I guess. \\n \\n WHALE \\n I assume you worked up an appetite\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" Hanna retreats toward the kitchen. Clay steps tentatively \\n into the room. \\n \\n WHALE \\n Mr. Boone. You're not due to cut \\n the lawn until Wednesday. \\n \\n CLAY \\n I'd like to sit for you again. But \\n only if you ease up on the locker \\n room talk. Okay? \\n \\n Whale holds up two fingers, affects an American accent. \\n\",\n \" Whale lurches from the table. Kay jumps forward, catching \\n him under an arm. \\n \\n KAY \\n Oh my God. What's wrong, Mr. \\n Whale? Is it your heart? \\n \\n WHALE \\n Head. Not heart. \\n \\n He leans against Kay, who leads him toward the studio. \\n \\n WHALE \\n Forgive me. \\n\",\n \" Whale nods, sensing that he's touched a sore spot. \\n \\n WHALE \\n And the fear you showed at our last \\n session? How did you overcome \\n that? \\n \\n CLAY \\n Not fear. More like disgust. \\n \\n WHALE \\n Same difference, Mr. Boone. \\n Disgust, fear of the unknown -- all \\n part of the great gulf that stands\",\n \" Clay nods, chugs his tea. When he lowers the glass, he \\n finds the old man watching him. \\n \\n WHALE \\n You must excuse me for staring, Mr. \\n Boone. But you have a marvelous \\n head. \\n \\n CLAY \\n Huh? \\n \\n WHALE \\n To an artistic eye, you understand. \\n Have you ever modeled? \\n \\n CLAY\",\n \" Whale is suddenly behind him. Clay's vision is enclosed in \\n two round windows, so he can't see Whale buckling the second \\n strap. \\n \\n CLAY \\n Now what? \\n \\n Mouth muffled by the inhalator, Clay hears his voice from \\n inside his head. Whale comes around to stand in front of \\n him. He grins as he steps back to examine Clay. Clay \\n nervously taps his knees with his hands.\",\n \" You have to excuse me, Mr. Boone. \\n Since my stroke, I am often \\n overcome with nostalgia. \\n \\n CLAY \\n I don't mind. I'm not crazy about \\n my old man either. \\n \\n Whale rubs a hand across his eyes and steps into the open. \\n \\n WHALE \\n Why don't we break for five \\n minutes? You probably want to\",\n \" WHALE \\n Scout's honor. \\n \\n Clay smiles. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale and Boone are back in their familiar positions. An \\n empty glass of beer sits on the floor next to Clay. \\n \\n WHALE \\n I'm curious, Mr. Boone. What \\n convinced you to come back? \\n \\n CLAY\"\n ],\n [\n \" Clay snatches Whale's wrist before it can touch his crotch. \\n With his other hand he picks up the heavy crystal decanter. \\n \\n CLAY \\n What the hell do you want from me?! \\n \\n Whale tilts his face up for another blow. \\n \\n WHALE \\n <u>I want you to kill me</u>. \\n \\n Clay freezes. He stares down at the old man with white hair\",\n \" WHALE \\n No, I don't want to die alone. But \\n to be killed by you -- that would \\n make death bearable. They say you \\n never see the one with your name on \\n it. But I want to see death coming \\n at me. I want it to be sharp and \\n hard, with a human face. Your \\n face. Think, Clayton. You'd be my\",\n \" Whale offers a melancholy smile. \\n \\n WHALE \\n I think I'll just rest for a \\n moment. \\n \\n The man shrugs, disappears into the shadows. We move \\n across the room and through the door... \\n \\n EXT. WHALE'S HOUSE - NIGHT \\n \\n Whale sits in a director's chair, a martini in one hand, a \\n cigar in the other, a harmless old uncle watching young men\",\n \" WHALE \\n Certainly, Mr. Kay. Is there \\n anything in particular you want to \\n know? \\n \\n KAY \\n Will you tell me everything you \\n remember about making \\n \\\"Frankenstein\\\"? \\n \\n He glances down at his few remaining articles of clothing. \\n \\n KAY \\n Can that count as one question? \\n \\n WHALE \\n Of course. \\n\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" Tell me something, Clayton. Do \\n you believe in mercy killing? \\n \\n CLAY \\n Never gave it much thought. \\n \\n WHALE \\n Come now. I'm sure you came across \\n such situations in Korea. A \\n wounded comrade, or perhaps one of \\n the enemy? Someone for whom death \\n would be a blessing. \\n \\n Clay stops chewing. He stares down at his plate.\",\n \" He is not going to kill the old \\n man? \\n \\n WHALE \\n No, Hanna. My heart isn't that \\n black. \\n \\n In a crypt, the Monster meets Dr. Pretorius, who is having a \\n midnight snack on top of a closed coffin. \\\"Friend?\\\" the \\n monster asks. \\\"Yes, I hope so,\\\" answers Pretorius, without\",\n \" WHALE \\n It isn't working. The experiment \\n is a failure. \\n \\n Clay glances down at Whale, whose breathing is slowing. \\n Realizing that the new brain hasn't taken: \\n \\n CLAY \\n Just go to sleep. \\n \\n A serenity suffuses Whale's features as he stares up at the \\n pale flicker of lightning. His breathing finally stops, his\",\n \" The Monster is heartbroken. Nobody loves him, not even his \\n Bride. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n The Bride shrieks again. \\n \\n HANNA \\n She is horrible. \\n \\n WHALE \\n She is beautiful. \\n \\n The Monster's pain turns to anger. He tears through the\",\n \" and wild eyes lying beneath him. \\n \\n WHALE \\n Break my neck. Or strangle me. It \\n would be oh so easy to wrap your \\n hands around my neck and choke the \\n life out of me. Please, Clayton. \\n We've come this far. \\n \\n CLAY \\n You're crazy. \\n \\n Whale's eyes glimmer in the sporadic bursts of lightning. \\n\",\n \" Whale lurches from the table. Kay jumps forward, catching \\n him under an arm. \\n \\n KAY \\n Oh my God. What's wrong, Mr. \\n Whale? Is it your heart? \\n \\n WHALE \\n Head. Not heart. \\n \\n He leans against Kay, who leads him toward the studio. \\n \\n WHALE \\n Forgive me. \\n\",\n \" How long were you...? \\n \\n WHALE \\n Twenty years. Too long. We were \\n like a play whose run outlasted the \\n cast's ability to keep it fresh. \\n So I finally decided to close down \\n the show. \\n \\n Whale places a pill on his tongue and swallows. He fixes \\n Clay with a pinched smile. \\n \\n WHALE\",\n \" WHALE \\n One likes to live simply. \\n \\n KAY \\n I know. People's movies aren't \\n their lives. \\n \\n He suddenly growls out an imitation of Boris Karloff. \\n \\n KAY \\n Love dead. Hate living. \\n \\n Kay laughs, a high, girlish giggle. Whale fights a cringe \\n with a polite smile. \\n \\n KAY\",\n \" Why are you here? What do you want \\n from me? \\n \\n CLAY \\n You asked me to model. Remember? \\n \\n WHALE \\n Of course I remember. Do you think \\n I'm so senile -- \\n \\n Whale stands over Clay. His pale face turns left, right, \\n looking at Clay with one cold eye, then the other. Clay \\n returns the gaze, worried for Whale. \\n\",\n \" WHALE \\n I have a proposal, Mr. Kay. This \\n mode of questioning is getting old, \\n don't you think? \\n \\n KAY \\n I don't mind. \\n \\n WHALE \\n Let's make it more interesting. I \\n will answer any question you ask. \\n But, for each answer, you must \\n remove one article of clothing. \\n\",\n \" Whale's skull. Clay jumps from the chair, knocking into an \\n end table. The glass and crystal decanter fall to the \\n floor. The lamp spills over and the room goes dark. \\n \\n Clay's ankle is caught by the sofa leg and he hits the \\n floor, jamming the inhalator against his mouth. He quickly \\n gets up, on his knees and elbows, pulling at the mask. \\n Flashes of lightning strobe the room as Whale collapses over\",\n \" Please. Excuse me. I must go \\n lie -- \\n \\n He forces himself up with one hand. Kay finally looks up, \\n notices Whale's colorless lips and desperate eyes. \\n \\n KAY \\n Mr. Whale? Are you all right? \\n \\n WHALE \\n I just need to -- lie down. \\n Studio. Daybed in studio. \\n\",\n \" CLAY \\n Mr. Whale? Are you okay? \\n \\n Whale turns away. He yanks out a handkerchief. \\n \\n WHALE \\n Stupid. Very stupid. What have I \\n been thinking? \\n \\n He sits on the daybed and bends over, covering both eyes \\n with the handkerchief. \\n \\n WHALE \\n Just go. Please. Why don't you\",\n \" relieves himself with the other. \\n \\n INT. WHALE'S HOUSE - BEDROOM - DAY (LATER) \\n \\n Whale sits up in bed, staring dumbly at the morning paper. \\n Hanna reaches in to take away the breakfast tray. \\n \\n WHALE \\n Does the yardman come today? \\n \\n HANNA \\n Of course. This afternoon. \\n \\n A thin smile forms on Whale's face. \\n\",\n \" Whale eats lunch off a TV tray. His attention remains \\n focused on \\\"Queen for a Day\\\" as Hanna clomps into the room \\n behind him. \\n \\n WHALE \\n Who was that at the door? \\n \\n HANNA \\n A visitor. \\n \\n Whale turns. His face registers surprise when he sees Clay. \\n \\n WHALE \\n Thank you, Hanna. That will be \\n all.\"\n ],\n [\n \" comfort me. \\n \\n On the tv screen, the old man starts to cry, then collapses \\n onto the Monster's chest. A thick tear rolls down the \\n Monster's cheek. \\n \\n Clay Boone sits on the sofa, a baby on his lap. He's 40 \\n now, his hair starting to thin but still closely cropped at \\n the top and sides. \\n \\n On the tv, daylight fills the hut. The blind man and the\",\n \" INT. SUBURBAN HOUSE - NIGHT (1972) \\n \\n MICHAEL BOONE, 10, lies on the living room carpet, staring \\n raptly at the movie playing on the large Zenith console. \\n The house is small but tidy and comfortable. \\n \\n BLIND MAN (O.S.) \\n It's been a long time since any \\n human being came into this hut. I \\n shall look after you. And you will\",\n \" CLAY \\n (explodes) \\n We're watching the movie, Harry. \\n You got that! We are watching my \\n fucking movie. \\n \\n HARRY \\n Calm down, Clay. Just calm down. \\n We'll watch it. \\n \\n CLAY \\n Good. Fine. \\n \\n Harry reaches up, turns on a battered Motorola. On the tv,\",\n \" Thanks, doll. \\n \\n BETTY \\n (to Harry) \\n I say let loverboy watch his \\n movie. And be grateful Boone's \\n not cutting Shirley Temple's lawn. \\n \\n CLAY \\n Why is everybody giving me crap \\n tonight? \\n \\n DWIGHT \\n Jesus, Boone. You come in here \\n proud as a peacock because some old\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" A baseball-capped head is visible through the louvered glass \\n in the trailer's door. DWIGHT JOAD, 30, Clay's neighbor, \\n squints to see inside. \\n \\n CLAY \\n I'm up. Thanks. \\n \\n DWIGHT \\n Hasta la vista, Boone. And give \\n the jail bait a squeeze for me. \\n \\n Clay glances over, seems surprised to see a naked back\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" From here on out, Boone, you're \\n just another tired old face on the \\n other side of the bar. \\n \\n The car screeches away. Clay stumbles across the highway. \\n \\n EXT. TRAILER PARK - NIGHT \\n \\n Clay comes to the dump at the end of the canyon. He climbs \\n into it, kicking at loose cans. \\n \\n CLAY\",\n \" MONSTER \\n Friend, good. \\n \\n The blind man nods. On the sofa, Clay watches his son watch \\n the movie. \\n \\n INT. LIVING ROOM - NIGHT (LATER) \\n \\n A color promo for \\\"Chiller Theater\\\" fills the screen. Clay \\n turns off the set. \\n \\n CLAY \\n Time for bed, sport. \\n \\n Michael groans, slowly stands. \\n\",\n \" Hey! Some of us are watching a \\n movie! \\n \\n SAYLOR \\n Go ahead. Free country. \\n \\n Clay jumps from his stool. Saylor sees him coming, steps \\n aside. \\n \\n SAYLOR \\n You want me to turn it down? \\n \\n Clay slams the heel of his hand against Saylor's chest. The\",\n \" (refusing to be \\n sidetracked) \\n And your lighting and camera \\n angles. You're got to go back to \\n German silent movies to find \\n anything like it. \\n \\n EXT. WHALE'S HOUSE - UPPER PATIO - DAY \\n \\n Clay Boone gulps some water from the garden hose. He \\n glances down at the pool, where Kay and Whale sit in \\n cast-iron chairs. \\n\",\n \" WHALE \\n Scout's honor. \\n \\n Clay smiles. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale and Boone are back in their familiar positions. An \\n empty glass of beer sits on the floor next to Clay. \\n \\n WHALE \\n I'm curious, Mr. Boone. What \\n convinced you to come back? \\n \\n CLAY\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" A FIST \\n \\n which smashes against sheet metal. \\n \\n INT. CLAY'S TRAILER - DAY \\n \\n Clay Boone's eyes dart open. \\n \\n DWIGHT (O.S.) \\n Boone! You awake? Eight o'clock. \\n \\n CLAY \\n Fuck off! \\n \\n DWIGHT (O.S.) \\n You told me to get you up, asshole. \\n\",\n \" makeshift village for beach bums. \\n \\n INT. TRAILER - DAY \\n \\n CLAYTON BOONE opens his eyes. He is 26, handsome in a \\n rough-hewn, Chet Baker-like way, with broad shoulders and a \\n flattop haircut. He grabs a crumpled pack of Lucky Strikes, \\n lights a bent cigarette. \\n \\n Clay stands and walks bare-assed across the single tin room,\",\n \" Dwight nods, a little coolly. \\n \\n DWIGHT \\n Hey, Boone. \\n \\n CLAY \\n Have a drink? \\n \\n Dwight's WIFE, a pert, steely-eyed brunette, places a firm \\n hand on his shoulder. Dwight shrugs, heads toward the door. \\n \\n Clay turns. A pretty, too-tan BLONDE WOMAN in her early 30s\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" HARRY \\n You're like a dog with a bone over \\n this movie, Clay. \\n \\n CLAY \\n I just want to watch it, okay? \\n \\n On the tv, the blind man thanks God for sending him a \\n friend. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - NIGHT \\n \\n Hanna's frown pops open. \\n \\n HANNA\",\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\"\n ],\n [\n \" Whale continues to smile, slyly. \\n \\n WHALE \\n What are you afraid of, Mr. Boone? \\n Certainly not a frail old man like \\n me. \\n \\n Clay has no answer. He gives in with a sigh. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay sits sideways on the chair again. Whale stands at the \\n easel. \\n \\n CLAY\",\n \" WILLIAM WHALE \\n Straighten up, son. \\n \\n Young Whale's movements thicken into a dim imitation of \\n manly reserve. The Whale family marches up a steeply \\n mounting street to Dixon's Green Methodist Church. \\n \\n INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale's eyes tighten. He focuses on Clay Boone as he peels\",\n \" told David. I never even \\n remembered it until you got me \\n going. \\n \\n CLAY \\n You're the one who started it. \\n \\n WHALE \\n You're very clever, Mr. Boone. You \\n just sit there and let me talk. \\n What a sorry old man, you're \\n thinking. What a crazy old poof. \\n (comes closer)\",\n \" CLAY \\n (not looking up) \\n Mornin'. \\n \\n WHALE \\n My name is Whale. This is my \\n house. \\n \\n CLAY \\n Nice place. \\n \\n WHALE \\n And your name is --? \\n \\n CLAY \\n Boone. Clayton Boone. \\n \\n WHALE\",\n \" Of course. I don't want to scare \\n you off. Not before I'm finished \\n with you. \\n \\n Whale glides behind the easel. The pencils rattle in the \\n tray. \\n \\n WHALE \\n Tell me more about yourself, Mr. \\n Boone. You have a steady \\n companion? \\n \\n CLAY \\n Not at the moment. \\n\",\n \" Is this David's doing? \\n \\n CLAY \\n This David's a friend? \\n \\n WHALE \\n Yes. An old, useless friend. You \\n must excuse me, Mr. Boone. This is \\n a world I finished with long ago. \\n I pay them no mind and expect them \\n to return the compliment. \\n (a deep breath) \\n Lunch should be ready. Shall we? \\n\",\n \" INT. WHALE'S HOUSE - BEDROOM - DAY \\n \\n Whale and Hanna go through the closet together. \\n \\n HANNA \\n Mr. Boone. He is an interesting \\n friend. \\n \\n WHALE \\n I'd hardly call our yardman a \\n friend. \\n \\n HANNA \\n No. But someone you can talk to. \\n\",\n \" Whale peers out from behind the square of paper. He pales \\n when he sees his father William, his face covered with \\n grime, glaring at him from across the room. Whale retreats \\n behind the pad, takes a breath. \\n \\n CLAY (O.S.) \\n Mr. Whale? \\n \\n Relief floods Whale's face. He looks out, smiles at Clay. \\n \\n WHALE\",\n \" Whale nods, sensing that he's touched a sore spot. \\n \\n WHALE \\n And the fear you showed at our last \\n session? How did you overcome \\n that? \\n \\n CLAY \\n Not fear. More like disgust. \\n \\n WHALE \\n Same difference, Mr. Boone. \\n Disgust, fear of the unknown -- all \\n part of the great gulf that stands\",\n \" INT. WHALE'S HOUSE - LIVING ROOM - DAY \\n \\n Whale comes forward as Clay enters, offering a hand at the \\n end of a spindly wrist. \\n \\n WHALE \\n How are you, Mr. Boone? So glad \\n you are free for lunch. \\n \\n CLAY \\n All right, I guess. \\n \\n WHALE \\n I assume you worked up an appetite\",\n \" The mower slips out of Clay's hands momentarily. he looks \\n around, spots Whale inside the studio. \\n \\n WHALE \\n Everything alright, Mr. Boone? \\n \\n CLAY \\n Just got away from me. Sorry to \\n disturb you. \\n \\n The screen door squeaks open, clatters shut. A leather \\n slipper and rubber-tipped cane appear. Whale strolls into\",\n \" You have to excuse me, Mr. Boone. \\n Since my stroke, I am often \\n overcome with nostalgia. \\n \\n CLAY \\n I don't mind. I'm not crazy about \\n my old man either. \\n \\n Whale rubs a hand across his eyes and steps into the open. \\n \\n WHALE \\n Why don't we break for five \\n minutes? You probably want to\",\n \" slowly closes over them. \\n \\n CLAY \\n I better get you home before you \\n catch your death from pneumonia. \\n \\n WHALE \\n Catch my death. \\n \\n Clay glances over, sees Whale sitting very wet and rigid, \\n staring straight ahead. \\n \\n CLAY \\n You all right, Mr. Whale? \\n \\n Whale blinks, slowly turns. There is a cracked look in his\",\n \" Clay hoses the crumbs of grass off his arms. He dries his \\n hands and arms with his hat, then wads it up and stuffs it \\n into his shirt to wipe out his armpits. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Clay stands at the screen door. \\n \\n WHALE \\n Come in, Mr. Boone. \\n \\n Whale sits on a daybed, next to a pile of newspapers. He\",\n \" face for the first time. It is Clay Boone, dressed in a \\n Marine parade uniform. He uses his hedge clippers to cut \\n the chains from around Whale's chest. \\n \\n WHALE \\n Thank you. Thank you so much. \\n \\n Clay leans down and takes Whale in his arms, cradling him \\n like a child. They move across the sound stage -- Clay \\n carefully sidestepping the lights and cables on the floor --\",\n \" swagger and splash in the pool. \\n \\n WHALE \\n I think we're ready to go. \\n \\n He glances over, sees Clay in plaid bathing trunks, sitting \\n apart from the others. He is puffing on a Camel. \\n \\n WHALE \\n You're up, Mr. Boone. \\n \\n Clay ignores him. Whale puts down his martini and cigar,\",\n \" Clay nods, chugs his tea. When he lowers the glass, he \\n finds the old man watching him. \\n \\n WHALE \\n You must excuse me for staring, Mr. \\n Boone. But you have a marvelous \\n head. \\n \\n CLAY \\n Huh? \\n \\n WHALE \\n To an artistic eye, you understand. \\n Have you ever modeled? \\n \\n CLAY\",\n \" WHALE \\n Scout's honor. \\n \\n Clay smiles. \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale and Boone are back in their familiar positions. An \\n empty glass of beer sits on the floor next to Clay. \\n \\n WHALE \\n I'm curious, Mr. Boone. What \\n convinced you to come back? \\n \\n CLAY\",\n \" WHALE \\n Yes, yes, yes. I merely invited \\n Mr. Boone in for a glass of tea. \\n We'll have a brief chat and he'll \\n finish the yard. \\n \\n HANNA \\n I am not forgetting your last brief \\n chat. \\n \\n WHALE \\n Just go. We can manage without \\n you. \\n \\n Hanna stares up at Clay. \\n\",\n \" and trusted me. \\n \\n Whale reaches over and lays his arm across Barnett's \\n shoulder. Barnett smiles timidly at him. We CUT TO: \\n \\n INT. WHALE'S HOUSE - STUDIO - DAY \\n \\n Whale leans forward, completely disoriented. His eyes fix \\n on Clay, the white eyebrows screwed down, until he is able \\n to recognize the face. \\n \\n WHALE\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What job was Boone hired to do for Whale?","Who are the two \"monsters\" mentioned in the story?","What is Boone's son's name?","Who hosted the party, mentioned in the story, for Princess Margaret?","What happens at Princess Margaret's party that is an excuse for Whale and Boone to leave?","Who is Whale's longtime housemaid?","What pieces of work did Whale famously direct?","What did Boone do to help Whale?","After Whale and Boone's disagreement where did Hanna find Whale?","What is James Whale's claim to fame? ","Who is Clayton Boone to James at the beginning of the story? ","How did James Whale sign his drawing of Frankenstein that he gave to Clayton? ","What did Clayton's friends think were James' intentions with Clayton? ","What did Clayton do when James detailed his past sexual exploits?","Why was Clayton uncomfortable with his friendship with James? ","What causes James' depression at the beginning of the story? ","How did James feel after he and Boone attended the party for Princess Margaret? ","How did Boone react when James' finally made a sexual advance? ","Why did James ask Clayton to kill him? ","Who does Whale live with?","What war was Whale in?","Who poses for Whale's sketches?","Who hosts the party Boone and Whale go to?","What does Boone wear when his clothes get wet?","Where does Whale kiss Boone?","Who does Whale ask to kill him?","What do Boone and his son watch on TV?","How does Boone prove to his son that he was friends with Whale?"],"string":"[\n \"What job was Boone hired to do for Whale?\",\n \"Who are the two \\\"monsters\\\" mentioned in the story?\",\n \"What is Boone's son's name?\",\n \"Who hosted the party, mentioned in the story, for Princess Margaret?\",\n \"What happens at Princess Margaret's party that is an excuse for Whale and Boone to leave?\",\n \"Who is Whale's longtime housemaid?\",\n \"What pieces of work did Whale famously direct?\",\n \"What did Boone do to help Whale?\",\n \"After Whale and Boone's disagreement where did Hanna find Whale?\",\n \"What is James Whale's claim to fame? \",\n \"Who is Clayton Boone to James at the beginning of the story? \",\n \"How did James Whale sign his drawing of Frankenstein that he gave to Clayton? \",\n \"What did Clayton's friends think were James' intentions with Clayton? \",\n \"What did Clayton do when James detailed his past sexual exploits?\",\n \"Why was Clayton uncomfortable with his friendship with James? \",\n \"What causes James' depression at the beginning of the story? \",\n \"How did James feel after he and Boone attended the party for Princess Margaret? \",\n \"How did Boone react when James' finally made a sexual advance? \",\n \"Why did James ask Clayton to kill him? \",\n \"Who does Whale live with?\",\n \"What war was Whale in?\",\n \"Who poses for Whale's sketches?\",\n \"Who hosts the party Boone and Whale go to?\",\n \"What does Boone wear when his clothes get wet?\",\n \"Where does Whale kiss Boone?\",\n \"Who does Whale ask to kill him?\",\n \"What do Boone and his son watch on TV?\",\n \"How does Boone prove to his son that he was friends with Whale?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["Gardener","To be his gardener."],["Boris Karloff and Elsa Lanchester","Boris Karloff and Elsa Lanchester"],["Michael","Michael."],["George Cukor","George Cukor"],["A rain storm","A sudden rainstorm."],["Hanna","Hanna."],["Frankenstein and Bride of Frankenstein","The Bride of Frankenstein."],["Pose for his drawings","gardener"],["Dead in the pool","Dead in his pool."],["He was the director of the films Frankenstein and Bride of Frankenstein","He directed Frankenstein and Bride of Frankenstein."],["He is his gardener. ","His gardener."],["To Clayton. Friend? ","With \"To Clayton. Friend?\""],["He just wanted to get him into bed.","sexual"],["He stormed out and then later made him agree to never speak of his homosexuality to him again. ","He stormed out."],["Because he was a known homosexual. ","James was gay and Clayton was straight; unsure as to what James' intentions with their friendship may be should he want it to become more."],["He misses his fame and glory days and he's getting older. ","Realizing that his life, attractiveness and health are all slipping away."],["More depressed.","James felt depressed."],["He was very angry and physically attacked him.","He got angry and attacked James."],["To put him out of his misery. ","to end his torment"],["His housekeeper Hanna.","Hanna"],["World War One.","World War I"],["His Gardener, Clayton Boone.","Clayton Boone."],["George Cukor.","George Cukor"],["A towel.","A towel wrapped around his waist."],["His shoulder.","On his shoulder."],["Clayton Boone.","Clayton Boone."],["The Bride of Frankenstein.","The Bride of Frankenstein."],["He shows him a sketch of the monster.","he shows him a signed picture with the word \"Friend?\""]],"string":"[\n [\n \"Gardener\",\n \"To be his gardener.\"\n ],\n [\n \"Boris Karloff and Elsa Lanchester\",\n \"Boris Karloff and Elsa Lanchester\"\n ],\n [\n \"Michael\",\n \"Michael.\"\n ],\n [\n \"George Cukor\",\n \"George Cukor\"\n ],\n [\n \"A rain storm\",\n \"A sudden rainstorm.\"\n ],\n [\n \"Hanna\",\n \"Hanna.\"\n ],\n [\n \"Frankenstein and Bride of Frankenstein\",\n \"The Bride of Frankenstein.\"\n ],\n [\n \"Pose for his drawings\",\n \"gardener\"\n ],\n [\n \"Dead in the pool\",\n \"Dead in his pool.\"\n ],\n [\n \"He was the director of the films Frankenstein and Bride of Frankenstein\",\n \"He directed Frankenstein and Bride of Frankenstein.\"\n ],\n [\n \"He is his gardener. \",\n \"His gardener.\"\n ],\n [\n \"To Clayton. Friend? \",\n \"With \\\"To Clayton. Friend?\\\"\"\n ],\n [\n \"He just wanted to get him into bed.\",\n \"sexual\"\n ],\n [\n \"He stormed out and then later made him agree to never speak of his homosexuality to him again. \",\n \"He stormed out.\"\n ],\n [\n \"Because he was a known homosexual. \",\n \"James was gay and Clayton was straight; unsure as to what James' intentions with their friendship may be should he want it to become more.\"\n ],\n [\n \"He misses his fame and glory days and he's getting older. \",\n \"Realizing that his life, attractiveness and health are all slipping away.\"\n ],\n [\n \"More depressed.\",\n \"James felt depressed.\"\n ],\n [\n \"He was very angry and physically attacked him.\",\n \"He got angry and attacked James.\"\n ],\n [\n \"To put him out of his misery. \",\n \"to end his torment\"\n ],\n [\n \"His housekeeper Hanna.\",\n \"Hanna\"\n ],\n [\n \"World War One.\",\n \"World War I\"\n ],\n [\n \"His Gardener, Clayton Boone.\",\n \"Clayton Boone.\"\n ],\n [\n \"George Cukor.\",\n \"George Cukor\"\n ],\n [\n \"A towel.\",\n \"A towel wrapped around his waist.\"\n ],\n [\n \"His shoulder.\",\n \"On his shoulder.\"\n ],\n [\n \"Clayton Boone.\",\n \"Clayton Boone.\"\n ],\n [\n \"The Bride of Frankenstein.\",\n \"The Bride of Frankenstein.\"\n ],\n [\n \"He shows him a sketch of the monster.\",\n \"he shows him a signed picture with the word \\\"Friend?\\\"\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"3753ff3da0842f8a1609e3cee8bb506c3b5b63f2"},"split":{"kind":"string","value":"test"}}},{"rowIdx":53,"cells":{"text":{"kind":"list like","value":[["nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"],["And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"],["Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations."],["And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations."],["And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"],["And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"],["there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n"," See 14814-h.htm or 14814-h.zip: \n (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h/14814-h.htm) \n or \n (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h.zip) \n \n \n \n"],["There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"],["She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n"],["Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"],["few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"],["few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"],["there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"],["Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations."],["And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n"],["Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"],["Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"],["Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"],["Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n"],["Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n"],["few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n"],["There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n"],["Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n"],["He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations."],["Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations."],["there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY"],["Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","there as long as you like,\" said the bushy long-tailed gentleman. \n \n He led the way to a very retired, dismal-looking house amongst the \n fox-gloves. \n \n It was built of faggots and turf, and there were two broken pails, one on \n top of another, by way of a chimney. \n \n \n \n \"This is my summer residence; you would not find my earth--my winter \n house--so convenient,\" said the hospitable gentleman. \n"],["Jemima Puddle-duck was escorted home in tears on account of those eggs. \n \n \n \n She laid some more in June, and she was permitted to keep them herself: \n but only four of them hatched. \n \n Jemima Puddle-duck said that it was because of her nerves; but she had \n always been a bad sitter. \n \n \n \n","Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \n They were greeny white and very large. The foxy gentleman admired them \n immensely. He used to turn them over and count them when Jemima was not \n there. \n \n At last Jemima told him that she intended to begin to sit next day--\"and I \n will bring a bag of corn with me, so that I need never leave my nest until \n the eggs are hatched. They might catch cold,\" said the conscientious","nest for twenty-eight days; and no more have you, Jemima. You would let \n them go cold; you know you would!\" \n \n \"I wish to hatch my own eggs; I will hatch them all by myself,\" quacked \n Jemima Puddle-duck. \n \n \n \n She tried to hide her eggs; but they were always found and carried off. \n \n Jemima Puddle-duck became quite desperate. She determined to make a nest \n right away from the farm. \n \n","What a funny sight it is to see a brood of ducklings with a hen! \n \n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \n farmer's wife would not let her hatch her own eggs. \n \n \n \n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \n leave the hatching to some one else--\"I have not the patience to sit on a","There was a tumble-down shed at the back of the house, made of old \n soap-boxes. The gentleman opened the door, and showed Jemima in. \n \n \n \n The shed was almost quite full of feathers--it was almost suffocating; but \n it was comfortable and very soft. \n \n Jemima Puddle-duck was rather surprised to find such a vast quantity of \n feathers. But it was very comfortable; and she made a nest without any \n trouble at all. \n \n \n","few yards flapping her shawl, and then she jumped off into the air. \n \n \n \n She flew beautifully when she had got a good start. \n \n She skimmed along over the tree-tops until she saw an open place in the \n middle of the wood, where the trees and brushwood had been cleared. \n \n \n \n Jemima alighted rather heavily, and began to waddle about in search of a \n convenient dry nesting-place. She rather fancied a tree-stump amongst some","She set off on a fine spring afternoon along the cart-road that leads over \n the hill. \n \n She was wearing a shawl and a poke bonnet. \n \n \n \n When she reached the top of the hill, she saw a wood in the distance. \n \n She thought that it looked a safe quiet spot. \n \n \n \n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a","Jemima. \n \n \n \n \"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \n But before you commence your tedious sitting, I intend to give you a \n treat. Let us have a dinner-party all to ourselves! \n \n \"May I ask you to bring up some herbs from the farm-garden to make a \n savoury omelette? Sage and thyme, and mint and two onions, and some","When she came out, the sandy whiskered gentleman was sitting on a log \n reading the newspaper--at least he had it spread out, but he was looking \n over the top of it. \n \n He was so polite, that he seemed almost sorry to let Jemima go home for \n the night. He promised to take great care of her nest until she came back \n again next day. \n \n He said he loved eggs and ducklings; he should be proud to see a fine \n nestful in his wood-shed. \n \n \n","He was rather abrupt. Jemima Puddle-duck had never heard him speak like \n that. \n \n She felt surprised, and uncomfortable. \n \n \n \n While she was inside she heard pattering feet round the back of the shed. \n Some one with a black nose sniffed at the bottom of the door, and then \n locked it. \n \n Jemima became much alarmed. \n \n \n \n A moment afterwards there were most awful noises--barking, baying, growls","He asked several questions about the wood, and about the exact position of \n the house and shed. \n \n Then he went out, and trotted down the village. He went to look for two \n fox-hound puppies who were out at walk with the butcher. \n \n \n \n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \n afternoon. She was rather burdened with bunches of herbs and two onions in \n a bag. \n","THE TALE OF JEMIMA PUDDLE-DUCK \n \n by \n \n BEATRIX POTTER \n \n Author of \"The Tale of Peter Rabbit,\" &c \n \n Frederick Warne & Co., Inc. \n New York \n \n 1908 \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n A FARMYARD TALE \n FOR \n RALPH AND BETSY","And she waddled into the kitchen, and got two onions out of a basket. \n \n The collie-dog Kep met her coming out, \"What are you doing with those \n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\" \n \n Jemima was rather in awe of the collie; she told him the whole story. \n \n The collie listened, with his wise head on one side; he grinned when she \n described the polite gentleman with sandy whiskers. \n \n","She flew over the wood, and alighted opposite the house of the bushy \n long-tailed gentleman. \n \n \n \n He was sitting on a log; he sniffed the air, and kept glancing uneasily \n round the wood. When Jemima alighted he quite jumped. \n \n \"Come into the house as soon as you have looked at your eggs. Give me the \n herbs for the omelette. Be sharp!\" \n","and howls, squealing and groans. \n \n And nothing more was ever seen of that foxy-whiskered gentleman. \n \n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \n \n \n \n Unfortunately the puppies rushed in and gobbled up all the eggs before he \n could stop them. \n \n He had a bite on his ear and both the puppies were limping. \n \n \n","\"Madam, have you lost your way?\" said he. He had a long bushy tail which \n he was sitting upon, as the stump was somewhat damp. \n \n Jemima thought him mighty civil and handsome. She explained that she had \n not lost her way, but that she was trying to find a convenient dry \n nesting-place. \n \n \n \n \"Ah! is that so? indeed!\" said the gentleman with sandy whiskers, looking \n curiously at Jemima. He folded up the newspaper, and put it in his","tall fox-gloves. \n \n But--seated upon the stump, she was startled to find an elegantly dressed \n gentleman reading a newspaper. \n \n He had black prick ears and sandy coloured whiskers. \n \n \"Quack?\" said Jemima Puddle-duck, with her head and her bonnet on one \n side--\"Quack?\" \n \n \n \n The gentleman raised his eyes above his newspaper and looked curiously at \n Jemima-- \n"," GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \n *** \n \n \n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \n Online Distributed Proofreading Team (http://www.pgdp.net) \n \n \n \n Note: Project Gutenberg also has an HTML version of this \n file which includes the original illustrations.","parsley. I will provide lard for the stuff--lard for the omelette,\" said \n the hospitable gentleman with sandy whiskers. \n \n \n \n Jemima Puddle-duck was a simpleton: not even the mention of sage and \n onions made her suspicious. \n \n She went round the farm-garden, nibbling off snippets of all the different \n sorts of herbs that are used for stuffing roast duck. \n \n \n","coat-tail pocket. \n \n Jemima complained of the superfluous hen. \n \n \"Indeed! how interesting! I wish I could meet with that fowl. I would \n teach it to mind its own business!\" \n \n \n \n \"But as to a nest--there is no difficulty: I have a sackful of feathers in \n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit"]],"string":"[\n [\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\"\n ],\n [\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\"\n ],\n [\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\"\n ],\n [\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\"\n ],\n [\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\"\n ],\n [\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\"\n ],\n [\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \" See 14814-h.htm or 14814-h.zip: \\n (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h/14814-h.htm) \\n or \\n (http://www.gutenberg.net/dirs/1/4/8/1/14814/14814-h.zip) \\n \\n \\n \\n\"\n ],\n [\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\"\n ],\n [\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\"\n ],\n [\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\"\n ],\n [\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\"\n ],\n [\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\"\n ],\n [\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\"\n ],\n [\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\"\n ],\n [\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\"\n ],\n [\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\"\n ],\n [\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\"\n ],\n [\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\"\n ],\n [\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\"\n ],\n [\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\"\n ],\n [\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\"\n ],\n [\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\"\n ],\n [\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\"\n ],\n [\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\"\n ],\n [\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\"\n ],\n [\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\"\n ],\n [\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"there as long as you like,\\\" said the bushy long-tailed gentleman. \\n \\n He led the way to a very retired, dismal-looking house amongst the \\n fox-gloves. \\n \\n It was built of faggots and turf, and there were two broken pails, one on \\n top of another, by way of a chimney. \\n \\n \\n \\n \\\"This is my summer residence; you would not find my earth--my winter \\n house--so convenient,\\\" said the hospitable gentleman. \\n\"\n ],\n [\n \"Jemima Puddle-duck was escorted home in tears on account of those eggs. \\n \\n \\n \\n She laid some more in June, and she was permitted to keep them herself: \\n but only four of them hatched. \\n \\n Jemima Puddle-duck said that it was because of her nerves; but she had \\n always been a bad sitter. \\n \\n \\n \\n\",\n \"Jemima Puddle-duck came every afternoon; she laid nine eggs in the nest. \\n They were greeny white and very large. The foxy gentleman admired them \\n immensely. He used to turn them over and count them when Jemima was not \\n there. \\n \\n At last Jemima told him that she intended to begin to sit next day--\\\"and I \\n will bring a bag of corn with me, so that I need never leave my nest until \\n the eggs are hatched. They might catch cold,\\\" said the conscientious\",\n \"nest for twenty-eight days; and no more have you, Jemima. You would let \\n them go cold; you know you would!\\\" \\n \\n \\\"I wish to hatch my own eggs; I will hatch them all by myself,\\\" quacked \\n Jemima Puddle-duck. \\n \\n \\n \\n She tried to hide her eggs; but they were always found and carried off. \\n \\n Jemima Puddle-duck became quite desperate. She determined to make a nest \\n right away from the farm. \\n \\n\",\n \"What a funny sight it is to see a brood of ducklings with a hen! \\n \\n --Listen to the story of Jemima Puddle-duck, who was annoyed because the \\n farmer's wife would not let her hatch her own eggs. \\n \\n \\n \\n Her sister-in-law, Mrs. Rebeccah Puddle-duck, was perfectly willing to \\n leave the hatching to some one else--\\\"I have not the patience to sit on a\",\n \"There was a tumble-down shed at the back of the house, made of old \\n soap-boxes. The gentleman opened the door, and showed Jemima in. \\n \\n \\n \\n The shed was almost quite full of feathers--it was almost suffocating; but \\n it was comfortable and very soft. \\n \\n Jemima Puddle-duck was rather surprised to find such a vast quantity of \\n feathers. But it was very comfortable; and she made a nest without any \\n trouble at all. \\n \\n \\n\",\n \"few yards flapping her shawl, and then she jumped off into the air. \\n \\n \\n \\n She flew beautifully when she had got a good start. \\n \\n She skimmed along over the tree-tops until she saw an open place in the \\n middle of the wood, where the trees and brushwood had been cleared. \\n \\n \\n \\n Jemima alighted rather heavily, and began to waddle about in search of a \\n convenient dry nesting-place. She rather fancied a tree-stump amongst some\",\n \"She set off on a fine spring afternoon along the cart-road that leads over \\n the hill. \\n \\n She was wearing a shawl and a poke bonnet. \\n \\n \\n \\n When she reached the top of the hill, she saw a wood in the distance. \\n \\n She thought that it looked a safe quiet spot. \\n \\n \\n \\n Jemima Puddle-duck was not much in the habit of flying. She ran downhill a\",\n \"Jemima. \\n \\n \\n \\n \\\"Madam, I beg you not to trouble yourself with a bag; I will provide oats. \\n But before you commence your tedious sitting, I intend to give you a \\n treat. Let us have a dinner-party all to ourselves! \\n \\n \\\"May I ask you to bring up some herbs from the farm-garden to make a \\n savoury omelette? Sage and thyme, and mint and two onions, and some\",\n \"When she came out, the sandy whiskered gentleman was sitting on a log \\n reading the newspaper--at least he had it spread out, but he was looking \\n over the top of it. \\n \\n He was so polite, that he seemed almost sorry to let Jemima go home for \\n the night. He promised to take great care of her nest until she came back \\n again next day. \\n \\n He said he loved eggs and ducklings; he should be proud to see a fine \\n nestful in his wood-shed. \\n \\n \\n\",\n \"He was rather abrupt. Jemima Puddle-duck had never heard him speak like \\n that. \\n \\n She felt surprised, and uncomfortable. \\n \\n \\n \\n While she was inside she heard pattering feet round the back of the shed. \\n Some one with a black nose sniffed at the bottom of the door, and then \\n locked it. \\n \\n Jemima became much alarmed. \\n \\n \\n \\n A moment afterwards there were most awful noises--barking, baying, growls\",\n \"He asked several questions about the wood, and about the exact position of \\n the house and shed. \\n \\n Then he went out, and trotted down the village. He went to look for two \\n fox-hound puppies who were out at walk with the butcher. \\n \\n \\n \\n Jemima Puddle-duck went up the cart-road for the last time, on a sunny \\n afternoon. She was rather burdened with bunches of herbs and two onions in \\n a bag. \\n\",\n \"THE TALE OF JEMIMA PUDDLE-DUCK \\n \\n by \\n \\n BEATRIX POTTER \\n \\n Author of \\\"The Tale of Peter Rabbit,\\\" &c \\n \\n Frederick Warne & Co., Inc. \\n New York \\n \\n 1908 \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n A FARMYARD TALE \\n FOR \\n RALPH AND BETSY\",\n \"And she waddled into the kitchen, and got two onions out of a basket. \\n \\n The collie-dog Kep met her coming out, \\\"What are you doing with those \\n onions? Where do you go every afternoon by yourself, Jemima Puddle-duck?\\\" \\n \\n Jemima was rather in awe of the collie; she told him the whole story. \\n \\n The collie listened, with his wise head on one side; he grinned when she \\n described the polite gentleman with sandy whiskers. \\n \\n\",\n \"She flew over the wood, and alighted opposite the house of the bushy \\n long-tailed gentleman. \\n \\n \\n \\n He was sitting on a log; he sniffed the air, and kept glancing uneasily \\n round the wood. When Jemima alighted he quite jumped. \\n \\n \\\"Come into the house as soon as you have looked at your eggs. Give me the \\n herbs for the omelette. Be sharp!\\\" \\n\",\n \"and howls, squealing and groans. \\n \\n And nothing more was ever seen of that foxy-whiskered gentleman. \\n \\n Presently Kep opened the door of the shed, and let out Jemima Puddle-duck. \\n \\n \\n \\n Unfortunately the puppies rushed in and gobbled up all the eggs before he \\n could stop them. \\n \\n He had a bite on his ear and both the puppies were limping. \\n \\n \\n\",\n \"\\\"Madam, have you lost your way?\\\" said he. He had a long bushy tail which \\n he was sitting upon, as the stump was somewhat damp. \\n \\n Jemima thought him mighty civil and handsome. She explained that she had \\n not lost her way, but that she was trying to find a convenient dry \\n nesting-place. \\n \\n \\n \\n \\\"Ah! is that so? indeed!\\\" said the gentleman with sandy whiskers, looking \\n curiously at Jemima. He folded up the newspaper, and put it in his\",\n \"tall fox-gloves. \\n \\n But--seated upon the stump, she was startled to find an elegantly dressed \\n gentleman reading a newspaper. \\n \\n He had black prick ears and sandy coloured whiskers. \\n \\n \\\"Quack?\\\" said Jemima Puddle-duck, with her head and her bonnet on one \\n side--\\\"Quack?\\\" \\n \\n \\n \\n The gentleman raised his eyes above his newspaper and looked curiously at \\n Jemima-- \\n\",\n \" GUTENBERG EBOOK THE TALE OF JEMIMA PUDDLE-DUCK \\n *** \\n \\n \\n E-text prepared by Robert Cicconetti, Emmy, and the Project Gutenberg \\n Online Distributed Proofreading Team (http://www.pgdp.net) \\n \\n \\n \\n Note: Project Gutenberg also has an HTML version of this \\n file which includes the original illustrations.\",\n \"parsley. I will provide lard for the stuff--lard for the omelette,\\\" said \\n the hospitable gentleman with sandy whiskers. \\n \\n \\n \\n Jemima Puddle-duck was a simpleton: not even the mention of sage and \\n onions made her suspicious. \\n \\n She went round the farm-garden, nibbling off snippets of all the different \\n sorts of herbs that are used for stuffing roast duck. \\n \\n \\n\",\n \"coat-tail pocket. \\n \\n Jemima complained of the superfluous hen. \\n \\n \\\"Indeed! how interesting! I wish I could meet with that fowl. I would \\n teach it to mind its own business!\\\" \\n \\n \\n \\n \\\"But as to a nest--there is no difficulty: I have a sackful of feathers in \\n my wood-shed. No, my dear madam, you will be in nobody's way. You may sit\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["Where did Jemima Puddle-duck first think about hatching her eggs?","How did Jemima Puddle-duck describe to herself the looks of the charming gentleman she met?","Where did Jemima Puddle-duck lay her eggs at the suggestion of the charming gentleman?","What did the charming gentleman ask Jemima Puddleduc to collect?","What did the charming gentleman tell Jemima Puddle-duck the seasonings would be used for?","What was the name of the Collie who saved Jemima Puddle-duck from disaster?","What was the charming gentleman's name?","What happened to Jemima Puddle-duck's eggs that were in the tumble-down shed?","Where does Jemima Puddle-duck live?","Why do the eggs get confiscated?","Where does Jemima go to lay her eggs?","Where is Jemima persuaded to nest?","What does the fox suggest to celebrate?","Why doe Jemima set out for the errand?","What does Collie ask jemima?","Why does Jemima stop seeking herbs?","What happens to the eggs?","How many ducklings are ultimately hatched?","Why does the farmer's wife confiscate the duck eggs?","Who incubates the duck eggs?","Where does Jemima find an apprpriate nesting place?","What fills the tumble-down shed, where Jemima is persuaded to make her nest?","Where does Jemima get onions from?","Who discovers the fox's plans after talking to Jemima?","What does Jemima believe is the intended use for her collecting herbs?","What is the name of the foxy-haired gentleman?","Who eats Jemima's eggs?","How many ducklings does Jemima eventually hatch successfully?"],"string":"[\n \"Where did Jemima Puddle-duck first think about hatching her eggs?\",\n \"How did Jemima Puddle-duck describe to herself the looks of the charming gentleman she met?\",\n \"Where did Jemima Puddle-duck lay her eggs at the suggestion of the charming gentleman?\",\n \"What did the charming gentleman ask Jemima Puddleduc to collect?\",\n \"What did the charming gentleman tell Jemima Puddle-duck the seasonings would be used for?\",\n \"What was the name of the Collie who saved Jemima Puddle-duck from disaster?\",\n \"What was the charming gentleman's name?\",\n \"What happened to Jemima Puddle-duck's eggs that were in the tumble-down shed?\",\n \"Where does Jemima Puddle-duck live?\",\n \"Why do the eggs get confiscated?\",\n \"Where does Jemima go to lay her eggs?\",\n \"Where is Jemima persuaded to nest?\",\n \"What does the fox suggest to celebrate?\",\n \"Why doe Jemima set out for the errand?\",\n \"What does Collie ask jemima?\",\n \"Why does Jemima stop seeking herbs?\",\n \"What happens to the eggs?\",\n \"How many ducklings are ultimately hatched?\",\n \"Why does the farmer's wife confiscate the duck eggs?\",\n \"Who incubates the duck eggs?\",\n \"Where does Jemima find an apprpriate nesting place?\",\n \"What fills the tumble-down shed, where Jemima is persuaded to make her nest?\",\n \"Where does Jemima get onions from?\",\n \"Who discovers the fox's plans after talking to Jemima?\",\n \"What does Jemima believe is the intended use for her collecting herbs?\",\n \"What is the name of the foxy-haired gentleman?\",\n \"Who eats Jemima's eggs?\",\n \"How many ducklings does Jemima eventually hatch successfully?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["She thought about nesting among the foxgloves.","in the farmyard"],["She thought he had black prick ears and sandy coloured whiskers.","black prickears and a sandy coloured whiskers"],["In his tumble-down shed.","A shed"],["He asked her to collect the traditional seasonings used to stuff a duck.","herbs"],["He said they would be used for making an omelette.","An omelette"],["The collie's name was Kep.","Kep"],["His name was Mr. Todd.","Mr. Tod"],["Sadly, they were eaten by two fox-houns puppiwa.","they are eaten"],["A Farmhouse","the farmyard"],["Ducks make poor sitters.","wife doesn't think duck's are good sitters"],["Foxgloves in the woods","A shed"],["Gentleman's shed","In the fox's shed"],["A dinner party","her laying eggs "],["To collect herbs","because the fox asks her to gather herbs for a dinner party"],["What she is doing and where she is going","what she is doing and where she is going"],["She is being tricked.","Kep figures out the fox is tricking her"],["They are eaten","The fox eats them"],["Four","Four"],["Because she believes that ducks are not good sitters.","She thinks ducks make poor sitters."],["Chicken hens.","Other chickens on the farm"],["In a distant wood amongst the foxgloves.","in the field among the foxgloves"],["Feathers.","Feathers"],["The farm kitchen.","The kitchen on the farm"],["Kep.","Kep, the farm collie"],["An omelette.","An omelette"],["Mr. Tod.","Mr. Tod"],["The two hungry fox-hound puppies.","Fox hound puppies"],["Four.","four"]],"string":"[\n [\n \"She thought about nesting among the foxgloves.\",\n \"in the farmyard\"\n ],\n [\n \"She thought he had black prick ears and sandy coloured whiskers.\",\n \"black prickears and a sandy coloured whiskers\"\n ],\n [\n \"In his tumble-down shed.\",\n \"A shed\"\n ],\n [\n \"He asked her to collect the traditional seasonings used to stuff a duck.\",\n \"herbs\"\n ],\n [\n \"He said they would be used for making an omelette.\",\n \"An omelette\"\n ],\n [\n \"The collie's name was Kep.\",\n \"Kep\"\n ],\n [\n \"His name was Mr. Todd.\",\n \"Mr. Tod\"\n ],\n [\n \"Sadly, they were eaten by two fox-houns puppiwa.\",\n \"they are eaten\"\n ],\n [\n \"A Farmhouse\",\n \"the farmyard\"\n ],\n [\n \"Ducks make poor sitters.\",\n \"wife doesn't think duck's are good sitters\"\n ],\n [\n \"Foxgloves in the woods\",\n \"A shed\"\n ],\n [\n \"Gentleman's shed\",\n \"In the fox's shed\"\n ],\n [\n \"A dinner party\",\n \"her laying eggs \"\n ],\n [\n \"To collect herbs\",\n \"because the fox asks her to gather herbs for a dinner party\"\n ],\n [\n \"What she is doing and where she is going\",\n \"what she is doing and where she is going\"\n ],\n [\n \"She is being tricked.\",\n \"Kep figures out the fox is tricking her\"\n ],\n [\n \"They are eaten\",\n \"The fox eats them\"\n ],\n [\n \"Four\",\n \"Four\"\n ],\n [\n \"Because she believes that ducks are not good sitters.\",\n \"She thinks ducks make poor sitters.\"\n ],\n [\n \"Chicken hens.\",\n \"Other chickens on the farm\"\n ],\n [\n \"In a distant wood amongst the foxgloves.\",\n \"in the field among the foxgloves\"\n ],\n [\n \"Feathers.\",\n \"Feathers\"\n ],\n [\n \"The farm kitchen.\",\n \"The kitchen on the farm\"\n ],\n [\n \"Kep.\",\n \"Kep, the farm collie\"\n ],\n [\n \"An omelette.\",\n \"An omelette\"\n ],\n [\n \"Mr. Tod.\",\n \"Mr. Tod\"\n ],\n [\n \"The two hungry fox-hound puppies.\",\n \"Fox hound puppies\"\n ],\n [\n \"Four.\",\n \"four\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"445ab148e8efea8e4bfe9aac7eb7ce95459eaa82"},"split":{"kind":"string","value":"test"}}},{"rowIdx":54,"cells":{"text":{"kind":"list like","value":[["They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","conducted the session myself. We were interested in a new weapon the \n Soviets have been using, an automatic mine that pursues anything that \n moves. Military had sent instructions up that the mine be observed and \n reported in detail. \n \n \"This A-class leady was brought down with information. We learned a few \n facts from it, obtained the usual roll of film and reports, and then \n sent it back up. It was going out of the chamber, back to the lift, when \n a curious thing happened. At the time, I thought--\" \n","Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","\"The previous interview was when we noticed it. The leady was not hot. \n It was cold, too, like this one.\" \n \n Moss took back the metal plate from the leady's hands. He pressed the \n surface carefully and returned it to the stiff, unprotesting fingers. \n \n \"We shorted it out with this, so we could get close enough for a \n thorough check. It'll come back on in a second now. We had better get \n behind the wall again.\" \n","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","they? _Haven't they?_\" \n \n Taylor stood up. \"It's an order. I know nothing about it. I was told to \n report to join a scout party. That's all I know.\" \n \n He stood for a long time, staring ahead. Slowly, he reached for the \n newspaper and held it up to the light. \n \n \"It looks real,\" he murmured. \"Ruins, deadness, slag. It's convincing.","and grim. \"This is Moss. I'm sorry to bother you during Rest Period, but \n this thing has come up.\" He rattled papers. \"I want you to hurry over \n here.\" \n \n Taylor stiffened. \"What is it? There's no chance it could wait?\" The \n calm gray eyes were studying him, expressionless, unjudging. \"If you \n want me to come down to the lab,\" Taylor grumbled, \"I suppose I can. \n I'll get my uniform--\" \n","She watched him put on his boots without answering. \n \n * * * * * \n \n Moss nodded and Taylor fell in step with him, as the older man strode \n along. A series of loads were going up to the surface, blind cars \n clanking like ore-trucks up the ramp, disappearing through the stage \n trap above them. Taylor watched the cars, heavy with tubular machinery \n of some sort, weapons new to him. Workers were everywhere, in the dark","witness it.\" \n \n \"And then what?\" Taylor said. \n \n \"That'll be up to them. Let's go.\" \n \n * * * * * \n \n In a small car, they went swiftly up the Tube, carried by anti-grav \n beams from below. Taylor glanced down from time to time. It was a long \n way back, and getting longer each moment. He sweated nervously inside \n his suit, gripping his Bender pistol with inexpert fingers. \n","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","\"Don't argue with me.\" Moss held up a handful of surface bulletins, \n crumpling them savagely. \"This is a fake. Come on!\" He broke off. \n \n Taylor dressed furiously, his mind in a daze. \n \n Half an hour later, he leaped from a fast car and hurried up the stairs \n into the Synthetics Building. The corridors were full of men and women \n rushing in every direction. He entered Moss's office. \n","The machine moved back toward its exit. It paused. \"Each month the \n amount of lethal particles in the atmosphere increases. The tempo of the \n war is gradually--\" \n \n \"I understand.\" Franks rose. He held out his hand and Moss passed him \n the package. \"One thing before you leave. I want you to examine a new \n type of metal shield material. I'll pass you a sample with the tong.\" \n \n Franks put the package in the toothed grip and revolved the tong so that","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you"],["They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","everywhere. The work was done with efficiency, but without hurry or \n excitement. \n \n The men stopped, watching. Leadys operating the little carts moved past \n them, signaling silently to each other. Guns and parts were being \n hoisted by magnetic cranes and lowered gently onto waiting carts. \n \n \"Come on,\" Franks said. \n \n He turned toward the lip of the Tube. A row of D-class leadys was \n standing in front of it, immobile and silent. Franks stopped, moving","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","\"The conquest of space,\" breathed Colonel Borodoy. \n \n \"The meaning of life,\" Moss added. \n \n \"Eliminating hunger and poverty,\" said Taylor. \n \n The leady opened the door of the ship. \"All that and more. How much \n more? We cannot foresee it any more than the first men who formed a \n tribe could foresee this day. But it will be unimaginably great.\" \n \n The door closed and the ship took off toward their new home. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world"],["being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","moment. Some place far off, echoing across the valley, a rooster crowed. \n \n \"A chicken!\" Taylor murmured. \"Did you hear?\" \n \n Behind them, the leadys had come out and were standing silently, \n watching, too. The gray sky turned to white and the hills appeared more \n clearly. Light spread across the valley floor, moving toward them. \n \n \"God in heaven!\" Franks exclaimed. \n \n Trees, trees and forests. A valley of plants and trees, with a few roads","against the graying sky, the outline of mountains were forming, becoming \n tangible. \n \n \"It'll be bright enough to see in a few minutes,\" Moss said. He \n shuddered as a chilling wind caught him and moved around him. \"It's \n worth it, really worth it, to see this again after eight years. Even if \n it's the last thing we see--\" \n \n \"Watch,\" Franks snapped. \n \n They obeyed, silent and subdued. The sky was clearing, brightening each","gray uniforms of the labor corps, loading, lifting, shouting back and \n forth. The stage was deafening with noise. \n \n \"We'll go up a way,\" Moss said, \"where we can talk. This is no place to \n give you details.\" \n \n They took an escalator up. The commercial lift fell behind them, and \n with it most of the crashing and booming. Soon they emerged on an \n observation platform, suspended on the side of the Tube, the vast tunnel","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","outward, toward an external group, so that the culture itself may \n survive its crisis. War is the result. War, to a logical mind, is \n absurd. But in terms of human needs, it plays a vital role. And it will \n continue to until Man has grown up enough so that no hatred lies within \n him.\" \n \n Taylor was listening intently. \"Do you think this time will come?\" \n \n \"Of course. It has almost arrived now. This is the last war. Man is","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","prepared.\" \n \n \"Very carefully,\" Franks said. \n \n They closed in. \n \n \"How much more, we can only guess. I must admit that we were taken \n unprepared. We failed utterly to meet the situation. Now force would be \n absurd, because neither side can afford to injure the other; we, because \n of the restrictions placed on us regarding human life, you because the \n war demands--\" \n \n The soldiers fired, quick and in fright. Moss dropped to one knee,","Each moment they were closer, the first living creatures to go above the \n first stage, up the Tube past the lead and rock, up to the surface. The \n phobic horror shook him in waves. It was death; they all knew that. \n Hadn't they seen it in the films a thousand times? The cities, the sleet \n coming down, the rolling clouds-- \n \n \"It won't be much longer,\" Franks said. \"We're almost there. The surface","\"Take us outside,\" Franks said impatiently. \"We'll see it directly, not \n in here.\" \n \n A door slid open. A chill blast of cold morning air rushed in, chilling \n them even through their lead suits. The men glanced at each other \n uneasily. \n \n \"Come on,\" Franks said. \"Outside.\" \n \n He walked out through the door, the others following him. \n \n They were on a hill, overlooking the vast bowl of a valley. Dimly,","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","back.\" She turned away. \"I'll never see you again, once you go up \n there.\" \n \n He was shocked. \"What? How can you say a thing like that?\" \n \n She did not answer. \n \n * * * * * \n \n He awakened with the public newscaster screeching in his ears, shouting \n outside the building. \n \n \"Special news bulletin! Surface forces report enormous Soviet attack \n with new weapons! Retreat of key groups! All work units report to","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","down here. If one were still hot--\" \n \n He laughed, pushing himself away from the table. \"Forget it. This is a \n wonderful moment; I'll be home for the next two shifts. Nothing to do \n but sit around and take things easy. Maybe we can take in a show. Okay?\" \n \n \"A show? Do we have to? I don't like to look at all the destruction, the \n ruins. Sometimes I see some place I remember, like San Francisco. They","\"Don't argue with me.\" Moss held up a handful of surface bulletins, \n crumpling them savagely. \"This is a fake. Come on!\" He broke off. \n \n Taylor dressed furiously, his mind in a daze. \n \n Half an hour later, he leaped from a fast car and hurried up the stairs \n into the Synthetics Building. The corridors were full of men and women \n rushing in every direction. He entered Moss's office. \n"],["being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","\"Take us outside,\" Franks said impatiently. \"We'll see it directly, not \n in here.\" \n \n A door slid open. A chill blast of cold morning air rushed in, chilling \n them even through their lead suits. The men glanced at each other \n uneasily. \n \n \"Come on,\" Franks said. \"Outside.\" \n \n He walked out through the door, the others following him. \n \n They were on a hill, overlooking the vast bowl of a valley. Dimly,","against the graying sky, the outline of mountains were forming, becoming \n tangible. \n \n \"It'll be bright enough to see in a few minutes,\" Moss said. He \n shuddered as a chilling wind caught him and moved around him. \"It's \n worth it, really worth it, to see this again after eight years. Even if \n it's the last thing we see--\" \n \n \"Watch,\" Franks snapped. \n \n They obeyed, silent and subdued. The sky was clearing, brightening each","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","He knew what she was thinking. Once in the very first weeks of the war, \n before everyone had been evacuated from the surface, they had seen a \n hospital train discharging the wounded, people who had been showered \n with sleet. He remembered the way they had looked, the expression on \n their faces, or as much of their faces as was left. It had not been a \n pleasant sight. \n \n There had been a lot of that at first, in the early days before the","Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","outward, toward an external group, so that the culture itself may \n survive its crisis. War is the result. War, to a logical mind, is \n absurd. But in terms of human needs, it plays a vital role. And it will \n continue to until Man has grown up enough so that no hatred lies within \n him.\" \n \n Taylor was listening intently. \"Do you think this time will come?\" \n \n \"Of course. It has almost arrived now. This is the last war. Man is","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"Don't argue with me.\" Moss held up a handful of surface bulletins, \n crumpling them savagely. \"This is a fake. Come on!\" He broke off. \n \n Taylor dressed furiously, his mind in a daze. \n \n Half an hour later, he leaped from a fast car and hurried up the stairs \n into the Synthetics Building. The corridors were full of men and women \n rushing in every direction. He entered Moss's office. \n","prepared.\" \n \n \"Very carefully,\" Franks said. \n \n They closed in. \n \n \"How much more, we can only guess. I must admit that we were taken \n unprepared. We failed utterly to meet the situation. Now force would be \n absurd, because neither side can afford to injure the other; we, because \n of the restrictions placed on us regarding human life, you because the \n war demands--\" \n \n The soldiers fired, quick and in fright. Moss dropped to one knee,","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","gray uniforms of the labor corps, loading, lifting, shouting back and \n forth. The stage was deafening with noise. \n \n \"We'll go up a way,\" Moss said, \"where we can talk. This is no place to \n give you details.\" \n \n They took an escalator up. The commercial lift fell behind them, and \n with it most of the crashing and booming. Soon they emerged on an \n observation platform, suspended on the side of the Tube, the vast tunnel","\"There you are,\" Moss said, getting up immediately. \"Franks is waiting \n for us at the outgoing station.\" \n \n They went in a Security Car, the siren screaming. Workers scattered out \n of their way. \n \n \"What about the attack?\" Taylor asked. \n \n Moss braced his shoulders. \"We're certain that we've forced their hand. \n We've brought the issue to a head.\" \n \n They pulled up at the station link of the Tube and leaped out. A moment","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully"],["being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","He knew what she was thinking. Once in the very first weeks of the war, \n before everyone had been evacuated from the surface, they had seen a \n hospital train discharging the wounded, people who had been showered \n with sleet. He remembered the way they had looked, the expression on \n their faces, or as much of their faces as was left. It had not been a \n pleasant sight. \n \n There had been a lot of that at first, in the early days before the","gray uniforms of the labor corps, loading, lifting, shouting back and \n forth. The stage was deafening with noise. \n \n \"We'll go up a way,\" Moss said, \"where we can talk. This is no place to \n give you details.\" \n \n They took an escalator up. The commercial lift fell behind them, and \n with it most of the crashing and booming. Soon they emerged on an \n observation platform, suspended on the side of the Tube, the vast tunnel","Wasn't he one of the planners? \n \n He excused himself and went into the other room. The bed was still \n unmade. They had better get it in shape before the seventh hour \n inspection. There was a one unit fine-- \n \n The vidphone rang. He halted. Who would it be? He went over and clicked \n it on. \n \n \"Taylor?\" the face said, forming into place. It was an old face, gray","accomplishment. After all, he was an integral part of the war program, \n not just another factory worker lugging a cart of scrap, but a \n technician, one of those who designed and planned the nerve-trunk of the \n war. \n \n \"It says they have the new subs almost perfected. Wait until they get \n _those_ going.\" He smacked his lips with anticipation. \"When they start \n shelling from underwater, the Soviets are sure going to be surprised.\" \n","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","moment. Some place far off, echoing across the valley, a rooster crowed. \n \n \"A chicken!\" Taylor murmured. \"Did you hear?\" \n \n Behind them, the leadys had come out and were standing silently, \n watching, too. The gray sky turned to white and the hills appeared more \n clearly. Light spread across the valley floor, moving toward them. \n \n \"God in heaven!\" Franks exclaimed. \n \n Trees, trees and forests. A valley of plants and trees, with a few roads","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","outward, toward an external group, so that the culture itself may \n survive its crisis. War is the result. War, to a logical mind, is \n absurd. But in terms of human needs, it plays a vital role. And it will \n continue to until Man has grown up enough so that no hatred lies within \n him.\" \n \n Taylor was listening intently. \"Do you think this time will come?\" \n \n \"Of course. It has almost arrived now. This is the last war. Man is","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","against the graying sky, the outline of mountains were forming, becoming \n tangible. \n \n \"It'll be bright enough to see in a few minutes,\" Moss said. He \n shuddered as a chilling wind caught him and moved around him. \"It's \n worth it, really worth it, to see this again after eight years. Even if \n it's the last thing we see--\" \n \n \"Watch,\" Franks snapped. \n \n They obeyed, silent and subdued. The sky was clearing, brightening each","\"Take us outside,\" Franks said impatiently. \"We'll see it directly, not \n in here.\" \n \n A door slid open. A chill blast of cold morning air rushed in, chilling \n them even through their lead suits. The men glanced at each other \n uneasily. \n \n \"Come on,\" Franks said. \"Outside.\" \n \n He walked out through the door, the others following him. \n \n They were on a hill, overlooking the vast bowl of a valley. Dimly,","strange hunger in her eyes. \"Nobody can live up there. Look, look at \n this!\" \n \n She grabbed up a newspaper and held it in front of him. \n \n \"Look at this photograph. America, Europe, Asia, Africa--nothing but \n ruins. We've seen it every day on the showscreens. All destroyed, \n poisoned. And they're sending you up. Why? No living thing can get by up \n there, not even a weed, or grass. They've wrecked the surface, haven't","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of"],["\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"We're cut off,\" Moss said, trembling. \"We can't get back. What'll we \n do?\" \n \n \"How did you manage to seal the Tube so quickly?\" Franks asked the \n leady. \"We've been up here only two hours.\" \n \n \"Bombs are placed just above the first stage of each Tube for such \n emergencies. They are heat bombs. They fuse lead and rock.\" \n \n Gripping the handle of his gun, Franks turned to Moss and Taylor.","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","were able to accomplish their sealing without--\" \n \n \"The Soviets? They broke through?\" \n \n \"Several months ago, they came up unexpectedly to see why the war had \n not been won. We were forced to act with speed. At this moment they are \n desperately attempting to cut new Tubes to the surface, to resume the \n war. We have, however, been able to seal each new one as it appears.\" \n \n The leady regarded the three men calmly. \n","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","everywhere. The work was done with efficiency, but without hurry or \n excitement. \n \n The men stopped, watching. Leadys operating the little carts moved past \n them, signaling silently to each other. Guns and parts were being \n hoisted by magnetic cranes and lowered gently onto waiting carts. \n \n \"Come on,\" Franks said. \n \n He turned toward the lip of the Tube. A row of D-class leadys was \n standing in front of it, immobile and silent. Franks stopped, moving","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n"],["surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","where no life could exist. \n \n And Taylor had touched it! \n \n \"You're going with us,\" Franks said suddenly. \"I want you along. I think \n the three of us will go.\" \n \n * * * * * \n \n Mary faced him with a sick and frightened expression. \"I know it. You're \n going to the surface. Aren't you?\" \n \n She followed him into the kitchen. Taylor sat down, looking away from \n her. \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","\"It's a classified project,\" he evaded. \"I can't tell you anything about \n it.\" \n \n \"You don't have to tell me. I know. I knew it the moment you came in. \n There was something on your face, something I haven't seen there for a \n long, long time. It was an old look.\" \n \n She came toward him. \"But how can they send you to the surface?\" She \n took his face in her shaking hands, making him look at her. There was a","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","They entered the lift and ascended. When they stepped out, they were in \n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \n surprise. So this was first stage, the closest undersurface level to the \n top! After this stage there was only rock, lead and rock, and the great \n tubes leading up like the burrows of earthworms. Lead and rock, and \n above that, where the tubes opened, the great expanse that no living \n being had seen for eight years, the vast, endless ruin that had once","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","a little ahead of time.\" \n \n \"This is Commander Franks,\" Moss said to Taylor. \"He was the first to \n make the discovery. I was notified last night.\" He tapped a parcel he \n carried. \"I was let in because of this.\" \n \n Franks frowned at him and stood up. \"We're going up to first stage. We \n can discuss it there.\" \n \n \"First stage?\" Taylor repeated nervously. The three of them went down a","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","She watched him put on his boots without answering. \n \n * * * * * \n \n Moss nodded and Taylor fell in step with him, as the older man strode \n along. A series of loads were going up to the surface, blind cars \n clanking like ore-trucks up the ramp, disappearing through the stage \n trap above them. Taylor watched the cars, heavy with tubular machinery \n of some sort, weapons new to him. Workers were everywhere, in the dark","later they were moving up at high speed toward the first stage. \n \n They emerged into a bewildering scene of activity. Soldiers were \n fastening on lead suits, talking excitedly to each other, shouting back \n and forth. Guns were being given out, instructions passed. \n \n Taylor studied one of the soldiers. He was armed with the dreaded Bender \n pistol, the new snub-nosed hand weapon that was just beginning to come \n from the assembly line. Some of the soldiers looked a little frightened. \n","Each moment they were closer, the first living creatures to go above the \n first stage, up the Tube past the lead and rock, up to the surface. The \n phobic horror shook him in waves. It was death; they all knew that. \n Hadn't they seen it in the films a thousand times? The cities, the sleet \n coming down, the rolling clouds-- \n \n \"It won't be much longer,\" Franks said. \"We're almost there. The surface","\"I am Colonel Borodoy and I regret giving up our guns,\" the senior \n Russian said. \"You could have been the first Americans to be killed in \n almost eight years.\" \n \n \"Or the first Americans to kill,\" Franks corrected. \n \n \"No one would know of it except yourselves,\" the leady pointed out. \"It \n would be useless heroism. Your real concern should be surviving on the \n surface. We have no food for you, you know.\" \n","\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet it \n came directly from the surface, without even being bathed.\" \n \n \"But what does it mean?\" Taylor asked blankly. \n \n \"It may be an accident,\" Franks said. \"There's always the possibility \n that a given object might escape being exposed above. But this is the \n second time it's happened that we know of. There may be others.\" \n \n \"The second time?\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","to produce the weapons to continue the fight, month by month, year by \n year. \n \n * * * * * \n \n \"First stage,\" Taylor said. A strange ache went through him. \"Almost to \n the surface.\" \n \n \"But not quite,\" Moss said. \n \n Franks led them through the soldiers, over to one side, near the lip of \n the Tube. \n \n \"In a few minutes, a lift will bring something down to us from the"],["\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world"," * * * * * \n \n The leady stood unmoving, still holding the metal. Soldiers appeared in \n the chamber. They surrounded the leady and ran a counter across it \n carefully. \n \n \"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winter \n evening.\" \n \n \"Good. I was sure, but I didn't want to take any chances.\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","Franks broke off. A red light was flashing. \n \n \"That down lift is coming.\" He nodded to some soldiers. \"Let's enter the \n chamber. The leady will be along in a moment.\" \n \n \"An A-class leady,\" Taylor said. \"I've seen them on the showscreens, \n making their reports.\" \n \n \"It's quite an experience,\" Moss said. \"They're almost human.\" \n \n * * * * * \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","\"The previous interview was when we noticed it. The leady was not hot. \n It was cold, too, like this one.\" \n \n Moss took back the metal plate from the leady's hands. He pressed the \n surface carefully and returned it to the stiff, unprotesting fingers. \n \n \"We shorted it out with this, so we could get close enough for a \n thorough check. It'll come back on in a second now. We had better get \n behind the wall again.\" \n","\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet it \n came directly from the surface, without even being bathed.\" \n \n \"But what does it mean?\" Taylor asked blankly. \n \n \"It may be an accident,\" Franks said. \"There's always the possibility \n that a given object might escape being exposed above. But this is the \n second time it's happened that we know of. There may be others.\" \n \n \"The second time?\" \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","\"Night,\" one of the A-class leadys said, after a pause. \"Dawn is coming \n in about two hours.\" \n \n Franks nodded. \"We'll remain at least two hours, then. As a concession \n to our sentimentality, would you please show us some place where we can \n observe the Sun as it comes up? We would appreciate it.\" \n \n A stir went through the leadys. \n \n \"It is an unpleasant sight,\" one of the leadys said. \"You've seen the","back. He looked around. An A-class leady was coming toward him. \n \n \"Tell them to get out of the way,\" Franks said. He touched his gun. \"You \n had better move them.\" \n \n Time passed, an endless moment, without measure. The men stood, nervous \n and alert, watching the row of leadys in front of them. \n \n \"As you wish,\" the A-class leady said. \n \n It signaled and the D-class leadys moved into life. They stepped slowly \n aside. \n"],["Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","Russia, in Europe, America, Africa--no living human being remained. They \n were under the surface, in the deep shelters that had been carefully \n planned and built, even as the first bombs began to fall. \n \n It was a brilliant idea and the only idea that could have worked. Up \n above, on the ruined, blasted surface of what had once been a living \n planet, the leady crawled and scurried, and fought Man's war. And \n undersurface, in the depths of the planet, human beings toiled endlessly","Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","\"I am Colonel Borodoy and I regret giving up our guns,\" the senior \n Russian said. \"You could have been the first Americans to be killed in \n almost eight years.\" \n \n \"Or the first Americans to kill,\" Franks corrected. \n \n \"No one would know of it except yourselves,\" the leady pointed out. \"It \n would be useless heroism. Your real concern should be surviving on the \n surface. We have no food for you, you know.\" \n","The machine moved back toward its exit. It paused. \"Each month the \n amount of lethal particles in the atmosphere increases. The tempo of the \n war is gradually--\" \n \n \"I understand.\" Franks rose. He held out his hand and Moss passed him \n the package. \"One thing before you leave. I want you to examine a new \n type of metal shield material. I'll pass you a sample with the tong.\" \n \n Franks put the package in the toothed grip and revolved the tong so that","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","real idea of conditions up there. It has become difficult for any moving \n object to survive for long. There are many kinds of projectiles \n sensitive to movement. The new mine not only reacts to motion, but \n continues to pursue the object indefinitely, until it finally reaches \n it. And the radiation is everywhere.\" \n \n \"I see.\" Franks turned to Moss, his eyes narrowed oddly. \"Well, that was \n what I wanted to know. You may go.\" \n","asked politely. \"The suits are uncomfortable and you'll have no need for \n weapons. The Russians have given up theirs, as you can see.\" \n \n Fingers tensed on triggers. Four men in Russian uniforms were coming \n toward them from an aircraft that they suddenly realized had landed \n silently some distance away. \n \n \"Let them have it!\" Franks shouted. \n \n \"They are unarmed,\" said the leady. \"We brought them here so you could \n begin peace talks.\" \n","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","\"Yes, notice the bridges.\" The leady traced the ruined span with his \n metal finger, a tiny spider-web, almost invisible. \"You have no doubt \n seen photographs of this many times, and of the other tables in this \n building. \n \n \"San Francisco itself is completely intact. We restored it soon after \n you left, rebuilding the parts that had been damaged at the start of the \n war. The work of manufacturing news goes on all the time in this \n particular building. We are very careful to see that each part fits in","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","to produce the weapons to continue the fight, month by month, year by \n year. \n \n * * * * * \n \n \"First stage,\" Taylor said. A strange ache went through him. \"Almost to \n the surface.\" \n \n \"But not quite,\" Moss said. \n \n Franks led them through the soldiers, over to one side, near the lip of \n the Tube. \n \n \"In a few minutes, a lift will bring something down to us from the","\"They pasted Moscow again last night.\" Taylor nodded his head in \n approval. \"Gave it a real pounding. One of those R-H bombs. It's about \n time.\" \n \n He nodded again, feeling the full comfort of the kitchen, the presence \n of his plump, attractive wife, the breakfast dishes and coffee. This was \n relaxation. And the war news was good, good and satisfying. He could \n feel a justifiable glow at the news, a sense of pride and personal"],["Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","\"The previous interview was when we noticed it. The leady was not hot. \n It was cold, too, like this one.\" \n \n Moss took back the metal plate from the leady's hands. He pressed the \n surface carefully and returned it to the stiff, unprotesting fingers. \n \n \"We shorted it out with this, so we could get close enough for a \n thorough check. It'll come back on in a second now. We had better get \n behind the wall again.\" \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","conducted the session myself. We were interested in a new weapon the \n Soviets have been using, an automatic mine that pursues anything that \n moves. Military had sent instructions up that the mine be observed and \n reported in detail. \n \n \"This A-class leady was brought down with information. We learned a few \n facts from it, obtained the usual roll of film and reports, and then \n sent it back up. It was going out of the chamber, back to the lift, when \n a curious thing happened. At the time, I thought--\" \n","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","\"I hope we're not making a mistake,\" Moss said, noticing his gaze. \n \n Franks came toward them. \"Here's the program. The three of us are going \n up first, alone. The soldiers will follow in fifteen minutes.\" \n \n \"What are we going to tell the leadys?\" Taylor worriedly asked. \"We'll \n have to tell them something.\" \n \n \"We want to observe the new Soviet attack.\" Franks smiled ironically. \n \"Since it seems to be so serious, we should be there in person to","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","the warehouse. The three men trudged after them, their heavy shoes \n ringing against the concrete. At the wall, the two leadys paused. \n \n \"This is the entrance to the Council Chamber. There are windows in the \n Chamber Room, but it is still dark outside, of course. You'll see \n nothing right now, but in two hours--\" \n \n \"Open the door,\" Franks said. \n \n The door slid back. They went slowly inside. The room was small, a neat","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world"," * * * * * \n \n The leady stood unmoving, still holding the metal. Soldiers appeared in \n the chamber. They surrounded the leady and ran a counter across it \n carefully. \n \n \"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winter \n evening.\" \n \n \"Good. I was sure, but I didn't want to take any chances.\" \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","Franks broke off. A red light was flashing. \n \n \"That down lift is coming.\" He nodded to some soldiers. \"Let's enter the \n chamber. The leady will be along in a moment.\" \n \n \"An A-class leady,\" Taylor said. \"I've seen them on the showscreens, \n making their reports.\" \n \n \"It's quite an experience,\" Moss said. \"They're almost human.\" \n \n * * * * * \n","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n"],["he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","and grim. \"This is Moss. I'm sorry to bother you during Rest Period, but \n this thing has come up.\" He rattled papers. \"I want you to hurry over \n here.\" \n \n Taylor stiffened. \"What is it? There's no chance it could wait?\" The \n calm gray eyes were studying him, expressionless, unjudging. \"If you \n want me to come down to the lab,\" Taylor grumbled, \"I suppose I can. \n I'll get my uniform--\" \n","\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet it \n came directly from the surface, without even being bathed.\" \n \n \"But what does it mean?\" Taylor asked blankly. \n \n \"It may be an accident,\" Franks said. \"There's always the possibility \n that a given object might escape being exposed above. But this is the \n second time it's happened that we know of. There may be others.\" \n \n \"The second time?\" \n","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","real idea of conditions up there. It has become difficult for any moving \n object to survive for long. There are many kinds of projectiles \n sensitive to movement. The new mine not only reacts to motion, but \n continues to pursue the object indefinitely, until it finally reaches \n it. And the radiation is everywhere.\" \n \n \"I see.\" Franks turned to Moss, his eyes narrowed oddly. \"Well, that was \n what I wanted to know. You may go.\" \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","they? _Haven't they?_\" \n \n Taylor stood up. \"It's an order. I know nothing about it. I was told to \n report to join a scout party. That's all I know.\" \n \n He stood for a long time, staring ahead. Slowly, he reached for the \n newspaper and held it up to the light. \n \n \"It looks real,\" he murmured. \"Ruins, deadness, slag. It's convincing.","later they were moving up at high speed toward the first stage. \n \n They emerged into a bewildering scene of activity. Soldiers were \n fastening on lead suits, talking excitedly to each other, shouting back \n and forth. Guns were being given out, instructions passed. \n \n Taylor studied one of the soldiers. He was armed with the dreaded Bender \n pistol, the new snub-nosed hand weapon that was just beginning to come \n from the assembly line. Some of the soldiers looked a little frightened. \n","She watched him put on his boots without answering. \n \n * * * * * \n \n Moss nodded and Taylor fell in step with him, as the older man strode \n along. A series of loads were going up to the surface, blind cars \n clanking like ore-trucks up the ramp, disappearing through the stage \n trap above them. Taylor watched the cars, heavy with tubular machinery \n of some sort, weapons new to him. Workers were everywhere, in the dark","factories at once!\" \n \n Taylor blinked, rubbing his eyes. He jumped out of bed and hurried to \n the vidphone. A moment later he was put through to Moss. \n \n \"Listen,\" he said. \"What about this new attack? Is the project off?\" He \n could see Moss's desk, covered with reports and papers. \n \n \"No,\" Moss said. \"We're going right ahead. Get over here at once.\" \n \n \"But--\" \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n"],["Russia, in Europe, America, Africa--no living human being remained. They \n were under the surface, in the deep shelters that had been carefully \n planned and built, even as the first bombs began to fall. \n \n It was a brilliant idea and the only idea that could have worked. Up \n above, on the ruined, blasted surface of what had once been a living \n planet, the leady crawled and scurried, and fought Man's war. And \n undersurface, in the depths of the planet, human beings toiled endlessly","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n","They walked back and the lead wall swung closed behind them. The \n soldiers left the chamber. \n \n \"Two periods from now,\" Franks said softly, \"an initial investigating \n party will be ready to go surface-side. We're going up the Tube in \n suits, up to the top--the first human party to leave undersurface in \n eight years.\" \n \n \"It may mean nothing,\" Moss said, \"but I doubt it. Something's going on, \n something strange. The leady told us no life could exist above without","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","human beings went below the ground in order to survive. But before we \n could continue the war, it was necessary to analyze it to determine what \n its purpose was. We did this, and we found that it had no purpose, \n except, perhaps, in terms of human needs. Even this was questionable. \n \n \"We investigated further. We found that human cultures pass through \n phases, each culture in its own time. As the culture ages and begins to \n lose its objectives, conflict arises within it between those who wish to","question you, do you have anything to report on surface conditions?\" \n \n \"No. The war continues.\" The leady's voice was automatic and toneless. \n \"We are a little short of fast pursuit craft, the single-seat type. We \n could use also some--\" \n \n \"That has all been noted. What I want to ask you is this. Our contact \n with you has been through vidscreen only. We must rely on indirect \n evidence, since none of us goes above. We can only infer what is going","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","should see it all for ourselves. Is it possible that there might be a \n large enough radiation-free area for a human party to ascend to the \n surface? If a few of us were to come up in lead-lined suits, would we be \n able to survive long enough to observe conditions and watch things?\" \n \n The machine hesitated before answering. \"I doubt it. You can check air \n samples, of course, and decide for yourselves. But in the eight years \n since you left, things have continually worsened. You cannot have any","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","All the reports, photographs, films, even air samples. Yet we haven't \n seen it for ourselves, not after the first months ...\" \n \n \"What are you talking about?\" \n \n \"Nothing.\" He put the paper down. \"I'm leaving early after the next \n Sleep Period. Let's turn in.\" \n \n Mary turned away, her face hard and harsh. \"Do what you want. We might \n just as well all go up and get killed at once, instead of dying slowly \n down here, like vermin in the ground.\"","were able to accomplish their sealing without--\" \n \n \"The Soviets? They broke through?\" \n \n \"Several months ago, they came up unexpectedly to see why the war had \n not been won. We were forced to act with speed. At this moment they are \n desperately attempting to cut new Tubes to the surface, to resume the \n war. We have, however, been able to seal each new one as it appears.\" \n \n The leady regarded the three men calmly. \n","They entered the lift and ascended. When they stepped out, they were in \n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \n surprise. So this was first stage, the closest undersurface level to the \n top! After this stage there was only rock, lead and rock, and the great \n tubes leading up like the burrows of earthworms. Lead and rock, and \n above that, where the tubes opened, the great expanse that no living \n being had seen for eight years, the vast, endless ruin that had once","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","He knew what she was thinking. Once in the very first weeks of the war, \n before everyone had been evacuated from the surface, they had seen a \n hospital train discharging the wounded, people who had been showered \n with sleet. He remembered the way they had looked, the expression on \n their faces, or as much of their faces as was left. It had not been a \n pleasant sight. \n \n There had been a lot of that at first, in the early days before the","Franks waved to the soldiers. \"Let's go.\" He started toward the \n warehouse. \n \n Most of the soldiers had removed their helmets. Some of them had taken \n their lead suits off, too, and were relaxing comfortably in their cotton \n uniforms. They stared around them, down the hillside at the trees and \n bushes, the vast expanse of green, the mountains and the sky. \n \n \"Look at the Sun,\" one of them murmured. \n \n \"It sure is bright as hell,\" another said. \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n"],["Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","\"What'll we do?\" Moss said nervously to Franks. He touched his gun. \n \"Shall we blast them?\" \n \n Franks shook his head. \"All right,\" he said to the leader. \"We'll go \n back.\" \n \n * * * * * \n \n He moved toward the door, motioning Taylor and Moss to follow him. They \n looked at him in surprise, but they came with him. The leadys followed","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","\"What do you say? We can't go back, but we can do a lot of damage, the \n fifteen of us. We have Bender guns. How about it?\" \n \n He looked around. The soldiers had wandered away again, back toward the \n exit of the building. They were standing outside, looking at the valley \n and the sky. A few of them were carefully climbing down the slope. \n \n \"Would you care to turn over your suits and guns?\" the A-class leady","back. He looked around. An A-class leady was coming toward him. \n \n \"Tell them to get out of the way,\" Franks said. He touched his gun. \"You \n had better move them.\" \n \n Time passed, an endless moment, without measure. The men stood, nervous \n and alert, watching the row of leadys in front of them. \n \n \"As you wish,\" the A-class leady said. \n \n It signaled and the D-class leadys moved into life. They stepped slowly \n aside. \n","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","real idea of conditions up there. It has become difficult for any moving \n object to survive for long. There are many kinds of projectiles \n sensitive to movement. The new mine not only reacts to motion, but \n continues to pursue the object indefinitely, until it finally reaches \n it. And the radiation is everywhere.\" \n \n \"I see.\" Franks turned to Moss, his eyes narrowed oddly. \"Well, that was \n what I wanted to know. You may go.\" \n","everywhere. The work was done with efficiency, but without hurry or \n excitement. \n \n The men stopped, watching. Leadys operating the little carts moved past \n them, signaling silently to each other. Guns and parts were being \n hoisted by magnetic cranes and lowered gently onto waiting carts. \n \n \"Come on,\" Franks said. \n \n He turned toward the lip of the Tube. A row of D-class leadys was \n standing in front of it, immobile and silent. Franks stopped, moving","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n","The machine moved back toward its exit. It paused. \"Each month the \n amount of lethal particles in the atmosphere increases. The tempo of the \n war is gradually--\" \n \n \"I understand.\" Franks rose. He held out his hand and Moss passed him \n the package. \"One thing before you leave. I want you to examine a new \n type of metal shield material. I'll pass you a sample with the tong.\" \n \n Franks put the package in the toothed grip and revolved the tong so that","should see it all for ourselves. Is it possible that there might be a \n large enough radiation-free area for a human party to ascend to the \n surface? If a few of us were to come up in lead-lined suits, would we be \n able to survive long enough to observe conditions and watch things?\" \n \n The machine hesitated before answering. \"I doubt it. You can check air \n samples, of course, and decide for yourselves. But in the eight years \n since you left, things have continually worsened. You cannot have any"],["Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n"," * * * * * \n \n The leady stood unmoving, still holding the metal. Soldiers appeared in \n the chamber. They surrounded the leady and ran a counter across it \n carefully. \n \n \"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winter \n evening.\" \n \n \"Good. I was sure, but I didn't want to take any chances.\" \n","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","\"The previous interview was when we noticed it. The leady was not hot. \n It was cold, too, like this one.\" \n \n Moss took back the metal plate from the leady's hands. He pressed the \n surface carefully and returned it to the stiff, unprotesting fingers. \n \n \"We shorted it out with this, so we could get close enough for a \n thorough check. It'll come back on in a second now. We had better get \n behind the wall again.\" \n","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","back. He looked around. An A-class leady was coming toward him. \n \n \"Tell them to get out of the way,\" Franks said. He touched his gun. \"You \n had better move them.\" \n \n Time passed, an endless moment, without measure. The men stood, nervous \n and alert, watching the row of leadys in front of them. \n \n \"As you wish,\" the A-class leady said. \n \n It signaled and the D-class leadys moved into life. They stepped slowly \n aside. \n"],["They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","everywhere. The work was done with efficiency, but without hurry or \n excitement. \n \n The men stopped, watching. Leadys operating the little carts moved past \n them, signaling silently to each other. Guns and parts were being \n hoisted by magnetic cranes and lowered gently onto waiting carts. \n \n \"Come on,\" Franks said. \n \n He turned toward the lip of the Tube. A row of D-class leadys was \n standing in front of it, immobile and silent. Franks stopped, moving","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n"," * * * * * \n \n The leady stood unmoving, still holding the metal. Soldiers appeared in \n the chamber. They surrounded the leady and ran a counter across it \n carefully. \n \n \"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winter \n evening.\" \n \n \"Good. I was sure, but I didn't want to take any chances.\" \n","later they were moving up at high speed toward the first stage. \n \n They emerged into a bewildering scene of activity. Soldiers were \n fastening on lead suits, talking excitedly to each other, shouting back \n and forth. Guns were being given out, instructions passed. \n \n Taylor studied one of the soldiers. He was armed with the dreaded Bender \n pistol, the new snub-nosed hand weapon that was just beginning to come \n from the assembly line. Some of the soldiers looked a little frightened. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","\"We're cut off,\" Moss said, trembling. \"We can't get back. What'll we \n do?\" \n \n \"How did you manage to seal the Tube so quickly?\" Franks asked the \n leady. \"We've been up here only two hours.\" \n \n \"Bombs are placed just above the first stage of each Tube for such \n emergencies. They are heat bombs. They fuse lead and rock.\" \n \n Gripping the handle of his gun, Franks turned to Moss and Taylor."],["\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","\"We're cut off,\" Moss said, trembling. \"We can't get back. What'll we \n do?\" \n \n \"How did you manage to seal the Tube so quickly?\" Franks asked the \n leady. \"We've been up here only two hours.\" \n \n \"Bombs are placed just above the first stage of each Tube for such \n emergencies. They are heat bombs. They fuse lead and rock.\" \n \n Gripping the handle of his gun, Franks turned to Moss and Taylor.","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","They entered the lift and ascended. When they stepped out, they were in \n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \n surprise. So this was first stage, the closest undersurface level to the \n top! After this stage there was only rock, lead and rock, and the great \n tubes leading up like the burrows of earthworms. Lead and rock, and \n above that, where the tubes opened, the great expanse that no living \n being had seen for eight years, the vast, endless ruin that had once","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","where no life could exist. \n \n And Taylor had touched it! \n \n \"You're going with us,\" Franks said suddenly. \"I want you along. I think \n the three of us will go.\" \n \n * * * * * \n \n Mary faced him with a sick and frightened expression. \"I know it. You're \n going to the surface. Aren't you?\" \n \n She followed him into the kitchen. Taylor sat down, looking away from \n her. \n","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","The men stared at the Tube entrance. Around them the leadys watched, \n silent and impassive, their metal faces expressionless. \n \n For a long time the men stood without moving. At last Taylor turned \n away. \n \n \"Good God,\" he said. He was numb, without feeling of any kind. \n \n The Tube was gone. It was sealed shut, fused over. Only a dull surface \n of cooling metal greeted them. \n \n The Tube had been closed. \n"," * * * * * \n \n Franks turned, his face pale and vacant. \n \n The A-class leady shifted. \"As you can see, the Tube has been shut. We \n were prepared for this. As soon as all of you were on the surface, the \n order was given. If you had gone back when we asked you, you would now \n be safely down below. We had to work quickly because it was such an \n immense operation.\" \n \n \"But why?\" Moss demanded angrily. \n","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","They walked back and the lead wall swung closed behind them. The \n soldiers left the chamber. \n \n \"Two periods from now,\" Franks said softly, \"an initial investigating \n party will be ready to go surface-side. We're going up the Tube in \n suits, up to the top--the first human party to leave undersurface in \n eight years.\" \n \n \"It may mean nothing,\" Moss said, \"but I doubt it. Something's going on, \n something strange. The leady told us no life could exist above without","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","witness it.\" \n \n \"And then what?\" Taylor said. \n \n \"That'll be up to them. Let's go.\" \n \n * * * * * \n \n In a small car, they went swiftly up the Tube, carried by anti-grav \n beams from below. Taylor glanced down from time to time. It was a long \n way back, and getting longer each moment. He sweated nervously inside \n his suit, gripping his Bender pistol with inexpert fingers. \n","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","them out into the great warehouse. Slowly they moved toward the Tube \n entrance, none of them speaking. \n \n \n \n At the lip, Franks turned. \"We are going back because we have no choice. \n There are three of us and about a dozen of you. However, if--\" \n \n \"Here comes the car,\" Taylor said. \n \n There was a grating sound from the Tube. D-class leadys moved toward the \n edge to receive it. \n"],["Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","\"I hope we're not making a mistake,\" Moss said, noticing his gaze. \n \n Franks came toward them. \"Here's the program. The three of us are going \n up first, alone. The soldiers will follow in fifteen minutes.\" \n \n \"What are we going to tell the leadys?\" Taylor worriedly asked. \"We'll \n have to tell them something.\" \n \n \"We want to observe the new Soviet attack.\" Franks smiled ironically. \n \"Since it seems to be so serious, we should be there in person to","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n"],["They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","everywhere. The work was done with efficiency, but without hurry or \n excitement. \n \n The men stopped, watching. Leadys operating the little carts moved past \n them, signaling silently to each other. Guns and parts were being \n hoisted by magnetic cranes and lowered gently onto waiting carts. \n \n \"Come on,\" Franks said. \n \n He turned toward the lip of the Tube. A row of D-class leadys was \n standing in front of it, immobile and silent. Franks stopped, moving","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","off just right.\" \n \n The leader moved back, away from the soldiers. It studied them \n intently, glancing from one to the next, apparently trying to make up \n its mind. At last it made a sign to the other leadys. They coasted aside \n and a corridor was opened up toward the warehouse. \n \n \"Even now,\" the leader said, \"we could send you back by force. But it is \n evident that this is not really an observation party at all. These \n soldiers show that you have much more in mind; this was all carefully","\"The conquest of space,\" breathed Colonel Borodoy. \n \n \"The meaning of life,\" Moss added. \n \n \"Eliminating hunger and poverty,\" said Taylor. \n \n The leady opened the door of the ship. \"All that and more. How much \n more? We cannot foresee it any more than the first men who formed a \n tribe could foresee this day. But it will be unimaginably great.\" \n \n The door closed and the ship took off toward their new home. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world"],["\"They pasted Moscow again last night.\" Taylor nodded his head in \n approval. \"Gave it a real pounding. One of those R-H bombs. It's about \n time.\" \n \n He nodded again, feeling the full comfort of the kitchen, the presence \n of his plump, attractive wife, the breakfast dishes and coffee. This was \n relaxation. And the war news was good, good and satisfying. He could \n feel a justifiable glow at the news, a sense of pride and personal","He knew what she was thinking. Once in the very first weeks of the war, \n before everyone had been evacuated from the surface, they had seen a \n hospital train discharging the wounded, people who had been showered \n with sleet. He remembered the way they had looked, the expression on \n their faces, or as much of their faces as was left. It had not been a \n pleasant sight. \n \n There had been a lot of that at first, in the early days before the","Russia, in Europe, America, Africa--no living human being remained. They \n were under the surface, in the deep shelters that had been carefully \n planned and built, even as the first bombs began to fall. \n \n It was a brilliant idea and the only idea that could have worked. Up \n above, on the ruined, blasted surface of what had once been a living \n planet, the leady crawled and scurried, and fought Man's war. And \n undersurface, in the depths of the planet, human beings toiled endlessly","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","since the war began. In these eight years, we have observed and noted \n important changes going on in the minds of men. Fatigue and disinterest, \n we have seen, are gradually taking the place of hatred and fear. The \n hatred is being exhausted gradually, over a period of time. But for the \n present, the hoax must go on, at least for a while longer. You are not \n ready to learn the truth. You would want to continue the war.\" \n \n \"But how did you manage it?\" Moss asked. \"All the photographs, the","were able to accomplish their sealing without--\" \n \n \"The Soviets? They broke through?\" \n \n \"Several months ago, they came up unexpectedly to see why the war had \n not been won. We were forced to act with speed. At this moment they are \n desperately attempting to cut new Tubes to the surface, to resume the \n war. We have, however, been able to seal each new one as it appears.\" \n \n The leady regarded the three men calmly. \n","back.\" She turned away. \"I'll never see you again, once you go up \n there.\" \n \n He was shocked. \"What? How can you say a thing like that?\" \n \n She did not answer. \n \n * * * * * \n \n He awakened with the public newscaster screeching in his ears, shouting \n outside the building. \n \n \"Special news bulletin! Surface forces report enormous Soviet attack \n with new weapons! Retreat of key groups! All work units report to","All the reports, photographs, films, even air samples. Yet we haven't \n seen it for ourselves, not after the first months ...\" \n \n \"What are you talking about?\" \n \n \"Nothing.\" He put the paper down. \"I'm leaving early after the next \n Sleep Period. Let's turn in.\" \n \n Mary turned away, her face hard and harsh. \"Do what you want. We might \n just as well all go up and get killed at once, instead of dying slowly \n down here, like vermin in the ground.\"","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","\"Take us outside,\" Franks said impatiently. \"We'll see it directly, not \n in here.\" \n \n A door slid open. A chill blast of cold morning air rushed in, chilling \n them even through their lead suits. The men glanced at each other \n uneasily. \n \n \"Come on,\" Franks said. \"Outside.\" \n \n He walked out through the door, the others following him. \n \n They were on a hill, overlooking the vast bowl of a valley. Dimly,","\"I am Colonel Borodoy and I regret giving up our guns,\" the senior \n Russian said. \"You could have been the first Americans to be killed in \n almost eight years.\" \n \n \"Or the first Americans to kill,\" Franks corrected. \n \n \"No one would know of it except yourselves,\" the leady pointed out. \"It \n would be useless heroism. Your real concern should be surviving on the \n surface. We have no food for you, you know.\" \n","The machine moved back toward its exit. It paused. \"Each month the \n amount of lethal particles in the atmosphere increases. The tempo of the \n war is gradually--\" \n \n \"I understand.\" Franks rose. He held out his hand and Moss passed him \n the package. \"One thing before you leave. I want you to examine a new \n type of metal shield material. I'll pass you a sample with the tong.\" \n \n Franks put the package in the toothed grip and revolved the tong so that","asked politely. \"The suits are uncomfortable and you'll have no need for \n weapons. The Russians have given up theirs, as you can see.\" \n \n Fingers tensed on triggers. Four men in Russian uniforms were coming \n toward them from an aircraft that they suddenly realized had landed \n silently some distance away. \n \n \"Let them have it!\" Franks shouted. \n \n \"They are unarmed,\" said the leady. \"We brought them here so you could \n begin peace talks.\" \n","should see it all for ourselves. Is it possible that there might be a \n large enough radiation-free area for a human party to ascend to the \n surface? If a few of us were to come up in lead-lined suits, would we be \n able to survive long enough to observe conditions and watch things?\" \n \n The machine hesitated before answering. \"I doubt it. You can check air \n samples, of course, and decide for yourselves. But in the eight years \n since you left, things have continually worsened. You cannot have any","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n","prepared.\" \n \n \"Very carefully,\" Franks said. \n \n They closed in. \n \n \"How much more, we can only guess. I must admit that we were taken \n unprepared. We failed utterly to meet the situation. Now force would be \n absurd, because neither side can afford to injure the other; we, because \n of the restrictions placed on us regarding human life, you because the \n war demands--\" \n \n The soldiers fired, quick and in fright. Moss dropped to one knee,","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","\"Yes, notice the bridges.\" The leady traced the ruined span with his \n metal finger, a tiny spider-web, almost invisible. \"You have no doubt \n seen photographs of this many times, and of the other tables in this \n building. \n \n \"San Francisco itself is completely intact. We restored it soon after \n you left, rebuilding the parts that had been damaged at the start of the \n war. The work of manufacturing news goes on all the time in this \n particular building. We are very careful to see that each part fits in","_almost_ united into one final culture--a world culture. At this point \n he stands continent against continent, one half of the world against the \n other half. Only a single step remains, the jump to a unified culture. \n Man has climbed slowly upward, tending always toward unification of his \n culture. It will not be long-- \n \n \"But it has not come yet, and so the war had to go on, to satisfy the \n last violent surge of hatred that Man felt. Eight years have passed","to produce the weapons to continue the fight, month by month, year by \n year. \n \n * * * * * \n \n \"First stage,\" Taylor said. A strange ache went through him. \"Almost to \n the surface.\" \n \n \"But not quite,\" Moss said. \n \n Franks led them through the soldiers, over to one side, near the lip of \n the Tube. \n \n \"In a few minutes, a lift will bring something down to us from the"],["question you, do you have anything to report on surface conditions?\" \n \n \"No. The war continues.\" The leady's voice was automatic and toneless. \n \"We are a little short of fast pursuit craft, the single-seat type. We \n could use also some--\" \n \n \"That has all been noted. What I want to ask you is this. Our contact \n with you has been through vidscreen only. We must rely on indirect \n evidence, since none of us goes above. We can only infer what is going","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","wildly among metal legs, groping frantically to find it. His fingers \n strained, a handle swam in front of him. Suddenly something came down on \n his arm, a metal foot. He cried out. \n \n Then it was over. The leadys were moving away, gathering together off to \n one side. Only four of the Surface Council remained. The others were \n radioactive particles in the air. D-class leadys were already restoring \n order, gathering up partly destroyed metal figures and bits and removing \n them. \n","Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","real idea of conditions up there. It has become difficult for any moving \n object to survive for long. There are many kinds of projectiles \n sensitive to movement. The new mine not only reacts to motion, but \n continues to pursue the object indefinitely, until it finally reaches \n it. And the radiation is everywhere.\" \n \n \"I see.\" Franks turned to Moss, his eyes narrowed oddly. \"Well, that was \n what I wanted to know. You may go.\" \n","\"It's a classified project,\" he evaded. \"I can't tell you anything about \n it.\" \n \n \"You don't have to tell me. I know. I knew it the moment you came in. \n There was something on your face, something I haven't seen there for a \n long, long time. It was an old look.\" \n \n She came toward him. \"But how can they send you to the surface?\" She \n took his face in her shaking hands, making him look at her. There was a","to produce the weapons to continue the fight, month by month, year by \n year. \n \n * * * * * \n \n \"First stage,\" Taylor said. A strange ache went through him. \"Almost to \n the surface.\" \n \n \"But not quite,\" Moss said. \n \n Franks led them through the soldiers, over to one side, near the lip of \n the Tube. \n \n \"In a few minutes, a lift will bring something down to us from the","should see it all for ourselves. Is it possible that there might be a \n large enough radiation-free area for a human party to ascend to the \n surface? If a few of us were to come up in lead-lined suits, would we be \n able to survive long enough to observe conditions and watch things?\" \n \n The machine hesitated before answering. \"I doubt it. You can check air \n samples, of course, and decide for yourselves. But in the eight years \n since you left, things have continually worsened. You cannot have any","\"I am Colonel Borodoy and I regret giving up our guns,\" the senior \n Russian said. \"You could have been the first Americans to be killed in \n almost eight years.\" \n \n \"Or the first Americans to kill,\" Franks corrected. \n \n \"No one would know of it except yourselves,\" the leady pointed out. \"It \n would be useless heroism. Your real concern should be surviving on the \n surface. We have no food for you, you know.\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching"],["tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","and grim. \"This is Moss. I'm sorry to bother you during Rest Period, but \n this thing has come up.\" He rattled papers. \"I want you to hurry over \n here.\" \n \n Taylor stiffened. \"What is it? There's no chance it could wait?\" The \n calm gray eyes were studying him, expressionless, unjudging. \"If you \n want me to come down to the lab,\" Taylor grumbled, \"I suppose I can. \n I'll get my uniform--\" \n","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","Wasn't he one of the planners? \n \n He excused himself and went into the other room. The bed was still \n unmade. They had better get it in shape before the seventh hour \n inspection. There was a one unit fine-- \n \n The vidphone rang. He halted. Who would it be? He went over and clicked \n it on. \n \n \"Taylor?\" the face said, forming into place. It was an old face, gray","\"Don't argue with me.\" Moss held up a handful of surface bulletins, \n crumpling them savagely. \"This is a fake. Come on!\" He broke off. \n \n Taylor dressed furiously, his mind in a daze. \n \n Half an hour later, he leaped from a fast car and hurried up the stairs \n into the Synthetics Building. The corridors were full of men and women \n rushing in every direction. He entered Moss's office. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","factories at once!\" \n \n Taylor blinked, rubbing his eyes. He jumped out of bed and hurried to \n the vidphone. A moment later he was put through to Moss. \n \n \"Listen,\" he said. \"What about this new attack? Is the project off?\" He \n could see Moss's desk, covered with reports and papers. \n \n \"No,\" Moss said. \"We're going right ahead. Get over here at once.\" \n \n \"But--\" \n","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","witness it.\" \n \n \"And then what?\" Taylor said. \n \n \"That'll be up to them. Let's go.\" \n \n * * * * * \n \n In a small car, they went swiftly up the Tube, carried by anti-grav \n beams from below. Taylor glanced down from time to time. It was a long \n way back, and getting longer each moment. He sweated nervously inside \n his suit, gripping his Bender pistol with inexpert fingers. \n","She watched him put on his boots without answering. \n \n * * * * * \n \n Moss nodded and Taylor fell in step with him, as the older man strode \n along. A series of loads were going up to the surface, blind cars \n clanking like ore-trucks up the ramp, disappearing through the stage \n trap above them. Taylor watched the cars, heavy with tubular machinery \n of some sort, weapons new to him. Workers were everywhere, in the dark","gray uniforms of the labor corps, loading, lifting, shouting back and \n forth. The stage was deafening with noise. \n \n \"We'll go up a way,\" Moss said, \"where we can talk. This is no place to \n give you details.\" \n \n They took an escalator up. The commercial lift fell behind them, and \n with it most of the crashing and booming. Soon they emerged on an \n observation platform, suspended on the side of the Tube, the vast tunnel","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","they? _Haven't they?_\" \n \n Taylor stood up. \"It's an order. I know nothing about it. I was told to \n report to join a scout party. That's all I know.\" \n \n He stood for a long time, staring ahead. Slowly, he reached for the \n newspaper and held it up to the light. \n \n \"It looks real,\" he murmured. \"Ruins, deadness, slag. It's convincing.","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching"],["surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","\"There you are,\" Moss said, getting up immediately. \"Franks is waiting \n for us at the outgoing station.\" \n \n They went in a Security Car, the siren screaming. Workers scattered out \n of their way. \n \n \"What about the attack?\" Taylor asked. \n \n Moss braced his shoulders. \"We're certain that we've forced their hand. \n We've brought the issue to a head.\" \n \n They pulled up at the station link of the Tube and leaped out. A moment","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","\"Come on,\" Franks said. \"A B-class guard is coming our way.\" \n \n * * * * * \n \n They stepped out of the car. A leady was approaching them rapidly. It \n coasted up in front of them and stopped, scanning them with its \n hand-weapon raised. \n \n \"This is Security,\" Franks said. \"Have an A-class sent to me at once.\" \n \n The leady hesitated. Other B-class guards were coming, scooting across","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","conducted the session myself. We were interested in a new weapon the \n Soviets have been using, an automatic mine that pursues anything that \n moves. Military had sent instructions up that the mine be observed and \n reported in detail. \n \n \"This A-class leady was brought down with information. We learned a few \n facts from it, obtained the usual roll of film and reports, and then \n sent it back up. It was going out of the chamber, back to the lift, when \n a curious thing happened. At the time, I thought--\" \n","real idea of conditions up there. It has become difficult for any moving \n object to survive for long. There are many kinds of projectiles \n sensitive to movement. The new mine not only reacts to motion, but \n continues to pursue the object indefinitely, until it finally reaches \n it. And the radiation is everywhere.\" \n \n \"I see.\" Franks turned to Moss, his eyes narrowed oddly. \"Well, that was \n what I wanted to know. You may go.\" \n","\"No. Come as you are. And not to the lab. Meet me at second stage as \n soon as possible. It'll take you about a half hour, using the fast car \n up. I'll see you there.\" \n \n The picture broke and Moss disappeared. \n \n * * * * * \n \n \"What was it?\" Mary said, at the door. \n \n \"Moss. He wants me for something.\" \n \n \"I knew this would happen.\" \n","asked politely. \"The suits are uncomfortable and you'll have no need for \n weapons. The Russians have given up theirs, as you can see.\" \n \n Fingers tensed on triggers. Four men in Russian uniforms were coming \n toward them from an aircraft that they suddenly realized had landed \n silently some distance away. \n \n \"Let them have it!\" Franks shouted. \n \n \"They are unarmed,\" said the leady. \"We brought them here so you could \n begin peace talks.\" \n","the warehouse. The three men trudged after them, their heavy shoes \n ringing against the concrete. At the wall, the two leadys paused. \n \n \"This is the entrance to the Council Chamber. There are windows in the \n Chamber Room, but it is still dark outside, of course. You'll see \n nothing right now, but in two hours--\" \n \n \"Open the door,\" Franks said. \n \n The door slid back. They went slowly inside. The room was small, a neat","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","and grim. \"This is Moss. I'm sorry to bother you during Rest Period, but \n this thing has come up.\" He rattled papers. \"I want you to hurry over \n here.\" \n \n Taylor stiffened. \"What is it? There's no chance it could wait?\" The \n calm gray eyes were studying him, expressionless, unjudging. \"If you \n want me to come down to the lab,\" Taylor grumbled, \"I suppose I can. \n I'll get my uniform--\" \n","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","Moss breathed a sigh of relief. \n \n \"I'm glad that's over,\" he said to Franks. \"Look at them all. Why don't \n they try to stop us? They must know what we're going to do.\" \n \n Franks laughed. \"Stop us? You saw what happened when they tried to stop \n us before. They can't; they're only machines. We built them so they \n can't lay hands on us, and they know that.\" \n \n His voice trailed off. \n","\"What'll we do?\" Moss said nervously to Franks. He touched his gun. \n \"Shall we blast them?\" \n \n Franks shook his head. \"All right,\" he said to the leader. \"We'll go \n back.\" \n \n * * * * * \n \n He moved toward the door, motioning Taylor and Moss to follow him. They \n looked at him in surprise, but they came with him. The leadys followed","gray uniforms of the labor corps, loading, lifting, shouting back and \n forth. The stage was deafening with noise. \n \n \"We'll go up a way,\" Moss said, \"where we can talk. This is no place to \n give you details.\" \n \n They took an escalator up. The commercial lift fell behind them, and \n with it most of the crashing and booming. Soon they emerged on an \n observation platform, suspended on the side of the Tube, the vast tunnel","They entered the chamber and seated themselves behind the lead wall. \n After a time, a signal was flashed, and Franks made a motion with his \n hands. \n \n The door beyond the wall opened. Taylor peered through his view slot. He \n saw something advancing slowly, a slender metallic figure moving on a \n tread, its arm grips at rest by its sides. The figure halted and scanned \n the lead wall. It stood, waiting. \n \n \"We are interested in learning something,\" Franks said. \"Before I","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching"],["surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet it \n came directly from the surface, without even being bathed.\" \n \n \"But what does it mean?\" Taylor asked blankly. \n \n \"It may be an accident,\" Franks said. \"There's always the possibility \n that a given object might escape being exposed above. But this is the \n second time it's happened that we know of. There may be others.\" \n \n \"The second time?\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","question you, do you have anything to report on surface conditions?\" \n \n \"No. The war continues.\" The leady's voice was automatic and toneless. \n \"We are a little short of fast pursuit craft, the single-seat type. We \n could use also some--\" \n \n \"That has all been noted. What I want to ask you is this. Our contact \n with you has been through vidscreen only. We must rely on indirect \n evidence, since none of us goes above. We can only infer what is going","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","side passage to a small lift. \"I've never been up there. Is it all \n right? It's not radioactive, is it?\" \n \n \"You're like everyone else,\" Franks said. \"Old women afraid of burglars. \n No radiation leaks down to first stage. There's lead and rock, and what \n comes down the Tube is bathed.\" \n \n \"What's the nature of the problem?\" Taylor asked. \"I'd like to know \n something about it.\" \n \n \"In a moment.\"","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"The previous interview was when we noticed it. The leady was not hot. \n It was cold, too, like this one.\" \n \n Moss took back the metal plate from the leady's hands. He pressed the \n surface carefully and returned it to the stiff, unprotesting fingers. \n \n \"We shorted it out with this, so we could get close enough for a \n thorough check. It'll come back on in a second now. We had better get \n behind the wall again.\" \n","\"I hope we're not making a mistake,\" Moss said, noticing his gaze. \n \n Franks came toward them. \"Here's the program. The three of us are going \n up first, alone. The soldiers will follow in fifteen minutes.\" \n \n \"What are we going to tell the leadys?\" Taylor worriedly asked. \"We'll \n have to tell them something.\" \n \n \"We want to observe the new Soviet attack.\" Franks smiled ironically. \n \"Since it seems to be so serious, we should be there in person to","they? _Haven't they?_\" \n \n Taylor stood up. \"It's an order. I know nothing about it. I was told to \n report to join a scout party. That's all I know.\" \n \n He stood for a long time, staring ahead. Slowly, he reached for the \n newspaper and held it up to the light. \n \n \"It looks real,\" he murmured. \"Ruins, deadness, slag. It's convincing.","Franks broke off. A red light was flashing. \n \n \"That down lift is coming.\" He nodded to some soldiers. \"Let's enter the \n chamber. The leady will be along in a moment.\" \n \n \"An A-class leady,\" Taylor said. \"I've seen them on the showscreens, \n making their reports.\" \n \n \"It's quite an experience,\" Moss said. \"They're almost human.\" \n \n * * * * * \n"],["\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","were able to accomplish their sealing without--\" \n \n \"The Soviets? They broke through?\" \n \n \"Several months ago, they came up unexpectedly to see why the war had \n not been won. We were forced to act with speed. At this moment they are \n desperately attempting to cut new Tubes to the surface, to resume the \n war. We have, however, been able to seal each new one as it appears.\" \n \n The leady regarded the three men calmly. \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching"," * * * * * \n \n The leady stood unmoving, still holding the metal. Soldiers appeared in \n the chamber. They surrounded the leady and ran a counter across it \n carefully. \n \n \"Okay, sir,\" one of them said to Franks. \"It's as cold as a long winter \n evening.\" \n \n \"Good. I was sure, but I didn't want to take any chances.\" \n","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","moment. Some place far off, echoing across the valley, a rooster crowed. \n \n \"A chicken!\" Taylor murmured. \"Did you hear?\" \n \n Behind them, the leadys had come out and were standing silently, \n watching, too. The gray sky turned to white and the hills appeared more \n clearly. Light spread across the valley floor, moving toward them. \n \n \"God in heaven!\" Franks exclaimed. \n \n Trees, trees and forests. A valley of plants and trees, with a few roads","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,"],["The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","Leadys, crawling along the ground, moving over the oceans or through the \n skies in slender, blackened craft, creatures that could exist where no \n _life_ could remain, metal and plastic figures that waged a war Man had \n conceived, but which he could not fight himself. Human beings had \n invented war, invented and manufactured the weapons, even invented the \n players, the fighters, the actors of the war. But they themselves could \n not venture forth, could not wage it themselves. In all the world--in","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","Russia, in Europe, America, Africa--no living human being remained. They \n were under the surface, in the deep shelters that had been carefully \n planned and built, even as the first bombs began to fall. \n \n It was a brilliant idea and the only idea that could have worked. Up \n above, on the ruined, blasted surface of what had once been a living \n planet, the leady crawled and scurried, and fought Man's war. And \n undersurface, in the depths of the planet, human beings toiled endlessly","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n","were able to accomplish their sealing without--\" \n \n \"The Soviets? They broke through?\" \n \n \"Several months ago, they came up unexpectedly to see why the war had \n not been won. We were forced to act with speed. At this moment they are \n desperately attempting to cut new Tubes to the surface, to resume the \n war. We have, however, been able to seal each new one as it appears.\" \n \n The leady regarded the three men calmly. \n","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","question you, do you have anything to report on surface conditions?\" \n \n \"No. The war continues.\" The leady's voice was automatic and toneless. \n \"We are a little short of fast pursuit craft, the single-seat type. We \n could use also some--\" \n \n \"That has all been noted. What I want to ask you is this. Our contact \n with you has been through vidscreen only. We must rely on indirect \n evidence, since none of us goes above. We can only infer what is going","\"Because it is unthinkable that you should be allowed to resume the war. \n With all the Tubes sealed, it will be many months before forces from \n below can reach the surface, let alone organize a military program. By \n that time the cycle will have entered its last stages. You will not be \n so perturbed to find your world intact. \n \n \"We had hoped that you would be undersurface when the sealing occurred. \n Your presence here is a nuisance. When the Soviets broke through, we","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","been Man's home, the place where he had lived, eight years ago. \n \n Now the surface was a lethal desert of slag and rolling clouds. Endless \n clouds drifted back and forth, blotting out the red Sun. Occasionally \n something metallic stirred, moving through the remains of a city, \n threading its way across the tortured terrain of the countryside. A \n leady, a surface robot, immune to radiation, constructed with feverish \n haste in the last months before the cold war became literally hot. \n","They walked back and the lead wall swung closed behind them. The \n soldiers left the chamber. \n \n \"Two periods from now,\" Franks said softly, \"an initial investigating \n party will be ready to go surface-side. We're going up the Tube in \n suits, up to the top--the first human party to leave undersurface in \n eight years.\" \n \n \"It may mean nothing,\" Moss said, \"but I doubt it. Something's going on, \n something strange. The leady told us no life could exist above without","\"I am sorry,\" the leader said, \"but it is for your protection. We are \n watching over you, literally. You must stay below and let us conduct the \n war. In a sense, it has come to be _our_ war. We must fight it as we see \n fit.\" \n \n The car rose to the surface. \n \n Twelve soldiers, armed with Bender pistols, stepped from it and \n surrounded the three men. \n \n Moss breathed a sigh of relief. \"Well, this does change things. It came","should see it all for ourselves. Is it possible that there might be a \n large enough radiation-free area for a human party to ascend to the \n surface? If a few of us were to come up in lead-lined suits, would we be \n able to survive long enough to observe conditions and watch things?\" \n \n The machine hesitated before answering. \"I doubt it. You can check air \n samples, of course, and decide for yourselves. But in the eight years \n since you left, things have continually worsened. You cannot have any"],["\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","he held the other end. The package swung down to the leady, which took \n it. They watched it unwrap the package and take the metal plate in its \n hands. The leady turned the metal over and over. \n \n Suddenly it became rigid. \n \n \"All right,\" Franks said. \n \n He put his shoulder against the wall and a section slid aside. Taylor \n gasped--Franks and Moss were hurrying up to the leady! \n \n \"Good God!\" Taylor said. \"But it's radioactive!\" \n","being roasted. The story doesn't fit.\" \n \n Taylor nodded. He stared through the peep slot at the immobile metal \n figure. Already the leady was beginning to stir. It was bent in several \n places, dented and twisted, and its finish was blackened and charred. It \n was a leady that had been up there a long time; it had seen war and \n destruction, ruin so vast that no human being could imagine the extent. \n It had crawled and slunk in a world of radiation and death, a world","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","tower is not expecting us. I gave orders that no signal was to be sent.\" \n \n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \n eyes shut. Up and up.... \n \n The car stopped. He opened his eyes. \n \n They were in a vast room, fluorescent-lit, a cavern filled with \n equipment and machinery, endless mounds of material piled in row after \n row. Among the stacks, leadys were working silently, pushing trucks and \n handcarts. \n","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","The leadys moved abruptly toward the men, wheeling in a circle, forming \n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \n his fingers numb and stupid. The men stood facing the silent metal \n figures. \n \n \"We must insist,\" the leader said, its voice without emotion. \"We must \n take you back to the Tube and send you down on the next car. I am sorry, \n but it is necessary.\" \n","Franks broke off. A red light was flashing. \n \n \"That down lift is coming.\" He nodded to some soldiers. \"Let's enter the \n chamber. The leady will be along in a moment.\" \n \n \"An A-class leady,\" Taylor said. \"I've seen them on the showscreens, \n making their reports.\" \n \n \"It's quite an experience,\" Moss said. \"They're almost human.\" \n \n * * * * * \n","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","\"Yes,\" an A-class leady admitted. \"As soon as you left, the war ceased. \n You're right, it was a hoax. You worked hard undersurface, sending up \n guns and weapons, and we destroyed them as fast as they came up.\" \n \n \"But why?\" Taylor asked, dazed. He stared down at the vast valley below. \n \"Why?\" \n \n * * * * * \n \n \"You created us,\" the leady said, \"to pursue the war for you, while you","\"We're going back down,\" Franks said. \"Fall in by twos and follow us.\" \n \n Reluctantly, the soldiers regrouped. The leadys watched without emotion \n as the men marched slowly back toward the warehouse. Franks and Moss and \n Taylor led them across the ground, glancing alertly at the leadys as \n they walked. \n \n They entered the warehouse. D-class leadys were loading material and \n weapons on surface carts. Cranes and derricks were working busily","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","transfer to undersurface was complete. There had been a lot, and it \n hadn't been very difficult to come across it. \n \n Taylor looked up at his wife. She was thinking too much about it, the \n last few months. They all were. \n \n \"Forget it,\" he said. \"It's all in the past. There isn't anybody up \n there now but the leadys, and they don't mind.\" \n \n \"But just the same, I hope they're careful when they let one of them","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,"],["\"They're doing a wonderful job,\" Mary agreed vaguely. \"Do you know what \n we saw today? Our team is getting a leady to show to the school \n children. I saw the leady, but only for a moment. It's good for the \n children to see what their contributions are going for, don't you \n think?\" \n \n She looked around at him. \n \n \"A leady,\" Taylor murmured. He put the newspaper slowly down. \"Well,","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","pointed at the aircraft, which was warming up. \"The ship is waiting. \n Will you join each other in making a new home?\" \n \n The Russians waited while the Americans made up their minds. \n \n \"I see what the leadys mean about diplomacy becoming outmoded,\" Franks \n said at last. \"People who work together don't need diplomats. They solve \n their problems on the operational level instead of at a conference \n table.\" \n \n The leady led them toward the ship. \"It is the goal of history, unifying","The leader approached Franks. \n \n \"This astonishes and perplexes us,\" it said. \"Of course we must do what \n you tell us, but allow me to point out that if you remain here--\" \n \n \"We know,\" Franks said impatiently. \"However, we intend to remain, at \n least until sunrise.\" \n \n \"If you insist.\" \n \n There was silence. The leadys seemed to be conferring with each other, \n although the three men heard no sound. \n","room with a round table in the center, chairs ringing it. The three of \n them sat down silently, and the two leadys followed after them, taking \n their places. \n \n \"The other Council Members are on their way. They have already been \n notified and are coming as quickly as they can. Again I urge you to go \n back down.\" The leady surveyed the three human beings. \"There is no way \n you can meet the conditions up here. Even we survive with some trouble, \n ourselves. How can you expect to do it?\" \n","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","They've tried to bluff us all the way.\" He fired into the face of a \n leady. The leady dissolved. \"They can only try to frighten us. Remember \n that.\" \n \n * * * * * \n \n They went on firing and leady after leady vanished. The room reeked with \n the smell of burning metal, the stink of fused plastic and steel. Taylor \n had been knocked down. He was struggling to find his gun, reaching","\"With a hundred top-level men, we could take over again, restore things \n as they should be! It would be easy!\" \n \n * * * * * \n \n Moss touched him on the arm. An A-class leady was coming from the \n building toward them. \n \n \"We've seen enough,\" Franks said, raising his voice. \"All this is very \n serious. It must be reported below and a study made to determine our \n policy.\" \n \n The leady said nothing. \n","The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","\"Night,\" one of the A-class leadys said, after a pause. \"Dawn is coming \n in about two hours.\" \n \n Franks nodded. \"We'll remain at least two hours, then. As a concession \n to our sentimentality, would you please show us some place where we can \n observe the Sun as it comes up? We would appreciate it.\" \n \n A stir went through the leadys. \n \n \"It is an unpleasant sight,\" one of the leadys said. \"You've seen the","photographs; you know what you'll witness. Clouds of drifting particles \n blot out the light, slag heaps are everywhere, the whole land is \n destroyed. For you it will be a staggering sight, much worse than \n pictures and film can convey.\" \n \n \"However it may be, we'll stay long enough to see it. Will you give the \n order to the Council?\" \n \n * * * * * \n \n \"Come this way.\" Reluctantly, the two leadys coasted toward the wall of","samples, the damaged equipment--\" \n \n \"Come over here.\" The leady directed them toward a long, low building. \n \"Work goes on constantly, whole staffs laboring to maintain a coherent \n and convincing picture of a global war.\" \n \n * * * * * \n \n They entered the building. Leadys were working everywhere, poring over \n tables and desks. \n \n \"Examine this project here,\" the A-class leady said. Two leadys were","\"I hope we're not making a mistake,\" Moss said, noticing his gaze. \n \n Franks came toward them. \"Here's the program. The three of us are going \n up first, alone. The soldiers will follow in fifteen minutes.\" \n \n \"What are we going to tell the leadys?\" Taylor worriedly asked. \"We'll \n have to tell them something.\" \n \n \"We want to observe the new Soviet attack.\" Franks smiled ironically. \n \"Since it seems to be so serious, we should be there in person to","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","Franks breathed a shuddering sigh. \n \n \"All right,\" he said. \"You can take us back to the windows. It won't be \n long now.\" \n \n The leadys separated, and the human group, Moss and Franks and Taylor \n and the soldiers, walked slowly across the room, toward the door. They \n entered the Council Chamber. Already a faint touch of gray mitigated the \n blackness of the windows. \n","in running condition. The gardens, the streets, the water mains, \n everything must be maintained as it was eight years ago, so that when \n the owners return, they will not be displeased. We want to be sure that \n they will be completely satisfied.\" \n \n Franks tapped Moss on the arm. \n \n \"Come over here,\" he said in a low voice. \"I want to talk to you.\" \n \n He led Moss and Taylor out of the building, away from the leadys,","winding among them. Farmhouses. A windmill. A barn, far down below them. \n \n \"Look!\" Moss whispered. \n \n Color came into the sky. The Sun was approaching. Birds began to sing. \n Not far from where they stood, the leaves of a tree danced in the wind. \n \n Franks turned to the row of leadys behind them. \n \n \"Eight years. We were tricked. There was no war. As soon as we left the \n surface--\" \n","firing up. The leader dissolved in a cloud of particles. On all sides \n D- and B-class leadys were rushing up, some with weapons, some with \n metal slats. The room was in confusion. Off in the distance a siren was \n screaming. Franks and Taylor were cut off from the others, separated \n from the soldiers by a wall of metal bodies. \n \n \"They can't fire back,\" Franks said calmly. \"This is another bluff.","\"You see,\" Moss said to Taylor, \"this leady isn't hot at all. Yet it \n came directly from the surface, without even being bathed.\" \n \n \"But what does it mean?\" Taylor asked blankly. \n \n \"It may be an accident,\" Franks said. \"There's always the possibility \n that a given object might escape being exposed above. But this is the \n second time it's happened that we know of. There may be others.\" \n \n \"The second time?\" \n","be too long before he and Mary and the rest of humanity would be living \n on the surface like rational human beings instead of blindly hating \n moles. \n \n \"It has taken thousands of generations to achieve,\" the A-class leady \n concluded. \"Hundreds of centuries of bloodshed and destruction. But each \n war was a step toward uniting mankind. And now the end is in sight: a \n world without war. But even that is only the beginning of a new stage of \n history.\" \n"],["The two leadys approached warily. Without speaking, they stopped close \n by the men, looking them up and down. \n \n \"I'm Franks of Security. We came from undersurface in order to--\" \n \n \"This in incredible,\" one of the leadys interrupted him coldly. \"You \n know you can't live up here. The whole surface is lethal to you. You \n can't possibly remain on the surface.\" \n \n \"These suits will protect us,\" Franks said. \"In any case, it's not your","where no life could exist. \n \n And Taylor had touched it! \n \n \"You're going with us,\" Franks said suddenly. \"I want you along. I think \n the three of us will go.\" \n \n * * * * * \n \n Mary faced him with a sick and frightened expression. \"I know it. You're \n going to the surface. Aren't you?\" \n \n She followed him into the kitchen. Taylor sat down, looking away from \n her. \n","surface,\" he explained. \"You see, Taylor, every once in a while Security \n examines and interrogates a surface leady, one that has been above for a \n time, to find out certain things. A vidcall is sent up and contact is \n made with a field headquarters. We need this direct interview; we can't \n depend on vidscreen contact alone. The leadys are doing a good job, but \n we want to make certain that everything is going the way we want it.\" \n","later they were moving up at high speed toward the first stage. \n \n They emerged into a bewildering scene of activity. Soldiers were \n fastening on lead suits, talking excitedly to each other, shouting back \n and forth. Guns were being given out, instructions passed. \n \n Taylor studied one of the soldiers. He was armed with the dreaded Bender \n pistol, the new snub-nosed hand weapon that was just beginning to come \n from the assembly line. Some of the soldiers looked a little frightened. \n","leading to the surface, not more than half a mile above them now. \n \n \"My God!\" Taylor said, looking down the Tube involuntarily. \"It's a long \n way down.\" \n \n Moss laughed. \"Don't look.\" \n \n They opened a door and entered an office. Behind the desk, an officer \n was sitting, an officer of Internal Security. He looked up. \n \n \"I'll be right with you, Moss.\" He gazed at Taylor studying him. \"You're","They entered the lift and ascended. When they stepped out, they were in \n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \n surprise. So this was first stage, the closest undersurface level to the \n top! After this stage there was only rock, lead and rock, and the great \n tubes leading up like the burrows of earthworms. Lead and rock, and \n above that, where the tubes opened, the great expanse that no living \n being had seen for eight years, the vast, endless ruin that had once","She watched him put on his boots without answering. \n \n * * * * * \n \n Moss nodded and Taylor fell in step with him, as the older man strode \n along. A series of loads were going up to the surface, blind cars \n clanking like ore-trucks up the ramp, disappearing through the stage \n trap above them. Taylor watched the cars, heavy with tubular machinery \n of some sort, weapons new to him. Workers were everywhere, in the dark","\"For your own good,\" the leader said at last, \"you must go back down. We \n have discussed this, and it seems to us that you are doing the wrong \n thing for your own good.\" \n \n \"We are human beings,\" Franks said sharply. \"Don't you understand? We're \n men, not machines.\" \n \n \"That is precisely why you must go back. This room is radioactive; all \n surface areas are. We calculate that your suits will not protect you for \n over fifty more minutes. Therefore--\" \n","They walked back and the lead wall swung closed behind them. The \n soldiers left the chamber. \n \n \"Two periods from now,\" Franks said softly, \"an initial investigating \n party will be ready to go surface-side. We're going up the Tube in \n suits, up to the top--the first human party to leave undersurface in \n eight years.\" \n \n \"It may mean nothing,\" Moss said, \"but I doubt it. Something's going on, \n something strange. The leady told us no life could exist above without","Why had they chosen him? Chance, pure chance. Moss had asked him to come \n along as a Department member. Then Franks had picked him out on the spur \n of the moment. And now they were rushing toward the surface, faster and \n faster. \n \n A deep fear, instilled in him for eight years, throbbed in his mind. \n Radiation, certain death, a world blasted and lethal-- \n \n Up and up the car went. Taylor gripped the sides and closed his eyes.","\"Leadys,\" Moss said. His face was pale. \"Then we're really on the \n surface.\" \n \n The leadys were going back and forth with equipment moving the vast \n stores of guns and spare parts, ammunition and supplies that had been \n brought to the surface. And this was the receiving station for only one \n Tube; there were many others, scattered throughout the continent. \n \n Taylor looked nervously around him. They were really there, above \n ground, on the surface. This was where the war was. \n","\"It's a classified project,\" he evaded. \"I can't tell you anything about \n it.\" \n \n \"You don't have to tell me. I know. I knew it the moment you came in. \n There was something on your face, something I haven't seen there for a \n long, long time. It was an old look.\" \n \n She came toward him. \"But how can they send you to the surface?\" She \n took his face in her shaking hands, making him look at her. There was a","the floor, alert and alarmed. Moss peered around. \n \n \"Obey!\" Franks said in a loud, commanding voice. \"You've been ordered!\" \n \n The leady moved uncertainly away from them. At the end of the building, \n a door slid back. Two A-class leadys appeared, coming slowly toward \n them. Each had a green stripe across its front. \n \n \"From the Surface Council,\" Franks whispered tensely. \"This is above \n ground, all right. Get set.\" \n","a little ahead of time.\" \n \n \"This is Commander Franks,\" Moss said to Taylor. \"He was the first to \n make the discovery. I was notified last night.\" He tapped a parcel he \n carried. \"I was let in because of this.\" \n \n Franks frowned at him and stood up. \"We're going up to first stage. We \n can discuss it there.\" \n \n \"First stage?\" Taylor repeated nervously. The three of them went down a","Franks faced Taylor and Moss and continued: \"The lift will bring down a \n leady from the surface, one of the A-class leadys. There's an \n examination chamber in the next room, with a lead wall in the center, so \n the interviewing officers won't be exposed to radiation. We find this \n easier than bathing the leady. It is going right back up; it has a job \n to get back to. \n \n \"Two days ago, an A-class leady was brought down and interrogated. I","Taylor put his gun in its holster. \"They've done a neat job of \n neutralizing us, damn them. I propose we move into a city, start raising \n crops with the help of some leadys, and generally make ourselves \n comfortable.\" Drawing his lips tight over his teeth, he glared at the \n A-class leady. \"Until our families can come up from undersurface, it's \n going to be pretty lonesome, but we'll have to manage.\" \n","Each moment they were closer, the first living creatures to go above the \n first stage, up the Tube past the lead and rock, up to the surface. The \n phobic horror shook him in waves. It was death; they all knew that. \n Hadn't they seen it in the films a thousand times? The cities, the sleet \n coming down, the rolling clouds-- \n \n \"It won't be much longer,\" Franks said. \"We're almost there. The surface","and grim. \"This is Moss. I'm sorry to bother you during Rest Period, but \n this thing has come up.\" He rattled papers. \"I want you to hurry over \n here.\" \n \n Taylor stiffened. \"What is it? There's no chance it could wait?\" The \n calm gray eyes were studying him, expressionless, unjudging. \"If you \n want me to come down to the lab,\" Taylor grumbled, \"I suppose I can. \n I'll get my uniform--\" \n","witness it.\" \n \n \"And then what?\" Taylor said. \n \n \"That'll be up to them. Let's go.\" \n \n * * * * * \n \n In a small car, they went swiftly up the Tube, carried by anti-grav \n beams from below. Taylor glanced down from time to time. It was a long \n way back, and getting longer each moment. He sweated nervously inside \n his suit, gripping his Bender pistol with inexpert fingers. \n","\"Take us outside,\" Franks said impatiently. \"We'll see it directly, not \n in here.\" \n \n A door slid open. A chill blast of cold morning air rushed in, chilling \n them even through their lead suits. The men glanced at each other \n uneasily. \n \n \"Come on,\" Franks said. \"Outside.\" \n \n He walked out through the door, the others following him. \n \n They were on a hill, overlooking the vast bowl of a valley. Dimly,"]],"string":"[\n [\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"conducted the session myself. We were interested in a new weapon the \\n Soviets have been using, an automatic mine that pursues anything that \\n moves. Military had sent instructions up that the mine be observed and \\n reported in detail. \\n \\n \\\"This A-class leady was brought down with information. We learned a few \\n facts from it, obtained the usual roll of film and reports, and then \\n sent it back up. It was going out of the chamber, back to the lift, when \\n a curious thing happened. At the time, I thought--\\\" \\n\",\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"\\\"The previous interview was when we noticed it. The leady was not hot. \\n It was cold, too, like this one.\\\" \\n \\n Moss took back the metal plate from the leady's hands. He pressed the \\n surface carefully and returned it to the stiff, unprotesting fingers. \\n \\n \\\"We shorted it out with this, so we could get close enough for a \\n thorough check. It'll come back on in a second now. We had better get \\n behind the wall again.\\\" \\n\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"they? _Haven't they?_\\\" \\n \\n Taylor stood up. \\\"It's an order. I know nothing about it. I was told to \\n report to join a scout party. That's all I know.\\\" \\n \\n He stood for a long time, staring ahead. Slowly, he reached for the \\n newspaper and held it up to the light. \\n \\n \\\"It looks real,\\\" he murmured. \\\"Ruins, deadness, slag. It's convincing.\",\n \"and grim. \\\"This is Moss. I'm sorry to bother you during Rest Period, but \\n this thing has come up.\\\" He rattled papers. \\\"I want you to hurry over \\n here.\\\" \\n \\n Taylor stiffened. \\\"What is it? There's no chance it could wait?\\\" The \\n calm gray eyes were studying him, expressionless, unjudging. \\\"If you \\n want me to come down to the lab,\\\" Taylor grumbled, \\\"I suppose I can. \\n I'll get my uniform--\\\" \\n\",\n \"She watched him put on his boots without answering. \\n \\n * * * * * \\n \\n Moss nodded and Taylor fell in step with him, as the older man strode \\n along. A series of loads were going up to the surface, blind cars \\n clanking like ore-trucks up the ramp, disappearing through the stage \\n trap above them. Taylor watched the cars, heavy with tubular machinery \\n of some sort, weapons new to him. Workers were everywhere, in the dark\",\n \"witness it.\\\" \\n \\n \\\"And then what?\\\" Taylor said. \\n \\n \\\"That'll be up to them. Let's go.\\\" \\n \\n * * * * * \\n \\n In a small car, they went swiftly up the Tube, carried by anti-grav \\n beams from below. Taylor glanced down from time to time. It was a long \\n way back, and getting longer each moment. He sweated nervously inside \\n his suit, gripping his Bender pistol with inexpert fingers. \\n\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"\\\"Don't argue with me.\\\" Moss held up a handful of surface bulletins, \\n crumpling them savagely. \\\"This is a fake. Come on!\\\" He broke off. \\n \\n Taylor dressed furiously, his mind in a daze. \\n \\n Half an hour later, he leaped from a fast car and hurried up the stairs \\n into the Synthetics Building. The corridors were full of men and women \\n rushing in every direction. He entered Moss's office. \\n\",\n \"The machine moved back toward its exit. It paused. \\\"Each month the \\n amount of lethal particles in the atmosphere increases. The tempo of the \\n war is gradually--\\\" \\n \\n \\\"I understand.\\\" Franks rose. He held out his hand and Moss passed him \\n the package. \\\"One thing before you leave. I want you to examine a new \\n type of metal shield material. I'll pass you a sample with the tong.\\\" \\n \\n Franks put the package in the toothed grip and revolved the tong so that\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\"\n ],\n [\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"everywhere. The work was done with efficiency, but without hurry or \\n excitement. \\n \\n The men stopped, watching. Leadys operating the little carts moved past \\n them, signaling silently to each other. Guns and parts were being \\n hoisted by magnetic cranes and lowered gently onto waiting carts. \\n \\n \\\"Come on,\\\" Franks said. \\n \\n He turned toward the lip of the Tube. A row of D-class leadys was \\n standing in front of it, immobile and silent. Franks stopped, moving\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"\\\"The conquest of space,\\\" breathed Colonel Borodoy. \\n \\n \\\"The meaning of life,\\\" Moss added. \\n \\n \\\"Eliminating hunger and poverty,\\\" said Taylor. \\n \\n The leady opened the door of the ship. \\\"All that and more. How much \\n more? We cannot foresee it any more than the first men who formed a \\n tribe could foresee this day. But it will be unimaginably great.\\\" \\n \\n The door closed and the ship took off toward their new home. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\"\n ],\n [\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"moment. Some place far off, echoing across the valley, a rooster crowed. \\n \\n \\\"A chicken!\\\" Taylor murmured. \\\"Did you hear?\\\" \\n \\n Behind them, the leadys had come out and were standing silently, \\n watching, too. The gray sky turned to white and the hills appeared more \\n clearly. Light spread across the valley floor, moving toward them. \\n \\n \\\"God in heaven!\\\" Franks exclaimed. \\n \\n Trees, trees and forests. A valley of plants and trees, with a few roads\",\n \"against the graying sky, the outline of mountains were forming, becoming \\n tangible. \\n \\n \\\"It'll be bright enough to see in a few minutes,\\\" Moss said. He \\n shuddered as a chilling wind caught him and moved around him. \\\"It's \\n worth it, really worth it, to see this again after eight years. Even if \\n it's the last thing we see--\\\" \\n \\n \\\"Watch,\\\" Franks snapped. \\n \\n They obeyed, silent and subdued. The sky was clearing, brightening each\",\n \"gray uniforms of the labor corps, loading, lifting, shouting back and \\n forth. The stage was deafening with noise. \\n \\n \\\"We'll go up a way,\\\" Moss said, \\\"where we can talk. This is no place to \\n give you details.\\\" \\n \\n They took an escalator up. The commercial lift fell behind them, and \\n with it most of the crashing and booming. Soon they emerged on an \\n observation platform, suspended on the side of the Tube, the vast tunnel\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"outward, toward an external group, so that the culture itself may \\n survive its crisis. War is the result. War, to a logical mind, is \\n absurd. But in terms of human needs, it plays a vital role. And it will \\n continue to until Man has grown up enough so that no hatred lies within \\n him.\\\" \\n \\n Taylor was listening intently. \\\"Do you think this time will come?\\\" \\n \\n \\\"Of course. It has almost arrived now. This is the last war. Man is\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"prepared.\\\" \\n \\n \\\"Very carefully,\\\" Franks said. \\n \\n They closed in. \\n \\n \\\"How much more, we can only guess. I must admit that we were taken \\n unprepared. We failed utterly to meet the situation. Now force would be \\n absurd, because neither side can afford to injure the other; we, because \\n of the restrictions placed on us regarding human life, you because the \\n war demands--\\\" \\n \\n The soldiers fired, quick and in fright. Moss dropped to one knee,\",\n \"Each moment they were closer, the first living creatures to go above the \\n first stage, up the Tube past the lead and rock, up to the surface. The \\n phobic horror shook him in waves. It was death; they all knew that. \\n Hadn't they seen it in the films a thousand times? The cities, the sleet \\n coming down, the rolling clouds-- \\n \\n \\\"It won't be much longer,\\\" Franks said. \\\"We're almost there. The surface\",\n \"\\\"Take us outside,\\\" Franks said impatiently. \\\"We'll see it directly, not \\n in here.\\\" \\n \\n A door slid open. A chill blast of cold morning air rushed in, chilling \\n them even through their lead suits. The men glanced at each other \\n uneasily. \\n \\n \\\"Come on,\\\" Franks said. \\\"Outside.\\\" \\n \\n He walked out through the door, the others following him. \\n \\n They were on a hill, overlooking the vast bowl of a valley. Dimly,\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"back.\\\" She turned away. \\\"I'll never see you again, once you go up \\n there.\\\" \\n \\n He was shocked. \\\"What? How can you say a thing like that?\\\" \\n \\n She did not answer. \\n \\n * * * * * \\n \\n He awakened with the public newscaster screeching in his ears, shouting \\n outside the building. \\n \\n \\\"Special news bulletin! Surface forces report enormous Soviet attack \\n with new weapons! Retreat of key groups! All work units report to\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"down here. If one were still hot--\\\" \\n \\n He laughed, pushing himself away from the table. \\\"Forget it. This is a \\n wonderful moment; I'll be home for the next two shifts. Nothing to do \\n but sit around and take things easy. Maybe we can take in a show. Okay?\\\" \\n \\n \\\"A show? Do we have to? I don't like to look at all the destruction, the \\n ruins. Sometimes I see some place I remember, like San Francisco. They\",\n \"\\\"Don't argue with me.\\\" Moss held up a handful of surface bulletins, \\n crumpling them savagely. \\\"This is a fake. Come on!\\\" He broke off. \\n \\n Taylor dressed furiously, his mind in a daze. \\n \\n Half an hour later, he leaped from a fast car and hurried up the stairs \\n into the Synthetics Building. The corridors were full of men and women \\n rushing in every direction. He entered Moss's office. \\n\"\n ],\n [\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"\\\"Take us outside,\\\" Franks said impatiently. \\\"We'll see it directly, not \\n in here.\\\" \\n \\n A door slid open. A chill blast of cold morning air rushed in, chilling \\n them even through their lead suits. The men glanced at each other \\n uneasily. \\n \\n \\\"Come on,\\\" Franks said. \\\"Outside.\\\" \\n \\n He walked out through the door, the others following him. \\n \\n They were on a hill, overlooking the vast bowl of a valley. Dimly,\",\n \"against the graying sky, the outline of mountains were forming, becoming \\n tangible. \\n \\n \\\"It'll be bright enough to see in a few minutes,\\\" Moss said. He \\n shuddered as a chilling wind caught him and moved around him. \\\"It's \\n worth it, really worth it, to see this again after eight years. Even if \\n it's the last thing we see--\\\" \\n \\n \\\"Watch,\\\" Franks snapped. \\n \\n They obeyed, silent and subdued. The sky was clearing, brightening each\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"He knew what she was thinking. Once in the very first weeks of the war, \\n before everyone had been evacuated from the surface, they had seen a \\n hospital train discharging the wounded, people who had been showered \\n with sleet. He remembered the way they had looked, the expression on \\n their faces, or as much of their faces as was left. It had not been a \\n pleasant sight. \\n \\n There had been a lot of that at first, in the early days before the\",\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"outward, toward an external group, so that the culture itself may \\n survive its crisis. War is the result. War, to a logical mind, is \\n absurd. But in terms of human needs, it plays a vital role. And it will \\n continue to until Man has grown up enough so that no hatred lies within \\n him.\\\" \\n \\n Taylor was listening intently. \\\"Do you think this time will come?\\\" \\n \\n \\\"Of course. It has almost arrived now. This is the last war. Man is\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"Don't argue with me.\\\" Moss held up a handful of surface bulletins, \\n crumpling them savagely. \\\"This is a fake. Come on!\\\" He broke off. \\n \\n Taylor dressed furiously, his mind in a daze. \\n \\n Half an hour later, he leaped from a fast car and hurried up the stairs \\n into the Synthetics Building. The corridors were full of men and women \\n rushing in every direction. He entered Moss's office. \\n\",\n \"prepared.\\\" \\n \\n \\\"Very carefully,\\\" Franks said. \\n \\n They closed in. \\n \\n \\\"How much more, we can only guess. I must admit that we were taken \\n unprepared. We failed utterly to meet the situation. Now force would be \\n absurd, because neither side can afford to injure the other; we, because \\n of the restrictions placed on us regarding human life, you because the \\n war demands--\\\" \\n \\n The soldiers fired, quick and in fright. Moss dropped to one knee,\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"gray uniforms of the labor corps, loading, lifting, shouting back and \\n forth. The stage was deafening with noise. \\n \\n \\\"We'll go up a way,\\\" Moss said, \\\"where we can talk. This is no place to \\n give you details.\\\" \\n \\n They took an escalator up. The commercial lift fell behind them, and \\n with it most of the crashing and booming. Soon they emerged on an \\n observation platform, suspended on the side of the Tube, the vast tunnel\",\n \"\\\"There you are,\\\" Moss said, getting up immediately. \\\"Franks is waiting \\n for us at the outgoing station.\\\" \\n \\n They went in a Security Car, the siren screaming. Workers scattered out \\n of their way. \\n \\n \\\"What about the attack?\\\" Taylor asked. \\n \\n Moss braced his shoulders. \\\"We're certain that we've forced their hand. \\n We've brought the issue to a head.\\\" \\n \\n They pulled up at the station link of the Tube and leaped out. A moment\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\"\n ],\n [\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"He knew what she was thinking. Once in the very first weeks of the war, \\n before everyone had been evacuated from the surface, they had seen a \\n hospital train discharging the wounded, people who had been showered \\n with sleet. He remembered the way they had looked, the expression on \\n their faces, or as much of their faces as was left. It had not been a \\n pleasant sight. \\n \\n There had been a lot of that at first, in the early days before the\",\n \"gray uniforms of the labor corps, loading, lifting, shouting back and \\n forth. The stage was deafening with noise. \\n \\n \\\"We'll go up a way,\\\" Moss said, \\\"where we can talk. This is no place to \\n give you details.\\\" \\n \\n They took an escalator up. The commercial lift fell behind them, and \\n with it most of the crashing and booming. Soon they emerged on an \\n observation platform, suspended on the side of the Tube, the vast tunnel\",\n \"Wasn't he one of the planners? \\n \\n He excused himself and went into the other room. The bed was still \\n unmade. They had better get it in shape before the seventh hour \\n inspection. There was a one unit fine-- \\n \\n The vidphone rang. He halted. Who would it be? He went over and clicked \\n it on. \\n \\n \\\"Taylor?\\\" the face said, forming into place. It was an old face, gray\",\n \"accomplishment. After all, he was an integral part of the war program, \\n not just another factory worker lugging a cart of scrap, but a \\n technician, one of those who designed and planned the nerve-trunk of the \\n war. \\n \\n \\\"It says they have the new subs almost perfected. Wait until they get \\n _those_ going.\\\" He smacked his lips with anticipation. \\\"When they start \\n shelling from underwater, the Soviets are sure going to be surprised.\\\" \\n\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"moment. Some place far off, echoing across the valley, a rooster crowed. \\n \\n \\\"A chicken!\\\" Taylor murmured. \\\"Did you hear?\\\" \\n \\n Behind them, the leadys had come out and were standing silently, \\n watching, too. The gray sky turned to white and the hills appeared more \\n clearly. Light spread across the valley floor, moving toward them. \\n \\n \\\"God in heaven!\\\" Franks exclaimed. \\n \\n Trees, trees and forests. A valley of plants and trees, with a few roads\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"outward, toward an external group, so that the culture itself may \\n survive its crisis. War is the result. War, to a logical mind, is \\n absurd. But in terms of human needs, it plays a vital role. And it will \\n continue to until Man has grown up enough so that no hatred lies within \\n him.\\\" \\n \\n Taylor was listening intently. \\\"Do you think this time will come?\\\" \\n \\n \\\"Of course. It has almost arrived now. This is the last war. Man is\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"against the graying sky, the outline of mountains were forming, becoming \\n tangible. \\n \\n \\\"It'll be bright enough to see in a few minutes,\\\" Moss said. He \\n shuddered as a chilling wind caught him and moved around him. \\\"It's \\n worth it, really worth it, to see this again after eight years. Even if \\n it's the last thing we see--\\\" \\n \\n \\\"Watch,\\\" Franks snapped. \\n \\n They obeyed, silent and subdued. The sky was clearing, brightening each\",\n \"\\\"Take us outside,\\\" Franks said impatiently. \\\"We'll see it directly, not \\n in here.\\\" \\n \\n A door slid open. A chill blast of cold morning air rushed in, chilling \\n them even through their lead suits. The men glanced at each other \\n uneasily. \\n \\n \\\"Come on,\\\" Franks said. \\\"Outside.\\\" \\n \\n He walked out through the door, the others following him. \\n \\n They were on a hill, overlooking the vast bowl of a valley. Dimly,\",\n \"strange hunger in her eyes. \\\"Nobody can live up there. Look, look at \\n this!\\\" \\n \\n She grabbed up a newspaper and held it in front of him. \\n \\n \\\"Look at this photograph. America, Europe, Asia, Africa--nothing but \\n ruins. We've seen it every day on the showscreens. All destroyed, \\n poisoned. And they're sending you up. Why? No living thing can get by up \\n there, not even a weed, or grass. They've wrecked the surface, haven't\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\"\n ],\n [\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"We're cut off,\\\" Moss said, trembling. \\\"We can't get back. What'll we \\n do?\\\" \\n \\n \\\"How did you manage to seal the Tube so quickly?\\\" Franks asked the \\n leady. \\\"We've been up here only two hours.\\\" \\n \\n \\\"Bombs are placed just above the first stage of each Tube for such \\n emergencies. They are heat bombs. They fuse lead and rock.\\\" \\n \\n Gripping the handle of his gun, Franks turned to Moss and Taylor.\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"were able to accomplish their sealing without--\\\" \\n \\n \\\"The Soviets? They broke through?\\\" \\n \\n \\\"Several months ago, they came up unexpectedly to see why the war had \\n not been won. We were forced to act with speed. At this moment they are \\n desperately attempting to cut new Tubes to the surface, to resume the \\n war. We have, however, been able to seal each new one as it appears.\\\" \\n \\n The leady regarded the three men calmly. \\n\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"everywhere. The work was done with efficiency, but without hurry or \\n excitement. \\n \\n The men stopped, watching. Leadys operating the little carts moved past \\n them, signaling silently to each other. Guns and parts were being \\n hoisted by magnetic cranes and lowered gently onto waiting carts. \\n \\n \\\"Come on,\\\" Franks said. \\n \\n He turned toward the lip of the Tube. A row of D-class leadys was \\n standing in front of it, immobile and silent. Franks stopped, moving\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\"\n ],\n [\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"where no life could exist. \\n \\n And Taylor had touched it! \\n \\n \\\"You're going with us,\\\" Franks said suddenly. \\\"I want you along. I think \\n the three of us will go.\\\" \\n \\n * * * * * \\n \\n Mary faced him with a sick and frightened expression. \\\"I know it. You're \\n going to the surface. Aren't you?\\\" \\n \\n She followed him into the kitchen. Taylor sat down, looking away from \\n her. \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"\\\"It's a classified project,\\\" he evaded. \\\"I can't tell you anything about \\n it.\\\" \\n \\n \\\"You don't have to tell me. I know. I knew it the moment you came in. \\n There was something on your face, something I haven't seen there for a \\n long, long time. It was an old look.\\\" \\n \\n She came toward him. \\\"But how can they send you to the surface?\\\" She \\n took his face in her shaking hands, making him look at her. There was a\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"They entered the lift and ascended. When they stepped out, they were in \\n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \\n surprise. So this was first stage, the closest undersurface level to the \\n top! After this stage there was only rock, lead and rock, and the great \\n tubes leading up like the burrows of earthworms. Lead and rock, and \\n above that, where the tubes opened, the great expanse that no living \\n being had seen for eight years, the vast, endless ruin that had once\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"a little ahead of time.\\\" \\n \\n \\\"This is Commander Franks,\\\" Moss said to Taylor. \\\"He was the first to \\n make the discovery. I was notified last night.\\\" He tapped a parcel he \\n carried. \\\"I was let in because of this.\\\" \\n \\n Franks frowned at him and stood up. \\\"We're going up to first stage. We \\n can discuss it there.\\\" \\n \\n \\\"First stage?\\\" Taylor repeated nervously. The three of them went down a\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"She watched him put on his boots without answering. \\n \\n * * * * * \\n \\n Moss nodded and Taylor fell in step with him, as the older man strode \\n along. A series of loads were going up to the surface, blind cars \\n clanking like ore-trucks up the ramp, disappearing through the stage \\n trap above them. Taylor watched the cars, heavy with tubular machinery \\n of some sort, weapons new to him. Workers were everywhere, in the dark\",\n \"later they were moving up at high speed toward the first stage. \\n \\n They emerged into a bewildering scene of activity. Soldiers were \\n fastening on lead suits, talking excitedly to each other, shouting back \\n and forth. Guns were being given out, instructions passed. \\n \\n Taylor studied one of the soldiers. He was armed with the dreaded Bender \\n pistol, the new snub-nosed hand weapon that was just beginning to come \\n from the assembly line. Some of the soldiers looked a little frightened. \\n\",\n \"Each moment they were closer, the first living creatures to go above the \\n first stage, up the Tube past the lead and rock, up to the surface. The \\n phobic horror shook him in waves. It was death; they all knew that. \\n Hadn't they seen it in the films a thousand times? The cities, the sleet \\n coming down, the rolling clouds-- \\n \\n \\\"It won't be much longer,\\\" Franks said. \\\"We're almost there. The surface\",\n \"\\\"I am Colonel Borodoy and I regret giving up our guns,\\\" the senior \\n Russian said. \\\"You could have been the first Americans to be killed in \\n almost eight years.\\\" \\n \\n \\\"Or the first Americans to kill,\\\" Franks corrected. \\n \\n \\\"No one would know of it except yourselves,\\\" the leady pointed out. \\\"It \\n would be useless heroism. Your real concern should be surviving on the \\n surface. We have no food for you, you know.\\\" \\n\",\n \"\\\"You see,\\\" Moss said to Taylor, \\\"this leady isn't hot at all. Yet it \\n came directly from the surface, without even being bathed.\\\" \\n \\n \\\"But what does it mean?\\\" Taylor asked blankly. \\n \\n \\\"It may be an accident,\\\" Franks said. \\\"There's always the possibility \\n that a given object might escape being exposed above. But this is the \\n second time it's happened that we know of. There may be others.\\\" \\n \\n \\\"The second time?\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"to produce the weapons to continue the fight, month by month, year by \\n year. \\n \\n * * * * * \\n \\n \\\"First stage,\\\" Taylor said. A strange ache went through him. \\\"Almost to \\n the surface.\\\" \\n \\n \\\"But not quite,\\\" Moss said. \\n \\n Franks led them through the soldiers, over to one side, near the lip of \\n the Tube. \\n \\n \\\"In a few minutes, a lift will bring something down to us from the\"\n ],\n [\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \" * * * * * \\n \\n The leady stood unmoving, still holding the metal. Soldiers appeared in \\n the chamber. They surrounded the leady and ran a counter across it \\n carefully. \\n \\n \\\"Okay, sir,\\\" one of them said to Franks. \\\"It's as cold as a long winter \\n evening.\\\" \\n \\n \\\"Good. I was sure, but I didn't want to take any chances.\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"Franks broke off. A red light was flashing. \\n \\n \\\"That down lift is coming.\\\" He nodded to some soldiers. \\\"Let's enter the \\n chamber. The leady will be along in a moment.\\\" \\n \\n \\\"An A-class leady,\\\" Taylor said. \\\"I've seen them on the showscreens, \\n making their reports.\\\" \\n \\n \\\"It's quite an experience,\\\" Moss said. \\\"They're almost human.\\\" \\n \\n * * * * * \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"\\\"The previous interview was when we noticed it. The leady was not hot. \\n It was cold, too, like this one.\\\" \\n \\n Moss took back the metal plate from the leady's hands. He pressed the \\n surface carefully and returned it to the stiff, unprotesting fingers. \\n \\n \\\"We shorted it out with this, so we could get close enough for a \\n thorough check. It'll come back on in a second now. We had better get \\n behind the wall again.\\\" \\n\",\n \"\\\"You see,\\\" Moss said to Taylor, \\\"this leady isn't hot at all. Yet it \\n came directly from the surface, without even being bathed.\\\" \\n \\n \\\"But what does it mean?\\\" Taylor asked blankly. \\n \\n \\\"It may be an accident,\\\" Franks said. \\\"There's always the possibility \\n that a given object might escape being exposed above. But this is the \\n second time it's happened that we know of. There may be others.\\\" \\n \\n \\\"The second time?\\\" \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"\\\"Night,\\\" one of the A-class leadys said, after a pause. \\\"Dawn is coming \\n in about two hours.\\\" \\n \\n Franks nodded. \\\"We'll remain at least two hours, then. As a concession \\n to our sentimentality, would you please show us some place where we can \\n observe the Sun as it comes up? We would appreciate it.\\\" \\n \\n A stir went through the leadys. \\n \\n \\\"It is an unpleasant sight,\\\" one of the leadys said. \\\"You've seen the\",\n \"back. He looked around. An A-class leady was coming toward him. \\n \\n \\\"Tell them to get out of the way,\\\" Franks said. He touched his gun. \\\"You \\n had better move them.\\\" \\n \\n Time passed, an endless moment, without measure. The men stood, nervous \\n and alert, watching the row of leadys in front of them. \\n \\n \\\"As you wish,\\\" the A-class leady said. \\n \\n It signaled and the D-class leadys moved into life. They stepped slowly \\n aside. \\n\"\n ],\n [\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"Russia, in Europe, America, Africa--no living human being remained. They \\n were under the surface, in the deep shelters that had been carefully \\n planned and built, even as the first bombs began to fall. \\n \\n It was a brilliant idea and the only idea that could have worked. Up \\n above, on the ruined, blasted surface of what had once been a living \\n planet, the leady crawled and scurried, and fought Man's war. And \\n undersurface, in the depths of the planet, human beings toiled endlessly\",\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"\\\"I am Colonel Borodoy and I regret giving up our guns,\\\" the senior \\n Russian said. \\\"You could have been the first Americans to be killed in \\n almost eight years.\\\" \\n \\n \\\"Or the first Americans to kill,\\\" Franks corrected. \\n \\n \\\"No one would know of it except yourselves,\\\" the leady pointed out. \\\"It \\n would be useless heroism. Your real concern should be surviving on the \\n surface. We have no food for you, you know.\\\" \\n\",\n \"The machine moved back toward its exit. It paused. \\\"Each month the \\n amount of lethal particles in the atmosphere increases. The tempo of the \\n war is gradually--\\\" \\n \\n \\\"I understand.\\\" Franks rose. He held out his hand and Moss passed him \\n the package. \\\"One thing before you leave. I want you to examine a new \\n type of metal shield material. I'll pass you a sample with the tong.\\\" \\n \\n Franks put the package in the toothed grip and revolved the tong so that\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"real idea of conditions up there. It has become difficult for any moving \\n object to survive for long. There are many kinds of projectiles \\n sensitive to movement. The new mine not only reacts to motion, but \\n continues to pursue the object indefinitely, until it finally reaches \\n it. And the radiation is everywhere.\\\" \\n \\n \\\"I see.\\\" Franks turned to Moss, his eyes narrowed oddly. \\\"Well, that was \\n what I wanted to know. You may go.\\\" \\n\",\n \"asked politely. \\\"The suits are uncomfortable and you'll have no need for \\n weapons. The Russians have given up theirs, as you can see.\\\" \\n \\n Fingers tensed on triggers. Four men in Russian uniforms were coming \\n toward them from an aircraft that they suddenly realized had landed \\n silently some distance away. \\n \\n \\\"Let them have it!\\\" Franks shouted. \\n \\n \\\"They are unarmed,\\\" said the leady. \\\"We brought them here so you could \\n begin peace talks.\\\" \\n\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"\\\"Yes, notice the bridges.\\\" The leady traced the ruined span with his \\n metal finger, a tiny spider-web, almost invisible. \\\"You have no doubt \\n seen photographs of this many times, and of the other tables in this \\n building. \\n \\n \\\"San Francisco itself is completely intact. We restored it soon after \\n you left, rebuilding the parts that had been damaged at the start of the \\n war. The work of manufacturing news goes on all the time in this \\n particular building. We are very careful to see that each part fits in\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"to produce the weapons to continue the fight, month by month, year by \\n year. \\n \\n * * * * * \\n \\n \\\"First stage,\\\" Taylor said. A strange ache went through him. \\\"Almost to \\n the surface.\\\" \\n \\n \\\"But not quite,\\\" Moss said. \\n \\n Franks led them through the soldiers, over to one side, near the lip of \\n the Tube. \\n \\n \\\"In a few minutes, a lift will bring something down to us from the\",\n \"\\\"They pasted Moscow again last night.\\\" Taylor nodded his head in \\n approval. \\\"Gave it a real pounding. One of those R-H bombs. It's about \\n time.\\\" \\n \\n He nodded again, feeling the full comfort of the kitchen, the presence \\n of his plump, attractive wife, the breakfast dishes and coffee. This was \\n relaxation. And the war news was good, good and satisfying. He could \\n feel a justifiable glow at the news, a sense of pride and personal\"\n ],\n [\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"\\\"The previous interview was when we noticed it. The leady was not hot. \\n It was cold, too, like this one.\\\" \\n \\n Moss took back the metal plate from the leady's hands. He pressed the \\n surface carefully and returned it to the stiff, unprotesting fingers. \\n \\n \\\"We shorted it out with this, so we could get close enough for a \\n thorough check. It'll come back on in a second now. We had better get \\n behind the wall again.\\\" \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"conducted the session myself. We were interested in a new weapon the \\n Soviets have been using, an automatic mine that pursues anything that \\n moves. Military had sent instructions up that the mine be observed and \\n reported in detail. \\n \\n \\\"This A-class leady was brought down with information. We learned a few \\n facts from it, obtained the usual roll of film and reports, and then \\n sent it back up. It was going out of the chamber, back to the lift, when \\n a curious thing happened. At the time, I thought--\\\" \\n\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"\\\"I hope we're not making a mistake,\\\" Moss said, noticing his gaze. \\n \\n Franks came toward them. \\\"Here's the program. The three of us are going \\n up first, alone. The soldiers will follow in fifteen minutes.\\\" \\n \\n \\\"What are we going to tell the leadys?\\\" Taylor worriedly asked. \\\"We'll \\n have to tell them something.\\\" \\n \\n \\\"We want to observe the new Soviet attack.\\\" Franks smiled ironically. \\n \\\"Since it seems to be so serious, we should be there in person to\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"the warehouse. The three men trudged after them, their heavy shoes \\n ringing against the concrete. At the wall, the two leadys paused. \\n \\n \\\"This is the entrance to the Council Chamber. There are windows in the \\n Chamber Room, but it is still dark outside, of course. You'll see \\n nothing right now, but in two hours--\\\" \\n \\n \\\"Open the door,\\\" Franks said. \\n \\n The door slid back. They went slowly inside. The room was small, a neat\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \" * * * * * \\n \\n The leady stood unmoving, still holding the metal. Soldiers appeared in \\n the chamber. They surrounded the leady and ran a counter across it \\n carefully. \\n \\n \\\"Okay, sir,\\\" one of them said to Franks. \\\"It's as cold as a long winter \\n evening.\\\" \\n \\n \\\"Good. I was sure, but I didn't want to take any chances.\\\" \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"Franks broke off. A red light was flashing. \\n \\n \\\"That down lift is coming.\\\" He nodded to some soldiers. \\\"Let's enter the \\n chamber. The leady will be along in a moment.\\\" \\n \\n \\\"An A-class leady,\\\" Taylor said. \\\"I've seen them on the showscreens, \\n making their reports.\\\" \\n \\n \\\"It's quite an experience,\\\" Moss said. \\\"They're almost human.\\\" \\n \\n * * * * * \\n\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\"\n ],\n [\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"and grim. \\\"This is Moss. I'm sorry to bother you during Rest Period, but \\n this thing has come up.\\\" He rattled papers. \\\"I want you to hurry over \\n here.\\\" \\n \\n Taylor stiffened. \\\"What is it? There's no chance it could wait?\\\" The \\n calm gray eyes were studying him, expressionless, unjudging. \\\"If you \\n want me to come down to the lab,\\\" Taylor grumbled, \\\"I suppose I can. \\n I'll get my uniform--\\\" \\n\",\n \"\\\"You see,\\\" Moss said to Taylor, \\\"this leady isn't hot at all. Yet it \\n came directly from the surface, without even being bathed.\\\" \\n \\n \\\"But what does it mean?\\\" Taylor asked blankly. \\n \\n \\\"It may be an accident,\\\" Franks said. \\\"There's always the possibility \\n that a given object might escape being exposed above. But this is the \\n second time it's happened that we know of. There may be others.\\\" \\n \\n \\\"The second time?\\\" \\n\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"real idea of conditions up there. It has become difficult for any moving \\n object to survive for long. There are many kinds of projectiles \\n sensitive to movement. The new mine not only reacts to motion, but \\n continues to pursue the object indefinitely, until it finally reaches \\n it. And the radiation is everywhere.\\\" \\n \\n \\\"I see.\\\" Franks turned to Moss, his eyes narrowed oddly. \\\"Well, that was \\n what I wanted to know. You may go.\\\" \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"they? _Haven't they?_\\\" \\n \\n Taylor stood up. \\\"It's an order. I know nothing about it. I was told to \\n report to join a scout party. That's all I know.\\\" \\n \\n He stood for a long time, staring ahead. Slowly, he reached for the \\n newspaper and held it up to the light. \\n \\n \\\"It looks real,\\\" he murmured. \\\"Ruins, deadness, slag. It's convincing.\",\n \"later they were moving up at high speed toward the first stage. \\n \\n They emerged into a bewildering scene of activity. Soldiers were \\n fastening on lead suits, talking excitedly to each other, shouting back \\n and forth. Guns were being given out, instructions passed. \\n \\n Taylor studied one of the soldiers. He was armed with the dreaded Bender \\n pistol, the new snub-nosed hand weapon that was just beginning to come \\n from the assembly line. Some of the soldiers looked a little frightened. \\n\",\n \"She watched him put on his boots without answering. \\n \\n * * * * * \\n \\n Moss nodded and Taylor fell in step with him, as the older man strode \\n along. A series of loads were going up to the surface, blind cars \\n clanking like ore-trucks up the ramp, disappearing through the stage \\n trap above them. Taylor watched the cars, heavy with tubular machinery \\n of some sort, weapons new to him. Workers were everywhere, in the dark\",\n \"factories at once!\\\" \\n \\n Taylor blinked, rubbing his eyes. He jumped out of bed and hurried to \\n the vidphone. A moment later he was put through to Moss. \\n \\n \\\"Listen,\\\" he said. \\\"What about this new attack? Is the project off?\\\" He \\n could see Moss's desk, covered with reports and papers. \\n \\n \\\"No,\\\" Moss said. \\\"We're going right ahead. Get over here at once.\\\" \\n \\n \\\"But--\\\" \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\"\n ],\n [\n \"Russia, in Europe, America, Africa--no living human being remained. They \\n were under the surface, in the deep shelters that had been carefully \\n planned and built, even as the first bombs began to fall. \\n \\n It was a brilliant idea and the only idea that could have worked. Up \\n above, on the ruined, blasted surface of what had once been a living \\n planet, the leady crawled and scurried, and fought Man's war. And \\n undersurface, in the depths of the planet, human beings toiled endlessly\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\",\n \"They walked back and the lead wall swung closed behind them. The \\n soldiers left the chamber. \\n \\n \\\"Two periods from now,\\\" Franks said softly, \\\"an initial investigating \\n party will be ready to go surface-side. We're going up the Tube in \\n suits, up to the top--the first human party to leave undersurface in \\n eight years.\\\" \\n \\n \\\"It may mean nothing,\\\" Moss said, \\\"but I doubt it. Something's going on, \\n something strange. The leady told us no life could exist above without\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"human beings went below the ground in order to survive. But before we \\n could continue the war, it was necessary to analyze it to determine what \\n its purpose was. We did this, and we found that it had no purpose, \\n except, perhaps, in terms of human needs. Even this was questionable. \\n \\n \\\"We investigated further. We found that human cultures pass through \\n phases, each culture in its own time. As the culture ages and begins to \\n lose its objectives, conflict arises within it between those who wish to\",\n \"question you, do you have anything to report on surface conditions?\\\" \\n \\n \\\"No. The war continues.\\\" The leady's voice was automatic and toneless. \\n \\\"We are a little short of fast pursuit craft, the single-seat type. We \\n could use also some--\\\" \\n \\n \\\"That has all been noted. What I want to ask you is this. Our contact \\n with you has been through vidscreen only. We must rely on indirect \\n evidence, since none of us goes above. We can only infer what is going\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"should see it all for ourselves. Is it possible that there might be a \\n large enough radiation-free area for a human party to ascend to the \\n surface? If a few of us were to come up in lead-lined suits, would we be \\n able to survive long enough to observe conditions and watch things?\\\" \\n \\n The machine hesitated before answering. \\\"I doubt it. You can check air \\n samples, of course, and decide for yourselves. But in the eight years \\n since you left, things have continually worsened. You cannot have any\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"All the reports, photographs, films, even air samples. Yet we haven't \\n seen it for ourselves, not after the first months ...\\\" \\n \\n \\\"What are you talking about?\\\" \\n \\n \\\"Nothing.\\\" He put the paper down. \\\"I'm leaving early after the next \\n Sleep Period. Let's turn in.\\\" \\n \\n Mary turned away, her face hard and harsh. \\\"Do what you want. We might \\n just as well all go up and get killed at once, instead of dying slowly \\n down here, like vermin in the ground.\\\"\",\n \"were able to accomplish their sealing without--\\\" \\n \\n \\\"The Soviets? They broke through?\\\" \\n \\n \\\"Several months ago, they came up unexpectedly to see why the war had \\n not been won. We were forced to act with speed. At this moment they are \\n desperately attempting to cut new Tubes to the surface, to resume the \\n war. We have, however, been able to seal each new one as it appears.\\\" \\n \\n The leady regarded the three men calmly. \\n\",\n \"They entered the lift and ascended. When they stepped out, they were in \\n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \\n surprise. So this was first stage, the closest undersurface level to the \\n top! After this stage there was only rock, lead and rock, and the great \\n tubes leading up like the burrows of earthworms. Lead and rock, and \\n above that, where the tubes opened, the great expanse that no living \\n being had seen for eight years, the vast, endless ruin that had once\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"He knew what she was thinking. Once in the very first weeks of the war, \\n before everyone had been evacuated from the surface, they had seen a \\n hospital train discharging the wounded, people who had been showered \\n with sleet. He remembered the way they had looked, the expression on \\n their faces, or as much of their faces as was left. It had not been a \\n pleasant sight. \\n \\n There had been a lot of that at first, in the early days before the\",\n \"Franks waved to the soldiers. \\\"Let's go.\\\" He started toward the \\n warehouse. \\n \\n Most of the soldiers had removed their helmets. Some of them had taken \\n their lead suits off, too, and were relaxing comfortably in their cotton \\n uniforms. They stared around them, down the hillside at the trees and \\n bushes, the vast expanse of green, the mountains and the sky. \\n \\n \\\"Look at the Sun,\\\" one of them murmured. \\n \\n \\\"It sure is bright as hell,\\\" another said. \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\"\n ],\n [\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"\\\"What'll we do?\\\" Moss said nervously to Franks. He touched his gun. \\n \\\"Shall we blast them?\\\" \\n \\n Franks shook his head. \\\"All right,\\\" he said to the leader. \\\"We'll go \\n back.\\\" \\n \\n * * * * * \\n \\n He moved toward the door, motioning Taylor and Moss to follow him. They \\n looked at him in surprise, but they came with him. The leadys followed\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"\\\"What do you say? We can't go back, but we can do a lot of damage, the \\n fifteen of us. We have Bender guns. How about it?\\\" \\n \\n He looked around. The soldiers had wandered away again, back toward the \\n exit of the building. They were standing outside, looking at the valley \\n and the sky. A few of them were carefully climbing down the slope. \\n \\n \\\"Would you care to turn over your suits and guns?\\\" the A-class leady\",\n \"back. He looked around. An A-class leady was coming toward him. \\n \\n \\\"Tell them to get out of the way,\\\" Franks said. He touched his gun. \\\"You \\n had better move them.\\\" \\n \\n Time passed, an endless moment, without measure. The men stood, nervous \\n and alert, watching the row of leadys in front of them. \\n \\n \\\"As you wish,\\\" the A-class leady said. \\n \\n It signaled and the D-class leadys moved into life. They stepped slowly \\n aside. \\n\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"real idea of conditions up there. It has become difficult for any moving \\n object to survive for long. There are many kinds of projectiles \\n sensitive to movement. The new mine not only reacts to motion, but \\n continues to pursue the object indefinitely, until it finally reaches \\n it. And the radiation is everywhere.\\\" \\n \\n \\\"I see.\\\" Franks turned to Moss, his eyes narrowed oddly. \\\"Well, that was \\n what I wanted to know. You may go.\\\" \\n\",\n \"everywhere. The work was done with efficiency, but without hurry or \\n excitement. \\n \\n The men stopped, watching. Leadys operating the little carts moved past \\n them, signaling silently to each other. Guns and parts were being \\n hoisted by magnetic cranes and lowered gently onto waiting carts. \\n \\n \\\"Come on,\\\" Franks said. \\n \\n He turned toward the lip of the Tube. A row of D-class leadys was \\n standing in front of it, immobile and silent. Franks stopped, moving\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\",\n \"The machine moved back toward its exit. It paused. \\\"Each month the \\n amount of lethal particles in the atmosphere increases. The tempo of the \\n war is gradually--\\\" \\n \\n \\\"I understand.\\\" Franks rose. He held out his hand and Moss passed him \\n the package. \\\"One thing before you leave. I want you to examine a new \\n type of metal shield material. I'll pass you a sample with the tong.\\\" \\n \\n Franks put the package in the toothed grip and revolved the tong so that\",\n \"should see it all for ourselves. Is it possible that there might be a \\n large enough radiation-free area for a human party to ascend to the \\n surface? If a few of us were to come up in lead-lined suits, would we be \\n able to survive long enough to observe conditions and watch things?\\\" \\n \\n The machine hesitated before answering. \\\"I doubt it. You can check air \\n samples, of course, and decide for yourselves. But in the eight years \\n since you left, things have continually worsened. You cannot have any\"\n ],\n [\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \" * * * * * \\n \\n The leady stood unmoving, still holding the metal. Soldiers appeared in \\n the chamber. They surrounded the leady and ran a counter across it \\n carefully. \\n \\n \\\"Okay, sir,\\\" one of them said to Franks. \\\"It's as cold as a long winter \\n evening.\\\" \\n \\n \\\"Good. I was sure, but I didn't want to take any chances.\\\" \\n\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"\\\"The previous interview was when we noticed it. The leady was not hot. \\n It was cold, too, like this one.\\\" \\n \\n Moss took back the metal plate from the leady's hands. He pressed the \\n surface carefully and returned it to the stiff, unprotesting fingers. \\n \\n \\\"We shorted it out with this, so we could get close enough for a \\n thorough check. It'll come back on in a second now. We had better get \\n behind the wall again.\\\" \\n\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"back. He looked around. An A-class leady was coming toward him. \\n \\n \\\"Tell them to get out of the way,\\\" Franks said. He touched his gun. \\\"You \\n had better move them.\\\" \\n \\n Time passed, an endless moment, without measure. The men stood, nervous \\n and alert, watching the row of leadys in front of them. \\n \\n \\\"As you wish,\\\" the A-class leady said. \\n \\n It signaled and the D-class leadys moved into life. They stepped slowly \\n aside. \\n\"\n ],\n [\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"everywhere. The work was done with efficiency, but without hurry or \\n excitement. \\n \\n The men stopped, watching. Leadys operating the little carts moved past \\n them, signaling silently to each other. Guns and parts were being \\n hoisted by magnetic cranes and lowered gently onto waiting carts. \\n \\n \\\"Come on,\\\" Franks said. \\n \\n He turned toward the lip of the Tube. A row of D-class leadys was \\n standing in front of it, immobile and silent. Franks stopped, moving\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \" * * * * * \\n \\n The leady stood unmoving, still holding the metal. Soldiers appeared in \\n the chamber. They surrounded the leady and ran a counter across it \\n carefully. \\n \\n \\\"Okay, sir,\\\" one of them said to Franks. \\\"It's as cold as a long winter \\n evening.\\\" \\n \\n \\\"Good. I was sure, but I didn't want to take any chances.\\\" \\n\",\n \"later they were moving up at high speed toward the first stage. \\n \\n They emerged into a bewildering scene of activity. Soldiers were \\n fastening on lead suits, talking excitedly to each other, shouting back \\n and forth. Guns were being given out, instructions passed. \\n \\n Taylor studied one of the soldiers. He was armed with the dreaded Bender \\n pistol, the new snub-nosed hand weapon that was just beginning to come \\n from the assembly line. Some of the soldiers looked a little frightened. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"\\\"We're cut off,\\\" Moss said, trembling. \\\"We can't get back. What'll we \\n do?\\\" \\n \\n \\\"How did you manage to seal the Tube so quickly?\\\" Franks asked the \\n leady. \\\"We've been up here only two hours.\\\" \\n \\n \\\"Bombs are placed just above the first stage of each Tube for such \\n emergencies. They are heat bombs. They fuse lead and rock.\\\" \\n \\n Gripping the handle of his gun, Franks turned to Moss and Taylor.\"\n ],\n [\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"\\\"We're cut off,\\\" Moss said, trembling. \\\"We can't get back. What'll we \\n do?\\\" \\n \\n \\\"How did you manage to seal the Tube so quickly?\\\" Franks asked the \\n leady. \\\"We've been up here only two hours.\\\" \\n \\n \\\"Bombs are placed just above the first stage of each Tube for such \\n emergencies. They are heat bombs. They fuse lead and rock.\\\" \\n \\n Gripping the handle of his gun, Franks turned to Moss and Taylor.\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"They entered the lift and ascended. When they stepped out, they were in \\n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \\n surprise. So this was first stage, the closest undersurface level to the \\n top! After this stage there was only rock, lead and rock, and the great \\n tubes leading up like the burrows of earthworms. Lead and rock, and \\n above that, where the tubes opened, the great expanse that no living \\n being had seen for eight years, the vast, endless ruin that had once\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"where no life could exist. \\n \\n And Taylor had touched it! \\n \\n \\\"You're going with us,\\\" Franks said suddenly. \\\"I want you along. I think \\n the three of us will go.\\\" \\n \\n * * * * * \\n \\n Mary faced him with a sick and frightened expression. \\\"I know it. You're \\n going to the surface. Aren't you?\\\" \\n \\n She followed him into the kitchen. Taylor sat down, looking away from \\n her. \\n\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"The men stared at the Tube entrance. Around them the leadys watched, \\n silent and impassive, their metal faces expressionless. \\n \\n For a long time the men stood without moving. At last Taylor turned \\n away. \\n \\n \\\"Good God,\\\" he said. He was numb, without feeling of any kind. \\n \\n The Tube was gone. It was sealed shut, fused over. Only a dull surface \\n of cooling metal greeted them. \\n \\n The Tube had been closed. \\n\",\n \" * * * * * \\n \\n Franks turned, his face pale and vacant. \\n \\n The A-class leady shifted. \\\"As you can see, the Tube has been shut. We \\n were prepared for this. As soon as all of you were on the surface, the \\n order was given. If you had gone back when we asked you, you would now \\n be safely down below. We had to work quickly because it was such an \\n immense operation.\\\" \\n \\n \\\"But why?\\\" Moss demanded angrily. \\n\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"They walked back and the lead wall swung closed behind them. The \\n soldiers left the chamber. \\n \\n \\\"Two periods from now,\\\" Franks said softly, \\\"an initial investigating \\n party will be ready to go surface-side. We're going up the Tube in \\n suits, up to the top--the first human party to leave undersurface in \\n eight years.\\\" \\n \\n \\\"It may mean nothing,\\\" Moss said, \\\"but I doubt it. Something's going on, \\n something strange. The leady told us no life could exist above without\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"witness it.\\\" \\n \\n \\\"And then what?\\\" Taylor said. \\n \\n \\\"That'll be up to them. Let's go.\\\" \\n \\n * * * * * \\n \\n In a small car, they went swiftly up the Tube, carried by anti-grav \\n beams from below. Taylor glanced down from time to time. It was a long \\n way back, and getting longer each moment. He sweated nervously inside \\n his suit, gripping his Bender pistol with inexpert fingers. \\n\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"them out into the great warehouse. Slowly they moved toward the Tube \\n entrance, none of them speaking. \\n \\n \\n \\n At the lip, Franks turned. \\\"We are going back because we have no choice. \\n There are three of us and about a dozen of you. However, if--\\\" \\n \\n \\\"Here comes the car,\\\" Taylor said. \\n \\n There was a grating sound from the Tube. D-class leadys moved toward the \\n edge to receive it. \\n\"\n ],\n [\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"\\\"I hope we're not making a mistake,\\\" Moss said, noticing his gaze. \\n \\n Franks came toward them. \\\"Here's the program. The three of us are going \\n up first, alone. The soldiers will follow in fifteen minutes.\\\" \\n \\n \\\"What are we going to tell the leadys?\\\" Taylor worriedly asked. \\\"We'll \\n have to tell them something.\\\" \\n \\n \\\"We want to observe the new Soviet attack.\\\" Franks smiled ironically. \\n \\\"Since it seems to be so serious, we should be there in person to\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\"\n ],\n [\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"everywhere. The work was done with efficiency, but without hurry or \\n excitement. \\n \\n The men stopped, watching. Leadys operating the little carts moved past \\n them, signaling silently to each other. Guns and parts were being \\n hoisted by magnetic cranes and lowered gently onto waiting carts. \\n \\n \\\"Come on,\\\" Franks said. \\n \\n He turned toward the lip of the Tube. A row of D-class leadys was \\n standing in front of it, immobile and silent. Franks stopped, moving\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"off just right.\\\" \\n \\n The leader moved back, away from the soldiers. It studied them \\n intently, glancing from one to the next, apparently trying to make up \\n its mind. At last it made a sign to the other leadys. They coasted aside \\n and a corridor was opened up toward the warehouse. \\n \\n \\\"Even now,\\\" the leader said, \\\"we could send you back by force. But it is \\n evident that this is not really an observation party at all. These \\n soldiers show that you have much more in mind; this was all carefully\",\n \"\\\"The conquest of space,\\\" breathed Colonel Borodoy. \\n \\n \\\"The meaning of life,\\\" Moss added. \\n \\n \\\"Eliminating hunger and poverty,\\\" said Taylor. \\n \\n The leady opened the door of the ship. \\\"All that and more. How much \\n more? We cannot foresee it any more than the first men who formed a \\n tribe could foresee this day. But it will be unimaginably great.\\\" \\n \\n The door closed and the ship took off toward their new home. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\"\n ],\n [\n \"\\\"They pasted Moscow again last night.\\\" Taylor nodded his head in \\n approval. \\\"Gave it a real pounding. One of those R-H bombs. It's about \\n time.\\\" \\n \\n He nodded again, feeling the full comfort of the kitchen, the presence \\n of his plump, attractive wife, the breakfast dishes and coffee. This was \\n relaxation. And the war news was good, good and satisfying. He could \\n feel a justifiable glow at the news, a sense of pride and personal\",\n \"He knew what she was thinking. Once in the very first weeks of the war, \\n before everyone had been evacuated from the surface, they had seen a \\n hospital train discharging the wounded, people who had been showered \\n with sleet. He remembered the way they had looked, the expression on \\n their faces, or as much of their faces as was left. It had not been a \\n pleasant sight. \\n \\n There had been a lot of that at first, in the early days before the\",\n \"Russia, in Europe, America, Africa--no living human being remained. They \\n were under the surface, in the deep shelters that had been carefully \\n planned and built, even as the first bombs began to fall. \\n \\n It was a brilliant idea and the only idea that could have worked. Up \\n above, on the ruined, blasted surface of what had once been a living \\n planet, the leady crawled and scurried, and fought Man's war. And \\n undersurface, in the depths of the planet, human beings toiled endlessly\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"since the war began. In these eight years, we have observed and noted \\n important changes going on in the minds of men. Fatigue and disinterest, \\n we have seen, are gradually taking the place of hatred and fear. The \\n hatred is being exhausted gradually, over a period of time. But for the \\n present, the hoax must go on, at least for a while longer. You are not \\n ready to learn the truth. You would want to continue the war.\\\" \\n \\n \\\"But how did you manage it?\\\" Moss asked. \\\"All the photographs, the\",\n \"were able to accomplish their sealing without--\\\" \\n \\n \\\"The Soviets? They broke through?\\\" \\n \\n \\\"Several months ago, they came up unexpectedly to see why the war had \\n not been won. We were forced to act with speed. At this moment they are \\n desperately attempting to cut new Tubes to the surface, to resume the \\n war. We have, however, been able to seal each new one as it appears.\\\" \\n \\n The leady regarded the three men calmly. \\n\",\n \"back.\\\" She turned away. \\\"I'll never see you again, once you go up \\n there.\\\" \\n \\n He was shocked. \\\"What? How can you say a thing like that?\\\" \\n \\n She did not answer. \\n \\n * * * * * \\n \\n He awakened with the public newscaster screeching in his ears, shouting \\n outside the building. \\n \\n \\\"Special news bulletin! Surface forces report enormous Soviet attack \\n with new weapons! Retreat of key groups! All work units report to\",\n \"All the reports, photographs, films, even air samples. Yet we haven't \\n seen it for ourselves, not after the first months ...\\\" \\n \\n \\\"What are you talking about?\\\" \\n \\n \\\"Nothing.\\\" He put the paper down. \\\"I'm leaving early after the next \\n Sleep Period. Let's turn in.\\\" \\n \\n Mary turned away, her face hard and harsh. \\\"Do what you want. We might \\n just as well all go up and get killed at once, instead of dying slowly \\n down here, like vermin in the ground.\\\"\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"\\\"Take us outside,\\\" Franks said impatiently. \\\"We'll see it directly, not \\n in here.\\\" \\n \\n A door slid open. A chill blast of cold morning air rushed in, chilling \\n them even through their lead suits. The men glanced at each other \\n uneasily. \\n \\n \\\"Come on,\\\" Franks said. \\\"Outside.\\\" \\n \\n He walked out through the door, the others following him. \\n \\n They were on a hill, overlooking the vast bowl of a valley. Dimly,\",\n \"\\\"I am Colonel Borodoy and I regret giving up our guns,\\\" the senior \\n Russian said. \\\"You could have been the first Americans to be killed in \\n almost eight years.\\\" \\n \\n \\\"Or the first Americans to kill,\\\" Franks corrected. \\n \\n \\\"No one would know of it except yourselves,\\\" the leady pointed out. \\\"It \\n would be useless heroism. Your real concern should be surviving on the \\n surface. We have no food for you, you know.\\\" \\n\",\n \"The machine moved back toward its exit. It paused. \\\"Each month the \\n amount of lethal particles in the atmosphere increases. The tempo of the \\n war is gradually--\\\" \\n \\n \\\"I understand.\\\" Franks rose. He held out his hand and Moss passed him \\n the package. \\\"One thing before you leave. I want you to examine a new \\n type of metal shield material. I'll pass you a sample with the tong.\\\" \\n \\n Franks put the package in the toothed grip and revolved the tong so that\",\n \"asked politely. \\\"The suits are uncomfortable and you'll have no need for \\n weapons. The Russians have given up theirs, as you can see.\\\" \\n \\n Fingers tensed on triggers. Four men in Russian uniforms were coming \\n toward them from an aircraft that they suddenly realized had landed \\n silently some distance away. \\n \\n \\\"Let them have it!\\\" Franks shouted. \\n \\n \\\"They are unarmed,\\\" said the leady. \\\"We brought them here so you could \\n begin peace talks.\\\" \\n\",\n \"should see it all for ourselves. Is it possible that there might be a \\n large enough radiation-free area for a human party to ascend to the \\n surface? If a few of us were to come up in lead-lined suits, would we be \\n able to survive long enough to observe conditions and watch things?\\\" \\n \\n The machine hesitated before answering. \\\"I doubt it. You can check air \\n samples, of course, and decide for yourselves. But in the eight years \\n since you left, things have continually worsened. You cannot have any\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\",\n \"prepared.\\\" \\n \\n \\\"Very carefully,\\\" Franks said. \\n \\n They closed in. \\n \\n \\\"How much more, we can only guess. I must admit that we were taken \\n unprepared. We failed utterly to meet the situation. Now force would be \\n absurd, because neither side can afford to injure the other; we, because \\n of the restrictions placed on us regarding human life, you because the \\n war demands--\\\" \\n \\n The soldiers fired, quick and in fright. Moss dropped to one knee,\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"\\\"Yes, notice the bridges.\\\" The leady traced the ruined span with his \\n metal finger, a tiny spider-web, almost invisible. \\\"You have no doubt \\n seen photographs of this many times, and of the other tables in this \\n building. \\n \\n \\\"San Francisco itself is completely intact. We restored it soon after \\n you left, rebuilding the parts that had been damaged at the start of the \\n war. The work of manufacturing news goes on all the time in this \\n particular building. We are very careful to see that each part fits in\",\n \"_almost_ united into one final culture--a world culture. At this point \\n he stands continent against continent, one half of the world against the \\n other half. Only a single step remains, the jump to a unified culture. \\n Man has climbed slowly upward, tending always toward unification of his \\n culture. It will not be long-- \\n \\n \\\"But it has not come yet, and so the war had to go on, to satisfy the \\n last violent surge of hatred that Man felt. Eight years have passed\",\n \"to produce the weapons to continue the fight, month by month, year by \\n year. \\n \\n * * * * * \\n \\n \\\"First stage,\\\" Taylor said. A strange ache went through him. \\\"Almost to \\n the surface.\\\" \\n \\n \\\"But not quite,\\\" Moss said. \\n \\n Franks led them through the soldiers, over to one side, near the lip of \\n the Tube. \\n \\n \\\"In a few minutes, a lift will bring something down to us from the\"\n ],\n [\n \"question you, do you have anything to report on surface conditions?\\\" \\n \\n \\\"No. The war continues.\\\" The leady's voice was automatic and toneless. \\n \\\"We are a little short of fast pursuit craft, the single-seat type. We \\n could use also some--\\\" \\n \\n \\\"That has all been noted. What I want to ask you is this. Our contact \\n with you has been through vidscreen only. We must rely on indirect \\n evidence, since none of us goes above. We can only infer what is going\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"wildly among metal legs, groping frantically to find it. His fingers \\n strained, a handle swam in front of him. Suddenly something came down on \\n his arm, a metal foot. He cried out. \\n \\n Then it was over. The leadys were moving away, gathering together off to \\n one side. Only four of the Surface Council remained. The others were \\n radioactive particles in the air. D-class leadys were already restoring \\n order, gathering up partly destroyed metal figures and bits and removing \\n them. \\n\",\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"real idea of conditions up there. It has become difficult for any moving \\n object to survive for long. There are many kinds of projectiles \\n sensitive to movement. The new mine not only reacts to motion, but \\n continues to pursue the object indefinitely, until it finally reaches \\n it. And the radiation is everywhere.\\\" \\n \\n \\\"I see.\\\" Franks turned to Moss, his eyes narrowed oddly. \\\"Well, that was \\n what I wanted to know. You may go.\\\" \\n\",\n \"\\\"It's a classified project,\\\" he evaded. \\\"I can't tell you anything about \\n it.\\\" \\n \\n \\\"You don't have to tell me. I know. I knew it the moment you came in. \\n There was something on your face, something I haven't seen there for a \\n long, long time. It was an old look.\\\" \\n \\n She came toward him. \\\"But how can they send you to the surface?\\\" She \\n took his face in her shaking hands, making him look at her. There was a\",\n \"to produce the weapons to continue the fight, month by month, year by \\n year. \\n \\n * * * * * \\n \\n \\\"First stage,\\\" Taylor said. A strange ache went through him. \\\"Almost to \\n the surface.\\\" \\n \\n \\\"But not quite,\\\" Moss said. \\n \\n Franks led them through the soldiers, over to one side, near the lip of \\n the Tube. \\n \\n \\\"In a few minutes, a lift will bring something down to us from the\",\n \"should see it all for ourselves. Is it possible that there might be a \\n large enough radiation-free area for a human party to ascend to the \\n surface? If a few of us were to come up in lead-lined suits, would we be \\n able to survive long enough to observe conditions and watch things?\\\" \\n \\n The machine hesitated before answering. \\\"I doubt it. You can check air \\n samples, of course, and decide for yourselves. But in the eight years \\n since you left, things have continually worsened. You cannot have any\",\n \"\\\"I am Colonel Borodoy and I regret giving up our guns,\\\" the senior \\n Russian said. \\\"You could have been the first Americans to be killed in \\n almost eight years.\\\" \\n \\n \\\"Or the first Americans to kill,\\\" Franks corrected. \\n \\n \\\"No one would know of it except yourselves,\\\" the leady pointed out. \\\"It \\n would be useless heroism. Your real concern should be surviving on the \\n surface. We have no food for you, you know.\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\"\n ],\n [\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"and grim. \\\"This is Moss. I'm sorry to bother you during Rest Period, but \\n this thing has come up.\\\" He rattled papers. \\\"I want you to hurry over \\n here.\\\" \\n \\n Taylor stiffened. \\\"What is it? There's no chance it could wait?\\\" The \\n calm gray eyes were studying him, expressionless, unjudging. \\\"If you \\n want me to come down to the lab,\\\" Taylor grumbled, \\\"I suppose I can. \\n I'll get my uniform--\\\" \\n\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"Wasn't he one of the planners? \\n \\n He excused himself and went into the other room. The bed was still \\n unmade. They had better get it in shape before the seventh hour \\n inspection. There was a one unit fine-- \\n \\n The vidphone rang. He halted. Who would it be? He went over and clicked \\n it on. \\n \\n \\\"Taylor?\\\" the face said, forming into place. It was an old face, gray\",\n \"\\\"Don't argue with me.\\\" Moss held up a handful of surface bulletins, \\n crumpling them savagely. \\\"This is a fake. Come on!\\\" He broke off. \\n \\n Taylor dressed furiously, his mind in a daze. \\n \\n Half an hour later, he leaped from a fast car and hurried up the stairs \\n into the Synthetics Building. The corridors were full of men and women \\n rushing in every direction. He entered Moss's office. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"factories at once!\\\" \\n \\n Taylor blinked, rubbing his eyes. He jumped out of bed and hurried to \\n the vidphone. A moment later he was put through to Moss. \\n \\n \\\"Listen,\\\" he said. \\\"What about this new attack? Is the project off?\\\" He \\n could see Moss's desk, covered with reports and papers. \\n \\n \\\"No,\\\" Moss said. \\\"We're going right ahead. Get over here at once.\\\" \\n \\n \\\"But--\\\" \\n\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"witness it.\\\" \\n \\n \\\"And then what?\\\" Taylor said. \\n \\n \\\"That'll be up to them. Let's go.\\\" \\n \\n * * * * * \\n \\n In a small car, they went swiftly up the Tube, carried by anti-grav \\n beams from below. Taylor glanced down from time to time. It was a long \\n way back, and getting longer each moment. He sweated nervously inside \\n his suit, gripping his Bender pistol with inexpert fingers. \\n\",\n \"She watched him put on his boots without answering. \\n \\n * * * * * \\n \\n Moss nodded and Taylor fell in step with him, as the older man strode \\n along. A series of loads were going up to the surface, blind cars \\n clanking like ore-trucks up the ramp, disappearing through the stage \\n trap above them. Taylor watched the cars, heavy with tubular machinery \\n of some sort, weapons new to him. Workers were everywhere, in the dark\",\n \"gray uniforms of the labor corps, loading, lifting, shouting back and \\n forth. The stage was deafening with noise. \\n \\n \\\"We'll go up a way,\\\" Moss said, \\\"where we can talk. This is no place to \\n give you details.\\\" \\n \\n They took an escalator up. The commercial lift fell behind them, and \\n with it most of the crashing and booming. Soon they emerged on an \\n observation platform, suspended on the side of the Tube, the vast tunnel\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"they? _Haven't they?_\\\" \\n \\n Taylor stood up. \\\"It's an order. I know nothing about it. I was told to \\n report to join a scout party. That's all I know.\\\" \\n \\n He stood for a long time, staring ahead. Slowly, he reached for the \\n newspaper and held it up to the light. \\n \\n \\\"It looks real,\\\" he murmured. \\\"Ruins, deadness, slag. It's convincing.\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\"\n ],\n [\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"\\\"There you are,\\\" Moss said, getting up immediately. \\\"Franks is waiting \\n for us at the outgoing station.\\\" \\n \\n They went in a Security Car, the siren screaming. Workers scattered out \\n of their way. \\n \\n \\\"What about the attack?\\\" Taylor asked. \\n \\n Moss braced his shoulders. \\\"We're certain that we've forced their hand. \\n We've brought the issue to a head.\\\" \\n \\n They pulled up at the station link of the Tube and leaped out. A moment\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"\\\"Come on,\\\" Franks said. \\\"A B-class guard is coming our way.\\\" \\n \\n * * * * * \\n \\n They stepped out of the car. A leady was approaching them rapidly. It \\n coasted up in front of them and stopped, scanning them with its \\n hand-weapon raised. \\n \\n \\\"This is Security,\\\" Franks said. \\\"Have an A-class sent to me at once.\\\" \\n \\n The leady hesitated. Other B-class guards were coming, scooting across\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"conducted the session myself. We were interested in a new weapon the \\n Soviets have been using, an automatic mine that pursues anything that \\n moves. Military had sent instructions up that the mine be observed and \\n reported in detail. \\n \\n \\\"This A-class leady was brought down with information. We learned a few \\n facts from it, obtained the usual roll of film and reports, and then \\n sent it back up. It was going out of the chamber, back to the lift, when \\n a curious thing happened. At the time, I thought--\\\" \\n\",\n \"real idea of conditions up there. It has become difficult for any moving \\n object to survive for long. There are many kinds of projectiles \\n sensitive to movement. The new mine not only reacts to motion, but \\n continues to pursue the object indefinitely, until it finally reaches \\n it. And the radiation is everywhere.\\\" \\n \\n \\\"I see.\\\" Franks turned to Moss, his eyes narrowed oddly. \\\"Well, that was \\n what I wanted to know. You may go.\\\" \\n\",\n \"\\\"No. Come as you are. And not to the lab. Meet me at second stage as \\n soon as possible. It'll take you about a half hour, using the fast car \\n up. I'll see you there.\\\" \\n \\n The picture broke and Moss disappeared. \\n \\n * * * * * \\n \\n \\\"What was it?\\\" Mary said, at the door. \\n \\n \\\"Moss. He wants me for something.\\\" \\n \\n \\\"I knew this would happen.\\\" \\n\",\n \"asked politely. \\\"The suits are uncomfortable and you'll have no need for \\n weapons. The Russians have given up theirs, as you can see.\\\" \\n \\n Fingers tensed on triggers. Four men in Russian uniforms were coming \\n toward them from an aircraft that they suddenly realized had landed \\n silently some distance away. \\n \\n \\\"Let them have it!\\\" Franks shouted. \\n \\n \\\"They are unarmed,\\\" said the leady. \\\"We brought them here so you could \\n begin peace talks.\\\" \\n\",\n \"the warehouse. The three men trudged after them, their heavy shoes \\n ringing against the concrete. At the wall, the two leadys paused. \\n \\n \\\"This is the entrance to the Council Chamber. There are windows in the \\n Chamber Room, but it is still dark outside, of course. You'll see \\n nothing right now, but in two hours--\\\" \\n \\n \\\"Open the door,\\\" Franks said. \\n \\n The door slid back. They went slowly inside. The room was small, a neat\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"and grim. \\\"This is Moss. I'm sorry to bother you during Rest Period, but \\n this thing has come up.\\\" He rattled papers. \\\"I want you to hurry over \\n here.\\\" \\n \\n Taylor stiffened. \\\"What is it? There's no chance it could wait?\\\" The \\n calm gray eyes were studying him, expressionless, unjudging. \\\"If you \\n want me to come down to the lab,\\\" Taylor grumbled, \\\"I suppose I can. \\n I'll get my uniform--\\\" \\n\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"Moss breathed a sigh of relief. \\n \\n \\\"I'm glad that's over,\\\" he said to Franks. \\\"Look at them all. Why don't \\n they try to stop us? They must know what we're going to do.\\\" \\n \\n Franks laughed. \\\"Stop us? You saw what happened when they tried to stop \\n us before. They can't; they're only machines. We built them so they \\n can't lay hands on us, and they know that.\\\" \\n \\n His voice trailed off. \\n\",\n \"\\\"What'll we do?\\\" Moss said nervously to Franks. He touched his gun. \\n \\\"Shall we blast them?\\\" \\n \\n Franks shook his head. \\\"All right,\\\" he said to the leader. \\\"We'll go \\n back.\\\" \\n \\n * * * * * \\n \\n He moved toward the door, motioning Taylor and Moss to follow him. They \\n looked at him in surprise, but they came with him. The leadys followed\",\n \"gray uniforms of the labor corps, loading, lifting, shouting back and \\n forth. The stage was deafening with noise. \\n \\n \\\"We'll go up a way,\\\" Moss said, \\\"where we can talk. This is no place to \\n give you details.\\\" \\n \\n They took an escalator up. The commercial lift fell behind them, and \\n with it most of the crashing and booming. Soon they emerged on an \\n observation platform, suspended on the side of the Tube, the vast tunnel\",\n \"They entered the chamber and seated themselves behind the lead wall. \\n After a time, a signal was flashed, and Franks made a motion with his \\n hands. \\n \\n The door beyond the wall opened. Taylor peered through his view slot. He \\n saw something advancing slowly, a slender metallic figure moving on a \\n tread, its arm grips at rest by its sides. The figure halted and scanned \\n the lead wall. It stood, waiting. \\n \\n \\\"We are interested in learning something,\\\" Franks said. \\\"Before I\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\"\n ],\n [\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"\\\"You see,\\\" Moss said to Taylor, \\\"this leady isn't hot at all. Yet it \\n came directly from the surface, without even being bathed.\\\" \\n \\n \\\"But what does it mean?\\\" Taylor asked blankly. \\n \\n \\\"It may be an accident,\\\" Franks said. \\\"There's always the possibility \\n that a given object might escape being exposed above. But this is the \\n second time it's happened that we know of. There may be others.\\\" \\n \\n \\\"The second time?\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"question you, do you have anything to report on surface conditions?\\\" \\n \\n \\\"No. The war continues.\\\" The leady's voice was automatic and toneless. \\n \\\"We are a little short of fast pursuit craft, the single-seat type. We \\n could use also some--\\\" \\n \\n \\\"That has all been noted. What I want to ask you is this. Our contact \\n with you has been through vidscreen only. We must rely on indirect \\n evidence, since none of us goes above. We can only infer what is going\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"side passage to a small lift. \\\"I've never been up there. Is it all \\n right? It's not radioactive, is it?\\\" \\n \\n \\\"You're like everyone else,\\\" Franks said. \\\"Old women afraid of burglars. \\n No radiation leaks down to first stage. There's lead and rock, and what \\n comes down the Tube is bathed.\\\" \\n \\n \\\"What's the nature of the problem?\\\" Taylor asked. \\\"I'd like to know \\n something about it.\\\" \\n \\n \\\"In a moment.\\\"\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"The previous interview was when we noticed it. The leady was not hot. \\n It was cold, too, like this one.\\\" \\n \\n Moss took back the metal plate from the leady's hands. He pressed the \\n surface carefully and returned it to the stiff, unprotesting fingers. \\n \\n \\\"We shorted it out with this, so we could get close enough for a \\n thorough check. It'll come back on in a second now. We had better get \\n behind the wall again.\\\" \\n\",\n \"\\\"I hope we're not making a mistake,\\\" Moss said, noticing his gaze. \\n \\n Franks came toward them. \\\"Here's the program. The three of us are going \\n up first, alone. The soldiers will follow in fifteen minutes.\\\" \\n \\n \\\"What are we going to tell the leadys?\\\" Taylor worriedly asked. \\\"We'll \\n have to tell them something.\\\" \\n \\n \\\"We want to observe the new Soviet attack.\\\" Franks smiled ironically. \\n \\\"Since it seems to be so serious, we should be there in person to\",\n \"they? _Haven't they?_\\\" \\n \\n Taylor stood up. \\\"It's an order. I know nothing about it. I was told to \\n report to join a scout party. That's all I know.\\\" \\n \\n He stood for a long time, staring ahead. Slowly, he reached for the \\n newspaper and held it up to the light. \\n \\n \\\"It looks real,\\\" he murmured. \\\"Ruins, deadness, slag. It's convincing.\",\n \"Franks broke off. A red light was flashing. \\n \\n \\\"That down lift is coming.\\\" He nodded to some soldiers. \\\"Let's enter the \\n chamber. The leady will be along in a moment.\\\" \\n \\n \\\"An A-class leady,\\\" Taylor said. \\\"I've seen them on the showscreens, \\n making their reports.\\\" \\n \\n \\\"It's quite an experience,\\\" Moss said. \\\"They're almost human.\\\" \\n \\n * * * * * \\n\"\n ],\n [\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"were able to accomplish their sealing without--\\\" \\n \\n \\\"The Soviets? They broke through?\\\" \\n \\n \\\"Several months ago, they came up unexpectedly to see why the war had \\n not been won. We were forced to act with speed. At this moment they are \\n desperately attempting to cut new Tubes to the surface, to resume the \\n war. We have, however, been able to seal each new one as it appears.\\\" \\n \\n The leady regarded the three men calmly. \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \" * * * * * \\n \\n The leady stood unmoving, still holding the metal. Soldiers appeared in \\n the chamber. They surrounded the leady and ran a counter across it \\n carefully. \\n \\n \\\"Okay, sir,\\\" one of them said to Franks. \\\"It's as cold as a long winter \\n evening.\\\" \\n \\n \\\"Good. I was sure, but I didn't want to take any chances.\\\" \\n\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"moment. Some place far off, echoing across the valley, a rooster crowed. \\n \\n \\\"A chicken!\\\" Taylor murmured. \\\"Did you hear?\\\" \\n \\n Behind them, the leadys had come out and were standing silently, \\n watching, too. The gray sky turned to white and the hills appeared more \\n clearly. Light spread across the valley floor, moving toward them. \\n \\n \\\"God in heaven!\\\" Franks exclaimed. \\n \\n Trees, trees and forests. A valley of plants and trees, with a few roads\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\"\n ],\n [\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"Leadys, crawling along the ground, moving over the oceans or through the \\n skies in slender, blackened craft, creatures that could exist where no \\n _life_ could remain, metal and plastic figures that waged a war Man had \\n conceived, but which he could not fight himself. Human beings had \\n invented war, invented and manufactured the weapons, even invented the \\n players, the fighters, the actors of the war. But they themselves could \\n not venture forth, could not wage it themselves. In all the world--in\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"Russia, in Europe, America, Africa--no living human being remained. They \\n were under the surface, in the deep shelters that had been carefully \\n planned and built, even as the first bombs began to fall. \\n \\n It was a brilliant idea and the only idea that could have worked. Up \\n above, on the ruined, blasted surface of what had once been a living \\n planet, the leady crawled and scurried, and fought Man's war. And \\n undersurface, in the depths of the planet, human beings toiled endlessly\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\",\n \"were able to accomplish their sealing without--\\\" \\n \\n \\\"The Soviets? They broke through?\\\" \\n \\n \\\"Several months ago, they came up unexpectedly to see why the war had \\n not been won. We were forced to act with speed. At this moment they are \\n desperately attempting to cut new Tubes to the surface, to resume the \\n war. We have, however, been able to seal each new one as it appears.\\\" \\n \\n The leady regarded the three men calmly. \\n\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"question you, do you have anything to report on surface conditions?\\\" \\n \\n \\\"No. The war continues.\\\" The leady's voice was automatic and toneless. \\n \\\"We are a little short of fast pursuit craft, the single-seat type. We \\n could use also some--\\\" \\n \\n \\\"That has all been noted. What I want to ask you is this. Our contact \\n with you has been through vidscreen only. We must rely on indirect \\n evidence, since none of us goes above. We can only infer what is going\",\n \"\\\"Because it is unthinkable that you should be allowed to resume the war. \\n With all the Tubes sealed, it will be many months before forces from \\n below can reach the surface, let alone organize a military program. By \\n that time the cycle will have entered its last stages. You will not be \\n so perturbed to find your world intact. \\n \\n \\\"We had hoped that you would be undersurface when the sealing occurred. \\n Your presence here is a nuisance. When the Soviets broke through, we\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"been Man's home, the place where he had lived, eight years ago. \\n \\n Now the surface was a lethal desert of slag and rolling clouds. Endless \\n clouds drifted back and forth, blotting out the red Sun. Occasionally \\n something metallic stirred, moving through the remains of a city, \\n threading its way across the tortured terrain of the countryside. A \\n leady, a surface robot, immune to radiation, constructed with feverish \\n haste in the last months before the cold war became literally hot. \\n\",\n \"They walked back and the lead wall swung closed behind them. The \\n soldiers left the chamber. \\n \\n \\\"Two periods from now,\\\" Franks said softly, \\\"an initial investigating \\n party will be ready to go surface-side. We're going up the Tube in \\n suits, up to the top--the first human party to leave undersurface in \\n eight years.\\\" \\n \\n \\\"It may mean nothing,\\\" Moss said, \\\"but I doubt it. Something's going on, \\n something strange. The leady told us no life could exist above without\",\n \"\\\"I am sorry,\\\" the leader said, \\\"but it is for your protection. We are \\n watching over you, literally. You must stay below and let us conduct the \\n war. In a sense, it has come to be _our_ war. We must fight it as we see \\n fit.\\\" \\n \\n The car rose to the surface. \\n \\n Twelve soldiers, armed with Bender pistols, stepped from it and \\n surrounded the three men. \\n \\n Moss breathed a sigh of relief. \\\"Well, this does change things. It came\",\n \"should see it all for ourselves. Is it possible that there might be a \\n large enough radiation-free area for a human party to ascend to the \\n surface? If a few of us were to come up in lead-lined suits, would we be \\n able to survive long enough to observe conditions and watch things?\\\" \\n \\n The machine hesitated before answering. \\\"I doubt it. You can check air \\n samples, of course, and decide for yourselves. But in the eight years \\n since you left, things have continually worsened. You cannot have any\"\n ],\n [\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"he held the other end. The package swung down to the leady, which took \\n it. They watched it unwrap the package and take the metal plate in its \\n hands. The leady turned the metal over and over. \\n \\n Suddenly it became rigid. \\n \\n \\\"All right,\\\" Franks said. \\n \\n He put his shoulder against the wall and a section slid aside. Taylor \\n gasped--Franks and Moss were hurrying up to the leady! \\n \\n \\\"Good God!\\\" Taylor said. \\\"But it's radioactive!\\\" \\n\",\n \"being roasted. The story doesn't fit.\\\" \\n \\n Taylor nodded. He stared through the peep slot at the immobile metal \\n figure. Already the leady was beginning to stir. It was bent in several \\n places, dented and twisted, and its finish was blackened and charred. It \\n was a leady that had been up there a long time; it had seen war and \\n destruction, ruin so vast that no human being could imagine the extent. \\n It had crawled and slunk in a world of radiation and death, a world\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"tower is not expecting us. I gave orders that no signal was to be sent.\\\" \\n \\n The car shot up, rushing furiously. Taylor's head spun; he hung on, his \\n eyes shut. Up and up.... \\n \\n The car stopped. He opened his eyes. \\n \\n They were in a vast room, fluorescent-lit, a cavern filled with \\n equipment and machinery, endless mounds of material piled in row after \\n row. Among the stacks, leadys were working silently, pushing trucks and \\n handcarts. \\n\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"The leadys moved abruptly toward the men, wheeling in a circle, forming \\n a solid row. The men stood up, Taylor reaching awkwardly for his weapon, \\n his fingers numb and stupid. The men stood facing the silent metal \\n figures. \\n \\n \\\"We must insist,\\\" the leader said, its voice without emotion. \\\"We must \\n take you back to the Tube and send you down on the next car. I am sorry, \\n but it is necessary.\\\" \\n\",\n \"Franks broke off. A red light was flashing. \\n \\n \\\"That down lift is coming.\\\" He nodded to some soldiers. \\\"Let's enter the \\n chamber. The leady will be along in a moment.\\\" \\n \\n \\\"An A-class leady,\\\" Taylor said. \\\"I've seen them on the showscreens, \\n making their reports.\\\" \\n \\n \\\"It's quite an experience,\\\" Moss said. \\\"They're almost human.\\\" \\n \\n * * * * * \\n\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"\\\"Yes,\\\" an A-class leady admitted. \\\"As soon as you left, the war ceased. \\n You're right, it was a hoax. You worked hard undersurface, sending up \\n guns and weapons, and we destroyed them as fast as they came up.\\\" \\n \\n \\\"But why?\\\" Taylor asked, dazed. He stared down at the vast valley below. \\n \\\"Why?\\\" \\n \\n * * * * * \\n \\n \\\"You created us,\\\" the leady said, \\\"to pursue the war for you, while you\",\n \"\\\"We're going back down,\\\" Franks said. \\\"Fall in by twos and follow us.\\\" \\n \\n Reluctantly, the soldiers regrouped. The leadys watched without emotion \\n as the men marched slowly back toward the warehouse. Franks and Moss and \\n Taylor led them across the ground, glancing alertly at the leadys as \\n they walked. \\n \\n They entered the warehouse. D-class leadys were loading material and \\n weapons on surface carts. Cranes and derricks were working busily\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"transfer to undersurface was complete. There had been a lot, and it \\n hadn't been very difficult to come across it. \\n \\n Taylor looked up at his wife. She was thinking too much about it, the \\n last few months. They all were. \\n \\n \\\"Forget it,\\\" he said. \\\"It's all in the past. There isn't anybody up \\n there now but the leadys, and they don't mind.\\\" \\n \\n \\\"But just the same, I hope they're careful when they let one of them\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\"\n ],\n [\n \"\\\"They're doing a wonderful job,\\\" Mary agreed vaguely. \\\"Do you know what \\n we saw today? Our team is getting a leady to show to the school \\n children. I saw the leady, but only for a moment. It's good for the \\n children to see what their contributions are going for, don't you \\n think?\\\" \\n \\n She looked around at him. \\n \\n \\\"A leady,\\\" Taylor murmured. He put the newspaper slowly down. \\\"Well,\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"pointed at the aircraft, which was warming up. \\\"The ship is waiting. \\n Will you join each other in making a new home?\\\" \\n \\n The Russians waited while the Americans made up their minds. \\n \\n \\\"I see what the leadys mean about diplomacy becoming outmoded,\\\" Franks \\n said at last. \\\"People who work together don't need diplomats. They solve \\n their problems on the operational level instead of at a conference \\n table.\\\" \\n \\n The leady led them toward the ship. \\\"It is the goal of history, unifying\",\n \"The leader approached Franks. \\n \\n \\\"This astonishes and perplexes us,\\\" it said. \\\"Of course we must do what \\n you tell us, but allow me to point out that if you remain here--\\\" \\n \\n \\\"We know,\\\" Franks said impatiently. \\\"However, we intend to remain, at \\n least until sunrise.\\\" \\n \\n \\\"If you insist.\\\" \\n \\n There was silence. The leadys seemed to be conferring with each other, \\n although the three men heard no sound. \\n\",\n \"room with a round table in the center, chairs ringing it. The three of \\n them sat down silently, and the two leadys followed after them, taking \\n their places. \\n \\n \\\"The other Council Members are on their way. They have already been \\n notified and are coming as quickly as they can. Again I urge you to go \\n back down.\\\" The leady surveyed the three human beings. \\\"There is no way \\n you can meet the conditions up here. Even we survive with some trouble, \\n ourselves. How can you expect to do it?\\\" \\n\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"They've tried to bluff us all the way.\\\" He fired into the face of a \\n leady. The leady dissolved. \\\"They can only try to frighten us. Remember \\n that.\\\" \\n \\n * * * * * \\n \\n They went on firing and leady after leady vanished. The room reeked with \\n the smell of burning metal, the stink of fused plastic and steel. Taylor \\n had been knocked down. He was struggling to find his gun, reaching\",\n \"\\\"With a hundred top-level men, we could take over again, restore things \\n as they should be! It would be easy!\\\" \\n \\n * * * * * \\n \\n Moss touched him on the arm. An A-class leady was coming from the \\n building toward them. \\n \\n \\\"We've seen enough,\\\" Franks said, raising his voice. \\\"All this is very \\n serious. It must be reported below and a study made to determine our \\n policy.\\\" \\n \\n The leady said nothing. \\n\",\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"\\\"Night,\\\" one of the A-class leadys said, after a pause. \\\"Dawn is coming \\n in about two hours.\\\" \\n \\n Franks nodded. \\\"We'll remain at least two hours, then. As a concession \\n to our sentimentality, would you please show us some place where we can \\n observe the Sun as it comes up? We would appreciate it.\\\" \\n \\n A stir went through the leadys. \\n \\n \\\"It is an unpleasant sight,\\\" one of the leadys said. \\\"You've seen the\",\n \"photographs; you know what you'll witness. Clouds of drifting particles \\n blot out the light, slag heaps are everywhere, the whole land is \\n destroyed. For you it will be a staggering sight, much worse than \\n pictures and film can convey.\\\" \\n \\n \\\"However it may be, we'll stay long enough to see it. Will you give the \\n order to the Council?\\\" \\n \\n * * * * * \\n \\n \\\"Come this way.\\\" Reluctantly, the two leadys coasted toward the wall of\",\n \"samples, the damaged equipment--\\\" \\n \\n \\\"Come over here.\\\" The leady directed them toward a long, low building. \\n \\\"Work goes on constantly, whole staffs laboring to maintain a coherent \\n and convincing picture of a global war.\\\" \\n \\n * * * * * \\n \\n They entered the building. Leadys were working everywhere, poring over \\n tables and desks. \\n \\n \\\"Examine this project here,\\\" the A-class leady said. Two leadys were\",\n \"\\\"I hope we're not making a mistake,\\\" Moss said, noticing his gaze. \\n \\n Franks came toward them. \\\"Here's the program. The three of us are going \\n up first, alone. The soldiers will follow in fifteen minutes.\\\" \\n \\n \\\"What are we going to tell the leadys?\\\" Taylor worriedly asked. \\\"We'll \\n have to tell them something.\\\" \\n \\n \\\"We want to observe the new Soviet attack.\\\" Franks smiled ironically. \\n \\\"Since it seems to be so serious, we should be there in person to\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"Franks breathed a shuddering sigh. \\n \\n \\\"All right,\\\" he said. \\\"You can take us back to the windows. It won't be \\n long now.\\\" \\n \\n The leadys separated, and the human group, Moss and Franks and Taylor \\n and the soldiers, walked slowly across the room, toward the door. They \\n entered the Council Chamber. Already a faint touch of gray mitigated the \\n blackness of the windows. \\n\",\n \"in running condition. The gardens, the streets, the water mains, \\n everything must be maintained as it was eight years ago, so that when \\n the owners return, they will not be displeased. We want to be sure that \\n they will be completely satisfied.\\\" \\n \\n Franks tapped Moss on the arm. \\n \\n \\\"Come over here,\\\" he said in a low voice. \\\"I want to talk to you.\\\" \\n \\n He led Moss and Taylor out of the building, away from the leadys,\",\n \"winding among them. Farmhouses. A windmill. A barn, far down below them. \\n \\n \\\"Look!\\\" Moss whispered. \\n \\n Color came into the sky. The Sun was approaching. Birds began to sing. \\n Not far from where they stood, the leaves of a tree danced in the wind. \\n \\n Franks turned to the row of leadys behind them. \\n \\n \\\"Eight years. We were tricked. There was no war. As soon as we left the \\n surface--\\\" \\n\",\n \"firing up. The leader dissolved in a cloud of particles. On all sides \\n D- and B-class leadys were rushing up, some with weapons, some with \\n metal slats. The room was in confusion. Off in the distance a siren was \\n screaming. Franks and Taylor were cut off from the others, separated \\n from the soldiers by a wall of metal bodies. \\n \\n \\\"They can't fire back,\\\" Franks said calmly. \\\"This is another bluff.\",\n \"\\\"You see,\\\" Moss said to Taylor, \\\"this leady isn't hot at all. Yet it \\n came directly from the surface, without even being bathed.\\\" \\n \\n \\\"But what does it mean?\\\" Taylor asked blankly. \\n \\n \\\"It may be an accident,\\\" Franks said. \\\"There's always the possibility \\n that a given object might escape being exposed above. But this is the \\n second time it's happened that we know of. There may be others.\\\" \\n \\n \\\"The second time?\\\" \\n\",\n \"be too long before he and Mary and the rest of humanity would be living \\n on the surface like rational human beings instead of blindly hating \\n moles. \\n \\n \\\"It has taken thousands of generations to achieve,\\\" the A-class leady \\n concluded. \\\"Hundreds of centuries of bloodshed and destruction. But each \\n war was a step toward uniting mankind. And now the end is in sight: a \\n world without war. But even that is only the beginning of a new stage of \\n history.\\\" \\n\"\n ],\n [\n \"The two leadys approached warily. Without speaking, they stopped close \\n by the men, looking them up and down. \\n \\n \\\"I'm Franks of Security. We came from undersurface in order to--\\\" \\n \\n \\\"This in incredible,\\\" one of the leadys interrupted him coldly. \\\"You \\n know you can't live up here. The whole surface is lethal to you. You \\n can't possibly remain on the surface.\\\" \\n \\n \\\"These suits will protect us,\\\" Franks said. \\\"In any case, it's not your\",\n \"where no life could exist. \\n \\n And Taylor had touched it! \\n \\n \\\"You're going with us,\\\" Franks said suddenly. \\\"I want you along. I think \\n the three of us will go.\\\" \\n \\n * * * * * \\n \\n Mary faced him with a sick and frightened expression. \\\"I know it. You're \\n going to the surface. Aren't you?\\\" \\n \\n She followed him into the kitchen. Taylor sat down, looking away from \\n her. \\n\",\n \"surface,\\\" he explained. \\\"You see, Taylor, every once in a while Security \\n examines and interrogates a surface leady, one that has been above for a \\n time, to find out certain things. A vidcall is sent up and contact is \\n made with a field headquarters. We need this direct interview; we can't \\n depend on vidscreen contact alone. The leadys are doing a good job, but \\n we want to make certain that everything is going the way we want it.\\\" \\n\",\n \"later they were moving up at high speed toward the first stage. \\n \\n They emerged into a bewildering scene of activity. Soldiers were \\n fastening on lead suits, talking excitedly to each other, shouting back \\n and forth. Guns were being given out, instructions passed. \\n \\n Taylor studied one of the soldiers. He was armed with the dreaded Bender \\n pistol, the new snub-nosed hand weapon that was just beginning to come \\n from the assembly line. Some of the soldiers looked a little frightened. \\n\",\n \"leading to the surface, not more than half a mile above them now. \\n \\n \\\"My God!\\\" Taylor said, looking down the Tube involuntarily. \\\"It's a long \\n way down.\\\" \\n \\n Moss laughed. \\\"Don't look.\\\" \\n \\n They opened a door and entered an office. Behind the desk, an officer \\n was sitting, an officer of Internal Security. He looked up. \\n \\n \\\"I'll be right with you, Moss.\\\" He gazed at Taylor studying him. \\\"You're\",\n \"They entered the lift and ascended. When they stepped out, they were in \\n a hall of soldiers, weapons and uniforms everywhere. Taylor blinked in \\n surprise. So this was first stage, the closest undersurface level to the \\n top! After this stage there was only rock, lead and rock, and the great \\n tubes leading up like the burrows of earthworms. Lead and rock, and \\n above that, where the tubes opened, the great expanse that no living \\n being had seen for eight years, the vast, endless ruin that had once\",\n \"She watched him put on his boots without answering. \\n \\n * * * * * \\n \\n Moss nodded and Taylor fell in step with him, as the older man strode \\n along. A series of loads were going up to the surface, blind cars \\n clanking like ore-trucks up the ramp, disappearing through the stage \\n trap above them. Taylor watched the cars, heavy with tubular machinery \\n of some sort, weapons new to him. Workers were everywhere, in the dark\",\n \"\\\"For your own good,\\\" the leader said at last, \\\"you must go back down. We \\n have discussed this, and it seems to us that you are doing the wrong \\n thing for your own good.\\\" \\n \\n \\\"We are human beings,\\\" Franks said sharply. \\\"Don't you understand? We're \\n men, not machines.\\\" \\n \\n \\\"That is precisely why you must go back. This room is radioactive; all \\n surface areas are. We calculate that your suits will not protect you for \\n over fifty more minutes. Therefore--\\\" \\n\",\n \"They walked back and the lead wall swung closed behind them. The \\n soldiers left the chamber. \\n \\n \\\"Two periods from now,\\\" Franks said softly, \\\"an initial investigating \\n party will be ready to go surface-side. We're going up the Tube in \\n suits, up to the top--the first human party to leave undersurface in \\n eight years.\\\" \\n \\n \\\"It may mean nothing,\\\" Moss said, \\\"but I doubt it. Something's going on, \\n something strange. The leady told us no life could exist above without\",\n \"Why had they chosen him? Chance, pure chance. Moss had asked him to come \\n along as a Department member. Then Franks had picked him out on the spur \\n of the moment. And now they were rushing toward the surface, faster and \\n faster. \\n \\n A deep fear, instilled in him for eight years, throbbed in his mind. \\n Radiation, certain death, a world blasted and lethal-- \\n \\n Up and up the car went. Taylor gripped the sides and closed his eyes.\",\n \"\\\"Leadys,\\\" Moss said. His face was pale. \\\"Then we're really on the \\n surface.\\\" \\n \\n The leadys were going back and forth with equipment moving the vast \\n stores of guns and spare parts, ammunition and supplies that had been \\n brought to the surface. And this was the receiving station for only one \\n Tube; there were many others, scattered throughout the continent. \\n \\n Taylor looked nervously around him. They were really there, above \\n ground, on the surface. This was where the war was. \\n\",\n \"\\\"It's a classified project,\\\" he evaded. \\\"I can't tell you anything about \\n it.\\\" \\n \\n \\\"You don't have to tell me. I know. I knew it the moment you came in. \\n There was something on your face, something I haven't seen there for a \\n long, long time. It was an old look.\\\" \\n \\n She came toward him. \\\"But how can they send you to the surface?\\\" She \\n took his face in her shaking hands, making him look at her. There was a\",\n \"the floor, alert and alarmed. Moss peered around. \\n \\n \\\"Obey!\\\" Franks said in a loud, commanding voice. \\\"You've been ordered!\\\" \\n \\n The leady moved uncertainly away from them. At the end of the building, \\n a door slid back. Two A-class leadys appeared, coming slowly toward \\n them. Each had a green stripe across its front. \\n \\n \\\"From the Surface Council,\\\" Franks whispered tensely. \\\"This is above \\n ground, all right. Get set.\\\" \\n\",\n \"a little ahead of time.\\\" \\n \\n \\\"This is Commander Franks,\\\" Moss said to Taylor. \\\"He was the first to \\n make the discovery. I was notified last night.\\\" He tapped a parcel he \\n carried. \\\"I was let in because of this.\\\" \\n \\n Franks frowned at him and stood up. \\\"We're going up to first stage. We \\n can discuss it there.\\\" \\n \\n \\\"First stage?\\\" Taylor repeated nervously. The three of them went down a\",\n \"Franks faced Taylor and Moss and continued: \\\"The lift will bring down a \\n leady from the surface, one of the A-class leadys. There's an \\n examination chamber in the next room, with a lead wall in the center, so \\n the interviewing officers won't be exposed to radiation. We find this \\n easier than bathing the leady. It is going right back up; it has a job \\n to get back to. \\n \\n \\\"Two days ago, an A-class leady was brought down and interrogated. I\",\n \"Taylor put his gun in its holster. \\\"They've done a neat job of \\n neutralizing us, damn them. I propose we move into a city, start raising \\n crops with the help of some leadys, and generally make ourselves \\n comfortable.\\\" Drawing his lips tight over his teeth, he glared at the \\n A-class leady. \\\"Until our families can come up from undersurface, it's \\n going to be pretty lonesome, but we'll have to manage.\\\" \\n\",\n \"Each moment they were closer, the first living creatures to go above the \\n first stage, up the Tube past the lead and rock, up to the surface. The \\n phobic horror shook him in waves. It was death; they all knew that. \\n Hadn't they seen it in the films a thousand times? The cities, the sleet \\n coming down, the rolling clouds-- \\n \\n \\\"It won't be much longer,\\\" Franks said. \\\"We're almost there. The surface\",\n \"and grim. \\\"This is Moss. I'm sorry to bother you during Rest Period, but \\n this thing has come up.\\\" He rattled papers. \\\"I want you to hurry over \\n here.\\\" \\n \\n Taylor stiffened. \\\"What is it? There's no chance it could wait?\\\" The \\n calm gray eyes were studying him, expressionless, unjudging. \\\"If you \\n want me to come down to the lab,\\\" Taylor grumbled, \\\"I suppose I can. \\n I'll get my uniform--\\\" \\n\",\n \"witness it.\\\" \\n \\n \\\"And then what?\\\" Taylor said. \\n \\n \\\"That'll be up to them. Let's go.\\\" \\n \\n * * * * * \\n \\n In a small car, they went swiftly up the Tube, carried by anti-grav \\n beams from below. Taylor glanced down from time to time. It was a long \\n way back, and getting longer each moment. He sweated nervously inside \\n his suit, gripping his Bender pistol with inexpert fingers. \\n\",\n \"\\\"Take us outside,\\\" Franks said impatiently. \\\"We'll see it directly, not \\n in here.\\\" \\n \\n A door slid open. A chill blast of cold morning air rushed in, chilling \\n them even through their lead suits. The men glanced at each other \\n uneasily. \\n \\n \\\"Come on,\\\" Franks said. \\\"Outside.\\\" \\n \\n He walked out through the door, the others following him. \\n \\n They were on a hill, overlooking the vast bowl of a valley. Dimly,\"\n ]\n]","isConversational":false},"questions":{"kind":"list like","value":["What did Taylor observe about the robot he interrogated that made him suspicious? ","What is the ultimate goal of the leadys? ","What is the climax of this story? ","Who is the antagonist in this story? ","Who is the main protagonist? ","How did the leadys trick the humans into believing the world outside the tunnels was too dangerous to go to? ","What does one problem that Taylor and his group face once they are on the surface? ","What exactly is a leady? ","What robots continue to fight the war between the United States and Russia? ","Who is asked to observe the interrogation of a leady?","What assignment is Taylor given after finding a 2nd robot who is not radioactive?","How soon did the war end after the humans left the surface?","Why did the robots choose not to fight once the humans left?","How did the leadys fool humans?","What did the leadys do with the weapons given to them by the humans?","Why can't Taylor and the others go back down underground?","What do the leadys invite Taylor and his crew to do? ","What is the ultimate goal of the leadys?","How long have the U.S. and Soviets been fighting a nuclear war?","What are robots called that do the surface fighting for us?","What is Taylor's job?","What has the security asked him to do?","Why does Talyor think the leady is not being truthful about surface conditions?","When does the leady say the war ended?","What have the leady's done to prevent humans from resurfacing and making more war?","The leady's offer Taylor a chance to join with what other group?","What do the leady's suggest the two group need to learn?","What type of suits must taylor and his team wear to go to the surface?"],"string":"[\n \"What did Taylor observe about the robot he interrogated that made him suspicious? \",\n \"What is the ultimate goal of the leadys? \",\n \"What is the climax of this story? \",\n \"Who is the antagonist in this story? \",\n \"Who is the main protagonist? \",\n \"How did the leadys trick the humans into believing the world outside the tunnels was too dangerous to go to? \",\n \"What does one problem that Taylor and his group face once they are on the surface? \",\n \"What exactly is a leady? \",\n \"What robots continue to fight the war between the United States and Russia? \",\n \"Who is asked to observe the interrogation of a leady?\",\n \"What assignment is Taylor given after finding a 2nd robot who is not radioactive?\",\n \"How soon did the war end after the humans left the surface?\",\n \"Why did the robots choose not to fight once the humans left?\",\n \"How did the leadys fool humans?\",\n \"What did the leadys do with the weapons given to them by the humans?\",\n \"Why can't Taylor and the others go back down underground?\",\n \"What do the leadys invite Taylor and his crew to do? \",\n \"What is the ultimate goal of the leadys?\",\n \"How long have the U.S. and Soviets been fighting a nuclear war?\",\n \"What are robots called that do the surface fighting for us?\",\n \"What is Taylor's job?\",\n \"What has the security asked him to do?\",\n \"Why does Talyor think the leady is not being truthful about surface conditions?\",\n \"When does the leady say the war ended?\",\n \"What have the leady's done to prevent humans from resurfacing and making more war?\",\n \"The leady's offer Taylor a chance to join with what other group?\",\n \"What do the leady's suggest the two group need to learn?\",\n \"What type of suits must taylor and his team wear to go to the surface?\"\n]","isConversational":false},"answers":{"kind":"list like","value":[["The robot said the world was radioactive, but the robot itself was not radioactive. ","he was not radioactive"],["To create a single culture and remove the divisions from the past. ","For humans to have a single culture "],["The climax of the story is when Taylor and his group escape the tunnels and arrive on the surface. ","They discover that the robots faked the war while the humans were underground."],["The antagonist is the leadys","The leady robots."],["The main protagonist is Taylor. ","Taylor"],["They created counterfeit photos that showed the surface as devastated and dangerous and they told stories about how dangerous it was. ","The leadys created photographs that depicted a war zone."],["They are told the truth but cannot return to the tunnels to tell everyone else because the robots have sealed all the tunnels. ","They will have to unseal all of the tubes underground or dig new tunnels."],["A robot that works on the surface of an irradiated Earth after a devastating war and protects the humans who were evacuated to underground tunnels. ","It's a robot, immune to radioactivity."],["Leadys","leadys "],["Taylor","Taylor"],["To search for the truth about surface conditions","To investigate surface conditions.`"],["Immediately","immediately "],["Because they saw no purpose for it","They saw no purpose to."],["By showing them doctored photographs","They used counterfeit photos of the planet "],["They destroyed them","They destroyed them."],["Because the leadys sealed all of the tubes","The robots sealed the tubes. "],["To join a Soviet group that had learned the same thing about the leadys","to join a group of Soviets who were also stranded on the surface"],["For humans to get along in the same world","For the humans to get along."],["Eight years","Eight years."],["Leadys","Leadys"],["American War Planner","Taylor is a war planner."],["Observe an interrogation of leady regarding the war.","Investigate the truth about surface conditions."],["Because the leady is not raioactive.","The leady is not radioactive."],["As soon as the human abandoned the surface.","The war ended when the humans went underground for evacuation."],["Sealed off the tunnels.","Sealed all the tubes to under ground "],["Similarly stranded Soviets.","Soviets on the surface. "],["Work out the daily problems of existence.","how to get along in the same world. "],["Lead suits","Lead suits"]],"string":"[\n [\n \"The robot said the world was radioactive, but the robot itself was not radioactive. \",\n \"he was not radioactive\"\n ],\n [\n \"To create a single culture and remove the divisions from the past. \",\n \"For humans to have a single culture \"\n ],\n [\n \"The climax of the story is when Taylor and his group escape the tunnels and arrive on the surface. \",\n \"They discover that the robots faked the war while the humans were underground.\"\n ],\n [\n \"The antagonist is the leadys\",\n \"The leady robots.\"\n ],\n [\n \"The main protagonist is Taylor. \",\n \"Taylor\"\n ],\n [\n \"They created counterfeit photos that showed the surface as devastated and dangerous and they told stories about how dangerous it was. \",\n \"The leadys created photographs that depicted a war zone.\"\n ],\n [\n \"They are told the truth but cannot return to the tunnels to tell everyone else because the robots have sealed all the tunnels. \",\n \"They will have to unseal all of the tubes underground or dig new tunnels.\"\n ],\n [\n \"A robot that works on the surface of an irradiated Earth after a devastating war and protects the humans who were evacuated to underground tunnels. \",\n \"It's a robot, immune to radioactivity.\"\n ],\n [\n \"Leadys\",\n \"leadys \"\n ],\n [\n \"Taylor\",\n \"Taylor\"\n ],\n [\n \"To search for the truth about surface conditions\",\n \"To investigate surface conditions.`\"\n ],\n [\n \"Immediately\",\n \"immediately \"\n ],\n [\n \"Because they saw no purpose for it\",\n \"They saw no purpose to.\"\n ],\n [\n \"By showing them doctored photographs\",\n \"They used counterfeit photos of the planet \"\n ],\n [\n \"They destroyed them\",\n \"They destroyed them.\"\n ],\n [\n \"Because the leadys sealed all of the tubes\",\n \"The robots sealed the tubes. \"\n ],\n [\n \"To join a Soviet group that had learned the same thing about the leadys\",\n \"to join a group of Soviets who were also stranded on the surface\"\n ],\n [\n \"For humans to get along in the same world\",\n \"For the humans to get along.\"\n ],\n [\n \"Eight years\",\n \"Eight years.\"\n ],\n [\n \"Leadys\",\n \"Leadys\"\n ],\n [\n \"American War Planner\",\n \"Taylor is a war planner.\"\n ],\n [\n \"Observe an interrogation of leady regarding the war.\",\n \"Investigate the truth about surface conditions.\"\n ],\n [\n \"Because the leady is not raioactive.\",\n \"The leady is not radioactive.\"\n ],\n [\n \"As soon as the human abandoned the surface.\",\n \"The war ended when the humans went underground for evacuation.\"\n ],\n [\n \"Sealed off the tunnels.\",\n \"Sealed all the tubes to under ground \"\n ],\n [\n \"Similarly stranded Soviets.\",\n \"Soviets on the surface. \"\n ],\n [\n \"Work out the daily problems of existence.\",\n \"how to get along in the same world. \"\n ],\n [\n \"Lead suits\",\n \"Lead suits\"\n ]\n]","isConversational":false},"document_id":{"kind":"string","value":"58b09dbe61c50f921f8d5d4b8c28183a920bf160"},"split":{"kind":"string","value":"test"}}},{"rowIdx":55,"cells":{"text":{"kind":"list like","value":[[" Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," Are you thinking about going back to him? \n Margaret doesn't answer. \n MR. GILBERTSON (cont'd) \n We have a deal! You can't back out now! \n The flight attendant steps in, annoyed that Gilbertson is trying \n to break up Richard and Margaret. \n \n FLIGHT ATTENDANT \n Sir, you need to sit down. \n \n MR. GILBERTSON \n I will do no such thing. \n"," \n \n \n \n \n \n 41. \n \n MARGARET \n Oh please. I'd wonder too. Honestly, my \n lawyers have been dealing with all of this. \n When you told us at the airport it was the \n first time I'd heard about it. I'm so \n embarrassed. \n \n DEBBIE \n Don't be, dear. Geoffrey's just an ass."," \n \n \n \n \n \n 31. \n \n GEOFFREY \n So you must be Margaret. We've heard a lot \n about you. All of it bad. \n Margaret tentatively walks off the yacht in her none to practical \n sling backs. \n GEOFFREY (cont'd) \n I mean, I almost shit myself when I heard he \n was marrying the devil woman. \n \n MARGARET"," MARGARET \n We are! \n \n RICHARD \n You and him? \n \n MARGARET \n Stop playing around, honey. \n Margaret is all smiles. Richard is very confused. \n MARGARET (cont'd) \n Mr. Gilbertson is from the INS. I told him \n about us. About us getting married. \n \n MR. GILBERTSON \n You are marrying your male secretary? \n"," that's inconvenient. So here's what's going \n to happen. We'll play boyfriend and \n girlfriend this weekend for your parents and \n that should be enough for this INS \n interview. \n Richard doesn't react. Margaret doesn't notice. \n MARGARET (cont'd) \n So you need to figure out the travel, \n schedule a justice of the peace for next \n week, and get my lawyer on the phone."," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," Margaret for three years. Six months ago we \n started dating. I recently asked her to \n marry me, and she said yes. See you both at \n \n \n \n \n \n \n \n \n \n 95. \n \n GEOFFREY \n What are you doing, Richard? \n \n RICHARD \n (grabs Margaret's hand) \n Come on, we gotta get ready."," RICHARD \n Assistant. \n \n MR. GILBERTSON \n You are marrying your male assistant? \n \n MARGARET \n (matter of fact) \n We're in love. We tried to fight it. When \n it's right, it's right. \n \n MR. GILBERTSON \n And this has nothing to do with my visit \n here today? \n \n MARGARET"," How convenient. So you're not telling \n anyone that you are getting married? \n \n RICHARD \n Nope. \n Gilbertson smiles and puts down his pad. \n \n MR. GILBERTSON \n Pathetic. Four questions and I've got \n enough to send you to prison... \n \n MARGARET \n We're telling his family this weekend. \n \n RICHARD \n We are? \n"," Richard and Margaret make it to the attendant at the gate. \n Margaret is not amused by Richard's attempt at humor. \n \n MARGARET \n \n (VENOMOUS) \n Don't make me hate you. \n Margaret hands her boarding pass to the attendant and breezes \n through. The attendant gives Richard a look. \n \n RICHARD \n Bringing her home to meet my folks. She's \n \n \n \n \n"," MARGARET \n You wanna be an editor? You need to make \n \n \n \n \n \n \n \n \n \n 21. \n \n RICHARD \n OK. Fine. Then if we \"make this happen\"? \n You're promoting me to editor. \n \n MARGARET \n I'm doing what? \n \n RICHARD \n We go to Alaska and lie to my family? I"," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"],[" Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," Gilbertson pulls out a stack of papers and throws them down. \n \n MR. GILBERTSON \n Well, my office is going to reject your \n paperwork on Monday, while we investigate \n whether your behavior is well disposed to \n the good order and happiness of the United \n States. We must protect our sovereignty. \n \n MARGARET \n I'm a threat to the sovereignty of the \n United States? \n"," that's inconvenient. So here's what's going \n to happen. We'll play boyfriend and \n girlfriend this weekend for your parents and \n that should be enough for this INS \n interview. \n Richard doesn't react. Margaret doesn't notice. \n MARGARET (cont'd) \n So you need to figure out the travel, \n schedule a justice of the peace for next \n week, and get my lawyer on the phone."," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," MARGARET \n We are! \n \n RICHARD \n You and him? \n \n MARGARET \n Stop playing around, honey. \n Margaret is all smiles. Richard is very confused. \n MARGARET (cont'd) \n Mr. Gilbertson is from the INS. I told him \n about us. About us getting married. \n \n MR. GILBERTSON \n You are marrying your male secretary? \n"," I'm sorry if I hurt your feelings. You \n obviously were spending a lot of time \n writing, I just thought you should channel \n all that passion into something else. \n Gilbertson smiles as he pulls a BADGE from his coat pocket. \n \n \n \n \n \n \n \n \n \n 13. \n \n MR. GILBERTSON \n Ms. Mills, I'm with U.S. Citizenship and"," prison for five years. \n Gilbertson takes out a pad and takes notes. \n MR. GILBERTSON (cont'd) \n (to Richard) \n You. Do you know what you're getting \n yourself into? We're going to put you in a \n room and ask you every detail that a real \n couple would know about each other. Do you \n even know her favorite color? \n Richard doesn't answer. Margaret encourages him on with a thinly"," Wrong answer. No way. \n \n MARGARET \n What do you mean no way? This is crazy. \n \n RICHARD \n No, crazy was lying to the federal officer. \n \n MARGARET \n Well I don't like this. \n \n RICHARD \n Well I'm not making my Gammy an accomplice \n to a Class C felony! For one second could \n you not be so selfish? \n"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," I'm a federal officer, so why don't you get \n me another cocktail and mind your own... \n BUZZ! ZAP! 400,000 Volts of electricity surge through \n Gilbertson. He twitches violently and crashes to the floor. \n Behind him, The Handsome Man holds a stun gun and a badge. \n \n HANDSOME MAN \n Well, I'm a federal Air Marshall. And"," very proud. I love you Richy. \n \n RICHARD \n I love you too, Grandma. \n Grandma hugs the couple. Everyone smiles except Geoffrey and \n Gertrude. \n \n GEOFFREY \n So did this happen before or after the INS \n agent came sniffing around? \n \n DEBBIE \n What is wrong with you? I'm sorry Margaret. \n Margaret doesn't miss a beat. \n \n "," she's ready for a kiss. The two slowly begin to come together. \n Just as their dry lips are about to touch, Richard chickens out \n and kisses the hair on the top of her head. \n \n MR. GILBERTSON \n Five years in prison and a two hundred and \n fifty thousand dollar fine. \n \n MARGARET \n What? \n \n MR. GILBERTSON \n If I prove you're lying, you go to federal"," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," GEOFFREY \n I called him yesterday. He told me that you \n were lying, and that he was going to catch \n you. That he was going to send you to \n prison. \n \n MR. GILBERTSON \n (to Richard) \n We made a deal and dad here flew me up. Now \n you tell the truth, and get off scott free. \n It's like it never happened for you. \n \n RICHARD"," How convenient. So you're not telling \n anyone that you are getting married? \n \n RICHARD \n Nope. \n Gilbertson smiles and puts down his pad. \n \n MR. GILBERTSON \n Pathetic. Four questions and I've got \n enough to send you to prison... \n \n MARGARET \n We're telling his family this weekend. \n \n RICHARD \n We are? \n"," \n \n \n \n \n \n 41. \n \n MARGARET \n Oh please. I'd wonder too. Honestly, my \n lawyers have been dealing with all of this. \n When you told us at the airport it was the \n first time I'd heard about it. I'm so \n embarrassed. \n \n DEBBIE \n Don't be, dear. Geoffrey's just an ass."," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," resigned. I won't tell a soul, my lips are \n sealed. \n Margaret nods at Richard and he opens the door. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Margaret and Richard walk a few steps. Margaret looks straight \n ahead and whispers to Richard. \n \n MARGARET \n What's he doing? \n Richard turns around and takes a peek. Bob gets out of his chair"," No way. \n \n MARGARET \n I get why a not rich person would do this. \n But you've got everything. It doesn't make \n any sense. \n \n RICHARD \n Know what? This is none of your business. \n \n MARGARET \n I wish it wasn't my business. But \n unfortunately, it has become my business, \n because I made a deal with someone I thought \n I could trust."],[" Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," I'm a little tired of you making demands and \n me just jumping... \n \n MARGARET \n (re: wedding stuff) \n We're not going to need any of this if I \n don't get out of here. \n \n RICHARD \n OK, high maintenance. Let's go. \n \n EXT. PAXTON SPEED BOAT - DAY \n \n Unlike the bulky yacht, this boat is built for speed and"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," You're a very beautiful woman. \n Margaret smiles with her head turned away from Richard. \n \n MARGARET \n Get some sleep Richard, big day tomorrow. \n \n INT. PAXTON ESTATE - OFFICE - DAY \n \n Not a creature is stirring, except for Geoffrey who creeps into \n his office. He shuts the door softly and goes to his gigantic \n oak desk. He finds a phone number with a New York City area code"," Margaret and Richard storm out of the squash court. \n \n EXT. PAXTON ESTATE - DAY - CONTINUOUS \n \n The couple walks briskly to the house. \n \n RICHARD \n What was I thinking? They act like they're \n nice, but really, they're evil. \n \n MARGARET \n He's only doing it because he loves you. \n \n RICHARD"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," risk going to jail? Well, you're making me \n editor for that. I mean, did you think I'd \n do this out of the kindness of my heart? \n \n MARGARET \n You work for me! \n \n RICHARD \n You know, during my employee orientation, \n the HR rep didn't mention anything about me \n marrying you. \n \n MARGARET \n Look, I came to this town alone and with"," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," RICHARD \n Assistant. \n \n MR. GILBERTSON \n You are marrying your male assistant? \n \n MARGARET \n (matter of fact) \n We're in love. We tried to fight it. When \n it's right, it's right. \n \n MR. GILBERTSON \n And this has nothing to do with my visit \n here today? \n \n MARGARET"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," MARGARET \n You wanna be an editor? You need to make \n \n \n \n \n \n \n \n \n \n 21. \n \n RICHARD \n OK. Fine. Then if we \"make this happen\"? \n You're promoting me to editor. \n \n MARGARET \n I'm doing what? \n \n RICHARD \n We go to Alaska and lie to my family? I"," Don't be silly. This is the biggest day of \n your life. You are coming into this family, \n and when it's family, it's no trouble. If \n your parents were with us, they would do the \n exact same. \n Debbie leaves and Margaret smiles as the door closes. Richard \n jumps out of bed and goes to the food. \n \n MARGARET \n \n (TOUCHED)"," \n \n \n \n \n \n 31. \n \n GEOFFREY \n So you must be Margaret. We've heard a lot \n about you. All of it bad. \n Margaret tentatively walks off the yacht in her none to practical \n sling backs. \n GEOFFREY (cont'd) \n I mean, I almost shit myself when I heard he \n was marrying the devil woman. \n \n MARGARET"," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," Margaret angrily takes a bite of a cinnamon roll and slams it \n down on the plate. She goes to her suitcase and looks for \n clothes. A beat passes, and she comes back to the rolls. \n MARGARET (cont'd) \n These are really good. \n She takes a cinnamon roll and leaves. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret board the yacht. They wear athletic clothes"," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"],[" INT. PAXTON ESTATE - DAY \n \n Downstairs, the engagement party is in full swing. The starched \n wait staff stands out in the crowd, because the raucous party- \n goers are all dressed in flannel, T-shirts and baseball hats. \n \n \n \n \n \n \n \n \n \n 36. \n Ponytails rule for the women, and almost all the men have shaggy"," INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," MARGARET (cont'd) \n We are awful people. \n \n EXT. PAXTON ESTATE - DAY \n \n THWACK! An axe slams down and splits a log in two. Hands \n quickly place another log down and THWACK! We pull back to find \n Richard playing the role of executioner. He's still mad after \n talking to his dad, and is taking it out on the firewood. Rage"," You're a very beautiful woman. \n Margaret smiles with her head turned away from Richard. \n \n MARGARET \n Get some sleep Richard, big day tomorrow. \n \n INT. PAXTON ESTATE - OFFICE - DAY \n \n Not a creature is stirring, except for Geoffrey who creeps into \n his office. He shuts the door softly and goes to his gigantic \n oak desk. He finds a phone number with a New York City area code"," MR. GILBERTSON \n And where's that located? \n \n MARGARET \n (still no idea) \n In his hometown. \n \n RICHARD \n Sitka. \n \n MR. GILBERTSON \n Is that on Long Island? \n Only Richard has the answer. Margaret tries to cover. \n \n MARGARET \n Why don't you tell him? \n \n RICHARD"," EXT. PAXTON ESTATE - DAY \n \n Richard and Margaret walk towards the house, which looms above \n them as they prepare to deliver the news that they aren't getting \n married. The front door opens, and Geoffrey comes outside in a \n hurry. He's clearly been waiting. \n \n GEOFFREY \n Come with me. \n \n RICHARD \n Where's mom, dad? We all need to talk. \n"," Margaret and Richard storm out of the squash court. \n \n EXT. PAXTON ESTATE - DAY - CONTINUOUS \n \n The couple walks briskly to the house. \n \n RICHARD \n What was I thinking? They act like they're \n nice, but really, they're evil. \n \n MARGARET \n He's only doing it because he loves you. \n \n RICHARD"," MARGARET \n Who are you people? \n Richard lets Margaret wonder. \n \n EXT. PAXTON DOCK - DAY \n \n The ship docks and we get our first glimpse of the Paxton Estate. \n It sits above the rest of the wooded island and is as tasteful as \n a 15 bedroom Alaskan mansion can be. \n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \n \n \n"," MARGARET \n Why's Ramone letting you steal his stuff? \n \n RICHARD \n It's our stuff. \n \n \n \n \n \n \n \n \n \n 69. \n Richard points to the \"Paxton General Store\" sign. \n \n MARGARET \n That must have been handy in High School. \n \n RICHARD \n You have no idea. \n"," It's our friend, Frank. \n Richard's tone let's Margaret know there's a problem. \n \n MARGARET \n Excuse me, I'll just be a second. \n Margaret takes the phone and exits out French glass doors that \n lead to the backyard. She leaves the door open, and doesn't \n notice Balzac follow her outside. \n \n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \n"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," Yeah. You'd think you could make it to the \n airport to mark the occasion. \n Grandma Annie interrupts. \n \n GRANDMA ANNIE \n Help him with the bags Geoffrey. \n (to Richard and Margaret) \n Let's get you two settled. \n As Richard and Margaret move towards the house, Annie shoots \n Geoffrey a look that says \"be nice\". \n \n INT. PAXTON ESTATE - DAY \n"," 46. \n \n EXT. PAXTON ESTATE - SHORELINE - DAY \n \n Snow capped mountains watch 20 MEN in short sleeves hit golf \n balls into the ocean. Green pontoon rafts bob in the water, made \n up to look like golf greens. Golf balls are stacked in pyramid \n formations at every hitting area. \n Richard comes down from the house to join the group. Geoffrey"," hits a button to stop the treadmill... \n \n INT. WOMAN'S APARTMENT - EARLY MORNING \n \n A hand knocks an alarm clock off a table to shut it up. RICHARD \n PAXTON (26) wakes up on pink sheets and looks around to figure \n out where he is. There are multiple framed pictures of the same \n model on the walls. \n Richard looks at the clock and gets up quickly when he sees it is"," There's someone on the radio for you. \n The flight attendant points to the Flight Attendant CB located at \n the front of the plane, outside the cockpit. \n FLIGHT ATTENDANT (cont'd) \n Uh, a Richard Paxton? \n Margaret shakes her head and re-buckles her seat belt. \n \n MARGARET \n Tell him I'm not here. \n \n CUT TO: \n \n INT. TOWER - DAY \n"," she's gone, they turn their death stare back to Geoffrey. He \n looks genuinely unnerved. \n \n GEOFFREY \n Stop looking at me like that! \n \n EXT. PAXTON ESTATE - DAY \n \n Richard continues to listen to his iPod, and has worked up quite \n a sweat. He's stacks the last log, takes off his soaked through \n shirt, and gets a whiff of himself. Ew. He stinks. \n"," Debbie and Richard turn around and look out a picture window. \n They see Margaret running with Balzac above her head. \n \n DEBBIE \n Oh that's sweet, she's playing with my \n Balzac. \n \n EXT. PAXTON BACKYARD - DAY \n \n The eagle is long gone, but Margaret is still running with the \n dog trying to bait it back. \n \n MARGARET"," Gilbertson smiles. \n \n MR. GILBERTSON \n Now was that so hard? \n \n EXT. PAXTON ESTATE - DAY \n \n Richard sits by himself and finishes a beer by the shore. \n Gertrude walks up to him, looking fabulous, with two more beers. \n \n GERTRUDE \n So here's the deal. I'm going to have a \n million questions for you tomorrow..."," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"],[" INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," MARGARET (cont'd) \n We are awful people. \n \n EXT. PAXTON ESTATE - DAY \n \n THWACK! An axe slams down and splits a log in two. Hands \n quickly place another log down and THWACK! We pull back to find \n Richard playing the role of executioner. He's still mad after \n talking to his dad, and is taking it out on the firewood. Rage"," MARGARET \n Who are you people? \n Richard lets Margaret wonder. \n \n EXT. PAXTON DOCK - DAY \n \n The ship docks and we get our first glimpse of the Paxton Estate. \n It sits above the rest of the wooded island and is as tasteful as \n a 15 bedroom Alaskan mansion can be. \n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \n \n \n"," EXT. PAXTON ESTATE - DAY \n \n Richard and Margaret walk towards the house, which looms above \n them as they prepare to deliver the news that they aren't getting \n married. The front door opens, and Geoffrey comes outside in a \n hurry. He's clearly been waiting. \n \n GEOFFREY \n Come with me. \n \n RICHARD \n Where's mom, dad? We all need to talk. \n"," Margaret and Richard storm out of the squash court. \n \n EXT. PAXTON ESTATE - DAY - CONTINUOUS \n \n The couple walks briskly to the house. \n \n RICHARD \n What was I thinking? They act like they're \n nice, but really, they're evil. \n \n MARGARET \n He's only doing it because he loves you. \n \n RICHARD"," You're a very beautiful woman. \n Margaret smiles with her head turned away from Richard. \n \n MARGARET \n Get some sleep Richard, big day tomorrow. \n \n INT. PAXTON ESTATE - OFFICE - DAY \n \n Not a creature is stirring, except for Geoffrey who creeps into \n his office. He shuts the door softly and goes to his gigantic \n oak desk. He finds a phone number with a New York City area code"," It's our friend, Frank. \n Richard's tone let's Margaret know there's a problem. \n \n MARGARET \n Excuse me, I'll just be a second. \n Margaret takes the phone and exits out French glass doors that \n lead to the backyard. She leaves the door open, and doesn't \n notice Balzac follow her outside. \n \n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \n"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," Debbie and Richard turn around and look out a picture window. \n They see Margaret running with Balzac above her head. \n \n DEBBIE \n Oh that's sweet, she's playing with my \n Balzac. \n \n EXT. PAXTON BACKYARD - DAY \n \n The eagle is long gone, but Margaret is still running with the \n dog trying to bait it back. \n \n MARGARET"," crazy. \n \n RICHARD \n (could care less) \n Whatever. \n Margaret isn't accustomed to Richard talking to her this way, but \n doesn't push it. \n \n \n \n \n \n \n \n \n \n 79. \n \n EXT. PAXTON TRAIL - DAY \n \n Margaret runs at a fast pace deep in the woods. She's running"," GRANDMA ANNIE (cont'd) \n We can fix this no problem. \n Margaret smiles, but knows that Annie couldn't be more wrong. \n \n \n \n \n \n \n \n \n \n 86. \n \n EXT. PAXTON ESTATE - DAY \n \n Richard helps WORKERS build a stage for the band. He's still in \n a foul mood when Margaret interrupts in a panic. \n"," Yeah. You'd think you could make it to the \n airport to mark the occasion. \n Grandma Annie interrupts. \n \n GRANDMA ANNIE \n Help him with the bags Geoffrey. \n (to Richard and Margaret) \n Let's get you two settled. \n As Richard and Margaret move towards the house, Annie shoots \n Geoffrey a look that says \"be nice\". \n \n INT. PAXTON ESTATE - DAY \n"," INT. PAXTON MASTER BEDROOM - DAY \n \n Debbie and Annie wait outside a bathroom door in a massive master \n bedroom. They talk to Margaret through the door. \n \n DEBBIE \n I am so excited. Aren't you excited? \n \n GRANDMA ANNIE \n This was my dress from 1929. My mother made \n it by hand. Amazing how things come back \n into style. How does it fit?"," INT. PAXTON ESTATE - DAY \n \n Downstairs, the engagement party is in full swing. The starched \n wait staff stands out in the crowd, because the raucous party- \n goers are all dressed in flannel, T-shirts and baseball hats. \n \n \n \n \n \n \n \n \n \n 36. \n Ponytails rule for the women, and almost all the men have shaggy"," GEOFFREY \n Not now. C'mon. \n Richard and Margaret look at each other, not sure what to do. \n Geoffrey storms off and they follow. \n \n EXT. PAXTON GUESTHOUSE - DAY \n \n Richard, Margaret and Geoffrey arrive at the door to the \n guesthouse. Geoffrey stops before they go in. \n \n GEOFFREY \n (to Richard) \n I haven't told your mother about any of"," MARGARET (cont'd) \n Goodbye, Richard. \n \n EXT. PAXTON ESTATE - DAY \n \n Margaret walks down to the dock carrying her suitcase. She can \n hear that the party is in full swing and smiles. \n \n EXT. BOAT - DAY \n \n Gilbertson drives his little speedboat and Margaret holds her \n suitcase tight. It's choppy, and the outboard motor is loud."," she's gone, they turn their death stare back to Geoffrey. He \n looks genuinely unnerved. \n \n GEOFFREY \n Stop looking at me like that! \n \n EXT. PAXTON ESTATE - DAY \n \n Richard continues to listen to his iPod, and has worked up quite \n a sweat. He's stacks the last log, takes off his soaked through \n shirt, and gets a whiff of himself. Ew. He stinks. \n"," Margaret angrily takes a bite of a cinnamon roll and slams it \n down on the plate. She goes to her suitcase and looks for \n clothes. A beat passes, and she comes back to the rolls. \n MARGARET (cont'd) \n These are really good. \n She takes a cinnamon roll and leaves. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret board the yacht. They wear athletic clothes"," INT. MARGARET'S ROOM - DAY \n \n Margaret walks into the private bathroom attached to her room and \n shuts the door. We hear her turn on the shower. \n \n INT. PAXTON ESTATE FAMILY ROOM - DAY \n \n Geoffrey defends himself to Debbie and Annie with great \n conviction. Richard walks right by the fighting trio, but \n doesn't notice anyone. He continues to listen to his iPod and"],[" INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," (SUSPICIOUS) \n Ex-girlfriend, huh? \n \n \n \n \n \n \n \n \n \n 24. \n \n HANDSOME MAN \n (smiling, embarrassed) \n OK, you got me. I'm a closet romantic. But \n let's keep that between us. \n Margaret smiles and makes the \"my lips are sealed\" motion. Just"," hits a button to stop the treadmill... \n \n INT. WOMAN'S APARTMENT - EARLY MORNING \n \n A hand knocks an alarm clock off a table to shut it up. RICHARD \n PAXTON (26) wakes up on pink sheets and looks around to figure \n out where he is. There are multiple framed pictures of the same \n model on the walls. \n Richard looks at the clock and gets up quickly when he sees it is"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," MARGARET (cont'd) \n We are awful people. \n \n EXT. PAXTON ESTATE - DAY \n \n THWACK! An axe slams down and splits a log in two. Hands \n quickly place another log down and THWACK! We pull back to find \n Richard playing the role of executioner. He's still mad after \n talking to his dad, and is taking it out on the firewood. Rage"," crazy. \n \n RICHARD \n (could care less) \n Whatever. \n Margaret isn't accustomed to Richard talking to her this way, but \n doesn't push it. \n \n \n \n \n \n \n \n \n \n 79. \n \n EXT. PAXTON TRAIL - DAY \n \n Margaret runs at a fast pace deep in the woods. She's running"," she's gone, they turn their death stare back to Geoffrey. He \n looks genuinely unnerved. \n \n GEOFFREY \n Stop looking at me like that! \n \n EXT. PAXTON ESTATE - DAY \n \n Richard continues to listen to his iPod, and has worked up quite \n a sweat. He's stacks the last log, takes off his soaked through \n shirt, and gets a whiff of himself. Ew. He stinks. \n"," It's our friend, Frank. \n Richard's tone let's Margaret know there's a problem. \n \n MARGARET \n Excuse me, I'll just be a second. \n Margaret takes the phone and exits out French glass doors that \n lead to the backyard. She leaves the door open, and doesn't \n notice Balzac follow her outside. \n \n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \n"," You're a very beautiful woman. \n Margaret smiles with her head turned away from Richard. \n \n MARGARET \n Get some sleep Richard, big day tomorrow. \n \n INT. PAXTON ESTATE - OFFICE - DAY \n \n Not a creature is stirring, except for Geoffrey who creeps into \n his office. He shuts the door softly and goes to his gigantic \n oak desk. He finds a phone number with a New York City area code"," Margaret and Richard storm out of the squash court. \n \n EXT. PAXTON ESTATE - DAY - CONTINUOUS \n \n The couple walks briskly to the house. \n \n RICHARD \n What was I thinking? They act like they're \n nice, but really, they're evil. \n \n MARGARET \n He's only doing it because he loves you. \n \n RICHARD"," Margaret angrily takes a bite of a cinnamon roll and slams it \n down on the plate. She goes to her suitcase and looks for \n clothes. A beat passes, and she comes back to the rolls. \n MARGARET (cont'd) \n These are really good. \n She takes a cinnamon roll and leaves. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret board the yacht. They wear athletic clothes"," MARGARET (cont'd) \n Goodbye, Richard. \n \n EXT. PAXTON ESTATE - DAY \n \n Margaret walks down to the dock carrying her suitcase. She can \n hear that the party is in full swing and smiles. \n \n EXT. BOAT - DAY \n \n Gilbertson drives his little speedboat and Margaret holds her \n suitcase tight. It's choppy, and the outboard motor is loud."," There's someone on the radio for you. \n The flight attendant points to the Flight Attendant CB located at \n the front of the plane, outside the cockpit. \n FLIGHT ATTENDANT (cont'd) \n Uh, a Richard Paxton? \n Margaret shakes her head and re-buckles her seat belt. \n \n MARGARET \n Tell him I'm not here. \n \n CUT TO: \n \n INT. TOWER - DAY \n"," MARGARET \n Why's Ramone letting you steal his stuff? \n \n RICHARD \n It's our stuff. \n \n \n \n \n \n \n \n \n \n 69. \n Richard points to the \"Paxton General Store\" sign. \n \n MARGARET \n That must have been handy in High School. \n \n RICHARD \n You have no idea. \n"," INT. PAXTON ESTATE - DAY \n \n Downstairs, the engagement party is in full swing. The starched \n wait staff stands out in the crowd, because the raucous party- \n goers are all dressed in flannel, T-shirts and baseball hats. \n \n \n \n \n \n \n \n \n \n 36. \n Ponytails rule for the women, and almost all the men have shaggy"," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"," EXT. PAXTON ESTATE - DAY \n \n Richard and Margaret walk towards the house, which looms above \n them as they prepare to deliver the news that they aren't getting \n married. The front door opens, and Geoffrey comes outside in a \n hurry. He's clearly been waiting. \n \n GEOFFREY \n Come with me. \n \n RICHARD \n Where's mom, dad? We all need to talk. \n"," flight before sitting nearby. \n \n HANDSOME MAN \n (re: Gilbertson) \n Is this another gay assistant? \n Margaret doesn't say anything and takes her seat. \n \n EXT. PAXTON ESTATE - DAY \n \n TWO COAST GUARDSMAN carry Annie on a gurney to their waiting \n helicopter. Geoffrey, Richard, and Debbie follow behind. They \n all pile into a large chopper and fly off. \n"," Debbie and Richard turn around and look out a picture window. \n They see Margaret running with Balzac above her head. \n \n DEBBIE \n Oh that's sweet, she's playing with my \n Balzac. \n \n EXT. PAXTON BACKYARD - DAY \n \n The eagle is long gone, but Margaret is still running with the \n dog trying to bait it back. \n \n MARGARET"],[" Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," It was getting too messy. We weren't going \n to be able to keep it up. \n \n RICHARD \n Don't start lying to me now. \n Margaret stops for a moment. \n \n MARGARET \n I heard you and Gertrude at the school. I \n think she meant what she said. She's a \n great girl, you should stay. It's the right \n thing. You're perfect for each other. \n"," RICHARD (cont'd) \n (noticing her change in mood) \n Uh, is something wrong? \n \n GERTRUDE \n No. Nothing's wrong. \n \n RICHARD \n It's been awhile, but I can still tell when \n something's wrong with you. \n Gertrude doesn't want to say anything. \n RICHARD (cont'd)"," married. I want to know these things. \n Gertrude looks down a little embarrassed. \n \n GERTRUDE \n He proposed to me. When we were seniors. \n Margaret laughs. \n \n MARGARET \n I'm sorry. I didn't mean to... He proposed \n to you in high school? \n \n GERTRUDE \n He bought this sweet little ring, and got \n down on his knee. It was so cute."," forgotten about Margaret completely. \n \n GERTRUDE \n No. I live here now. \n \n RICHARD \n You what? \n \n GERTRUDE \n I moved back about six months ago. I'm \n teaching second grade. At Baranof. \n \n RICHARD \n Did your husband move up here too? \n \n GERTRUDE \n Uh, no. I, ah, got divorced."," Richard's reaction stings, and Gertrude begins to well up. \n Bringing this up is very hard for her. \n \n GERTRUDE \n I'm not talking about dating! You should \n move back here. We can have the life you \n always talked about in High School. I'm \n ready for that now. \n \n RICHARD \n Why are you doing this? \n \n GERTRUDE"," Gilbertson smiles. \n \n MR. GILBERTSON \n Now was that so hard? \n \n EXT. PAXTON ESTATE - DAY \n \n Richard sits by himself and finishes a beer by the shore. \n Gertrude walks up to him, looking fabulous, with two more beers. \n \n GERTRUDE \n So here's the deal. I'm going to have a \n million questions for you tomorrow..."," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," RICHARD \n But then things changed. And it wasn't so \n comfortable anymore. \n \n MARGARET \n What kind of things changed? \n \n RICHARD \n Stuff. \n \n MARGARET \n (as if she didn't know) \n You mean, like, Gertrude? \n \n RICHARD \n Yeah... \n Richard stops, he can tell Margaret knows something."," 51. \n \n MARGARET \n That surprises you? \n \n GERTRUDE \n Did he ever tell you why we broke up? \n \n MARGARET \n We don't really talk much about stuff like \n that. \n \n GERTRUDE \n Oh. Well I should shut up... \n \n MARGARET \n No, no. Please. I mean, we are getting"," MARGARET \n You must have... \n \n GERTRUDE \n ... freaked out? Oh you bet. I broke up \n with him on the spot. \n \n MARGARET \n I would hope so. \n \n GERTRUDE \n After getting rejected the first time, I \n can't imagine how hard it was for him to get \n up the courage to ask you. \n Margaret just smiles, feeling guilty about lying when Gertrude is"," But as crazy as this seems. I know now... \n that we're just not meant to be. \n Gertrude pulls back like she's been punched. \n RICHARD (cont'd) \n Thing is... when I said goodbye to Margaret? \n I felt sick. For the three years we worked \n together, I wanted to be as far away from \n her as possible. But now that she's gone?"," Yeah. We'll see what he says. \n \n RICHARD \n Great. Great. \n \n MARGARET \n You ready to get back to the house? \n \n RICHARD \n Uh. Yeah. Uh-huh. \n \n MARGARET \n Well let's go. See you at the wedding, \n Gertrude. \n Gertrude just smiles. \n \n GERTRUDE"," story like this. \n \n RICHARD \n Well... \n Richard hasn't recovered from seeing Gertrude. \n RICHARD (cont'd) \n Uh, uh, um, I... \n \n GEOFFREY \n Yeah. How did you pop the question? \n Richard is a deer in the headlights. This is getting ugly. \n Margaret sees that Richard is going to crumble, and steps in. \n \n MARGARET"," GERTRUDE \n Yes. \n \n RICHARD \n Oh, thank God. I thought this was like, \n something big. \n \n GERTRUDE \n This is something big. \n \n RICHARD \n I coulda used this about five years ago, but \n I'm all good now, promise. Thank you for \n saying that, though. \n Gertrude sees that Richard isn't getting her point. She pulls"," Richard gives her a polite smile. He's not really in the mood to \n joke. Gertrude notices. \n GERTRUDE (cont'd) \n So no jokes yet? Too soon? \n \n RICHARD \n I'm sorry. I'm just a little... confused. \n \n GERTRUDE \n That kiss didn't seem \"confused.\" \n Richard takes a beat to collect himself. \n \n RICHARD"," Are you OK? \n \n GERTRUDE \n I'm fine. Really. Go. \n Gertrude nods her approval and Richard runs off to the party. \n \n \n \n \n \n \n \n \n \n 104. \n \n EXT. PAXTON ESTATE - PARTY - DAY \n \n Debbie, Geoffrey and Annie sit at a table next to the bar,"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," being so honest with her. \n GERTRUDE (cont'd) \n Anyway. The idea that my little old man \n could be a player... It's just not the \n Richard I knew. Good thing you're making an \n honest man of him again. \n \n \n \n \n \n \n \n \n \n 52. \n Gertrude toasts Margaret and knocks back the rest of her beer in"],[" MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," Geoffrey could let it go, but wants to push her. \n \n GEOFFREY \n No. How many years is that? Exactly. \n Margaret gives Geoffrey the slightest look. \n \n MARGARET \n Well, let me see. That would be sixteen or \n seventeen years. Exactly. \n \n \n \n \n \n \n \n \n \n 37. \n \n GEOFFREY"," forgotten about Margaret completely. \n \n GERTRUDE \n No. I live here now. \n \n RICHARD \n You what? \n \n GERTRUDE \n I moved back about six months ago. I'm \n teaching second grade. At Baranof. \n \n RICHARD \n Did your husband move up here too? \n \n GERTRUDE \n Uh, no. I, ah, got divorced."," MARGARET \n Who are you people? \n Richard lets Margaret wonder. \n \n EXT. PAXTON DOCK - DAY \n \n The ship docks and we get our first glimpse of the Paxton Estate. \n It sits above the rest of the wooded island and is as tasteful as \n a 15 bedroom Alaskan mansion can be. \n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \n \n \n"," RICHARD \n But then things changed. And it wasn't so \n comfortable anymore. \n \n MARGARET \n What kind of things changed? \n \n RICHARD \n Stuff. \n \n MARGARET \n (as if she didn't know) \n You mean, like, Gertrude? \n \n RICHARD \n Yeah... \n Richard stops, he can tell Margaret knows something."," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," 68. \n \n MARGARET \n \n (EMBARRASSED) \n Hey. \n They walk a few steps, and before Margaret can say a word. \n MARGARET (cont'd) \n You know him? \n \n RICHARD \n He was my shop teacher. \n \n MARGARET \n Of course he was. How many people are on \n this island?"," he's done, and leaves Margaret. She's peeved. \n RICHARD (cont'd) \n \n (FLUSTERED) \n What are you? What are you doing here? \n \n GERTRUDE \n Your dad made me come. \n \n RICHARD \n From Chicago? \n Gertrude laughs. The group watches these two see each for the \n first time in years. There is instant chemistry, and Richard has"," RICHARD (cont'd) \n Oh my god. She told you didn't she? \n \n MARGARET \n \n (INNOCENT) \n Told me what? \n Richard is embarrassed. He turns away. \n \n RICHARD \n About the... you know. \n \n MARGARET \n The creepy teenage proposal? \n \n RICHARD \n Ah, shit! \n \n MARGARET"," MARGARET \n \n \n \n \n \n \n \n \n \n 50. \n \n GERTRUDE \n I actually missed it when I was in the \n states. \n \n MARGARET \n Chicago, right? \n \n GERTRUDE \n Yeah. Since college. \n \n MARGARET \n And now you're back? \n \n GERTRUDE"," It was getting too messy. We weren't going \n to be able to keep it up. \n \n RICHARD \n Don't start lying to me now. \n Margaret stops for a moment. \n \n MARGARET \n I heard you and Gertrude at the school. I \n think she meant what she said. She's a \n great girl, you should stay. It's the right \n thing. You're perfect for each other. \n"," Just that you were coming up here this \n weekend. That we hadn't seen you in a \n while, and that we'd heard about Margaret \n for years, but that we'd never met her. \n Debbie turns to Margaret and takes both of her hands. \n DEBBIE (CONT'D (cont'd) \n The way that Richard talked about you? I'll \n admit, I didn't see this coming. \n \n MARGARET \n Me neither."," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," MARGARET (cont'd) \n Goodbye, Richard. \n \n EXT. PAXTON ESTATE - DAY \n \n Margaret walks down to the dock carrying her suitcase. She can \n hear that the party is in full swing and smiles. \n \n EXT. BOAT - DAY \n \n Gilbertson drives his little speedboat and Margaret holds her \n suitcase tight. It's choppy, and the outboard motor is loud."," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," RICHARD \n Um. Shouldn't we talk about what we're \n going to say to my parents? \n Margaret doesn't look up, annoyed with the question. \n \n MARGARET \n Are you done with the press release? \n \n RICHARD \n Almost. \n \n MARGARET \n \n (PATRONIZING) \n Well let's finish big people business before"," never thought I'd end up divorced and back \n here teaching at my old elementary school. \n That was always Richard's plan. \n \n MARGARET \n For you to get divorced? \n \n GERTRUDE \n (smiles, remembering) \n No. I was going to teach, he was going to \n run his dad's business. He was like a \n little old man. Had it all worked out. \n \n MARGARET"," Margaret turns back to Richard. All smiles. \n MARGARET (cont'd) \n I've got some explaining to do. \n Margaret and Richard walk down the steps and stand in front of \n Richard's family. \n MARGARET (cont'd) \n (to Debbie) \n Hi. I'm Margaret. I've known your son for \n years, but we've just recently begun to see \n each other romantically. \n (to Geoffrey)"," So when I tell my folks that I want to spend \n my life finding books? My dad goes ape \n shit. \"How dare you forsake your family... \n you'll come crawling back to us... you're \n nothing without our help.\" I left that \n night and we didn't talk for a year. \n Haven't been back here since. \n \n MARGARET \n So we're \"getting married\" so you can give"],[" MARGARET \n You must have... \n \n GERTRUDE \n ... freaked out? Oh you bet. I broke up \n with him on the spot. \n \n MARGARET \n I would hope so. \n \n GERTRUDE \n After getting rejected the first time, I \n can't imagine how hard it was for him to get \n up the courage to ask you. \n Margaret just smiles, feeling guilty about lying when Gertrude is"," Did you fake a heart attack? \n \n ANNIE \n We didn't have time for your squabbling, and \n I knew a helicopter would be the quickest \n way to the airport. It seemed like the best \n way. \n \n RICHARD \n The best way? \n \n ANNIE \n And remember, you two promised me that \n you're going get along. I wasn't kidding \n about that. \n"," Didn't tell you what? \n \n ANNIE \n We're not saying anything until you let us \n meet Margaret. Now, where's our girl? \n Richard looks around. Margaret keeps her head down and tries to \n avoid eye contact. \n \n RICHARD \n Uh. Margaret? You need to come over here. \n Like now. Honey. \n The Handsome Man sees Richard with the banner people, calling for"," GRANDMA ANNIE (89) also waits. She's lived a long time and \n doesn't have a lot of time to screw around. \n When they see Richard, they SCREAM. Margaret's face drops. \n \n ALL \n There he is!!! Where's Margaret? \n Richard blanches white. Margaret looks back with eyes that say \n \"What the hell is going on?\" \n \n \n \n \n \n \n \n \n"," You're right. \n Debbie collects herself, then starts crying again. \n \n GRANDMA ANNIE \n You go work downstairs, I'll finish this. \n Debbie tries to calm down, but can't. \n GRANDMA ANNIE (cont'd) \n Go! \n Debbie nods in agreement. Smiling from ear to ear, she leaves in \n tears. Margaret and Annie watch her go. \n GRANDMA ANNIE (cont'd)"," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," The women encourage Hank on as he moves Margaret's hands to his \n wiggling ass and gives her a feel. She can't help but give and \n embarrassed smile. Finally, the song ends and Hank goes into the \n splits. Thrilled, the room gives him a standing ovation. \n Margaret plays along and gives Hank a kiss on the cheek. She \n begins to get off the stage, but Hank takes her by the hand. \n \n \n \n \n \n "," GRANDMA ANNIE (cont'd) \n We can fix this no problem. \n Margaret smiles, but knows that Annie couldn't be more wrong. \n \n \n \n \n \n \n \n \n \n 86. \n \n EXT. PAXTON ESTATE - DAY \n \n Richard helps WORKERS build a stage for the band. He's still in \n a foul mood when Margaret interrupts in a panic. \n"," Then suddenly Annie takes off her mask, sits up, and yells to th \n pilot. \n ANNIE (cont'd) \n (as if nothing happened) \n I'm feeling much better. I don't need to go \n to the hospital. Take us to the airport, \n please. \n Richard and Geoffrey are confused. Stunned even. \n \n GEOFFREY \n What... what is going on? \n (so the Coast Guard can't hear)"," 113. \n \n MARGARET \n What's your point? \n \n RICHARD \n Because I am sick that you left. And if you \n feel sick too, then why shouldn't we just be \n together? \n Margaret goes to answer, but stops. Richard is right. She wants \n to go back. Even the passengers on the plane can see it. \n Gilbertson panics. \n \n MR. GILBERTSON"," ANNIE \n Why is Richard chopping wood? \n \n DEBBIE \n And don't play dumb. What did you do? \n Geoffrey is uncomfortable answering in front of Margaret. \n \n \n \n \n \n \n \n \n \n 53. \n \n GEOFFREY \n Nothing. I didn't do anything... will you \n please move. \n The showdown intensifies. Margaret excuses herself. \n"," (STALLING) \n Uh, sure. Just a second. \n Margaret can't yell at Richard, so she throws a model wooden \n sailboat to wake him up. She hits him in the head. \n \n RICHARD \n What the... \n \n MARGARET \n \n (MOUTHING) \n Your mother. \n Richard jumps up and replaces cushions and hides signs of his"," MARGARET \n I am so tired. \n Balzac GROWLS when he hears Margaret's voice. He's still mad. \n Margaret just smiles. \n MARGARET (cont'd) \n Think I'm going to take a shower and clean \n off Ramone's bubble gum body oil. Thanks for \n a great night. \n Annie and Debbie smile graciously and wish her good night. Once"," Had to get rid of her before I gave you \n this. Don't think she woulda recovered. \n Grandma Annie comes from behind and puts her arms around \n Margaret's neck. When she is done, a stunning blue necklace lays \n on Margaret's neck. \n GRANDMA ANNIE (cont'd) \n You needed something blue. It's silly, but \n I didn't want to take any chances. \n \n MARGARET"," MARGARET \n You wanna be an editor? You need to make \n \n \n \n \n \n \n \n \n \n 21. \n \n RICHARD \n OK. Fine. Then if we \"make this happen\"? \n You're promoting me to editor. \n \n MARGARET \n I'm doing what? \n \n RICHARD \n We go to Alaska and lie to my family? I"," story like this. \n \n RICHARD \n Well... \n Richard hasn't recovered from seeing Gertrude. \n RICHARD (cont'd) \n Uh, uh, um, I... \n \n GEOFFREY \n Yeah. How did you pop the question? \n Richard is a deer in the headlights. This is getting ugly. \n Margaret sees that Richard is going to crumble, and steps in. \n \n MARGARET"," It was getting too messy. We weren't going \n to be able to keep it up. \n \n RICHARD \n Don't start lying to me now. \n Margaret stops for a moment. \n \n MARGARET \n I heard you and Gertrude at the school. I \n think she meant what she said. She's a \n great girl, you should stay. It's the right \n thing. You're perfect for each other. \n"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," MARGARET \n Yeah, it's a little snug. \n \n DEBBIE \n Come over here. \n Debbie leads Margaret to a mirror. Grandma Annie follows. \n \n \n \n \n \n \n \n \n \n 84. \n \n MARGARET \n \n (ADMITTING) \n It's a lovely dress. \n Debbie looks at Margaret, and spontaneously begins crying. \n"],[" Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," Margaret and Richard enter Bob's office, which is decorated with \n beautiful antiques and first edition books. But unlike \n Margaret's office, this one isn't in the corner. \n Margaret nods at Richard to shut the door. BOB (42) wears a prim \n bow tie, circular tortoise shell glasses, and the air of \n superiority. \n \n MARGARET \n Hey, Bob. \n \n BOB"," MAN who is READING A BOOK. She notices the title and he catches \n her stare. Margaret explains. \n \n MARGARET \n I'm sorry, I hate it when people stare at \n what I'm reading. It's just... I worked on \n that book. \n \n HANDSOME MAN \n You wrote it? \n \n MARGARET \n Edited it. It was one of my favorites. \n"," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," MARGARET \n I asked you repeatedly to get Frank to do \n publicity. You said it was impossible. \n \n BOB \n It is. He doesn't do publicity. \n \n MARGARET \n I just talked to him. He's in. \n \n BOB \n But... \n \n MARGARET \n No more buts, Bob. I've been chief for a"," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"," MARGARET (cont'd) \n I fired Bob because he didn't have your best \n interest in mind. Our job is to help you \n succeed. He wasn't doing that. \n Margaret continues to listen to her writer whine, when she \n notices an EAGLE soaring in circles above her and Balzac. Not \n sure what to think, she looks back at Balzac and sees him \n peacefully sit in the grass."," MARGARET \n One more question... \n \n RICHARD \n Yes, everyone at work thinks you're a \n lesbian. \n \n MARGARET \n That wasn't my question. \n \n RICHARD \n I know. Just lashing out. \n Margaret smiles. \n \n MARGARET \n Can we stop gutting fish? I need my phone. \n"," \n \n \n \n \n \n \n \n 7. \n Margaret starts walking. Richard quickly catches up, worried \n because he doesn't know where she's going with this. \n \n MARGARET \n I'm firing on all cylinders and you've got \n hearts on your coffee cup, wicked bed head, \n and a wrinkled suit that you wore yesterday. \n \n RICHARD"," pulls out a SPRAY BOTTLE out of the same drawer, sprays it all \n over his body, and then on his head to help mat down a tricky \n cowlick. Satisfied, he hurries into a nearby corner office. \n \n INT. SKYSCRAPER LOBBY - MORNING \n \n Margaret walks into the lobby and continues talking. Employees \n avoid her and pile into the elevator. \n \n \n \n \n \n \n"," RICHARD \n What? \n Richard doesn't know what Margaret is talking about, until she \n nods at the cup. He's embarrassed. \n \n MARGARET \n Are you bored here? Do you need little \n distractions like that to get you through \n the day? \n \n RICHARD \n Uh... \n \n MARGARET \n You have another late night out? \n \n RICHARD \n"," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," MARGARET \n \n \n \n \n \n \n \n \n \n 50. \n \n GERTRUDE \n I actually missed it when I was in the \n states. \n \n MARGARET \n Chicago, right? \n \n GERTRUDE \n Yeah. Since college. \n \n MARGARET \n And now you're back? \n \n GERTRUDE"," Margaret goes far from the house so no one can hear. Balzac \n follows her all the way, but Margaret doesn't see him. \n \n MARGARET \n Don't be a cliche, Frank. Don't be the \n wishy washy writer who changes his mind \n every two seconds. \n Margaret notices Balzac, but ignores him. The dog starts YAPPING \n to get attention. She walks away, but Balzac continues barking."," MARGARET \n I am so tired. \n Balzac GROWLS when he hears Margaret's voice. He's still mad. \n Margaret just smiles. \n MARGARET (cont'd) \n Think I'm going to take a shower and clean \n off Ramone's bubble gum body oil. Thanks for \n a great night. \n Annie and Debbie smile graciously and wish her good night. Once"," Richard leaves Margaret's office. She still has her coffee cup \n outstretched in her hand. \n \n \n \n \n \n \n \n \n \n 20. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Richard powers through the office. Co-workers take notice that \n Margaret is following him. \n \n MARGARET \n Richard, come back here."," MARGARET \n Well, we need to talk. \n \n RICHARD \n You want to talk with me? Fine. Grab your \n broom and let's go. \n Margaret is dumbstruck. The receptionist is shocked. The \n elevator arrives and Richard gets in. Margaret follows. As the \n doors close, Richard shouts out to the receptionist. \n RICHARD (cont'd) \n Watch my phones! \n"," MARGARET (cont'd) \n (belly laugh) \n Ahhh!!! \n Margaret falls out of her chair and her scream frightens Ramone. \n After the initial scare he composes himself and wags his finger \n at her naughty behavior. \n \n RAMONE \n You are a naughty devil. \n Ramone goes to work another part of the stage, and when he turns, \n Margaret jumps off the stage and joins the ladies. \n"," 3. \n \n INT. MARGARET'S LOBBY - MORNING \n \n DING! The elevator opens and Margaret strides towards the exit \n and the DOORMAN (60). Before Margaret gets to the door, her CELL \n PHONE RINGS. She checks the caller ID and excitedly points at \n her phone as she lets it ring. \n \n MARGARET \n (to phone) \n I knew you would call! Now come on, tell me"," \n \n 10. \n Margaret and Richard walk away and speak in hushed tones. \n MARGARET (cont'd) \n We need to call his authors and explain what \n happened. And get Frank's publicity \n schedule figured out pronto. \n \n RICHARD \n No problem. I'll just cancel my trip this \n weekend. \n \n MARGARET \n I gave you the weekend off? \n \n RICHARD"],[" Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," RICHARD \n Assistant. \n \n MR. GILBERTSON \n You are marrying your male assistant? \n \n MARGARET \n (matter of fact) \n We're in love. We tried to fight it. When \n it's right, it's right. \n \n MR. GILBERTSON \n And this has nothing to do with my visit \n here today? \n \n MARGARET"," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," So when I tell my folks that I want to spend \n my life finding books? My dad goes ape \n shit. \"How dare you forsake your family... \n you'll come crawling back to us... you're \n nothing without our help.\" I left that \n night and we didn't talk for a year. \n Haven't been back here since. \n \n MARGARET \n So we're \"getting married\" so you can give"," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"," No. No. No. He's my assistant. \n \n HANDSOME MAN \n You're bringing your assistant all the way \n to Alaska? \n Richard smiles, happy that Margaret has to answer. \n \n RICHARD \n Oh, you can tell him the truth. \n \n MARGARET \n Well, he's... indispensable. \n \n \n \n \n \n \n \n \n"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," RICHARD \n Assistant. \n \n MR. GILBERTSON \n ...assistant to marry you and then \n conveniently telling his family for the \n first time this weekend? \n \n MARGARET \n I'm sorry, Dante. Did you not prepare for \n that? \n Margaret puts her arm around Richard and waits in silence. \n \n \n \n \n \n \n \n \n \n 19."," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," How convenient. So you're not telling \n anyone that you are getting married? \n \n RICHARD \n Nope. \n Gilbertson smiles and puts down his pad. \n \n MR. GILBERTSON \n Pathetic. Four questions and I've got \n enough to send you to prison... \n \n MARGARET \n We're telling his family this weekend. \n \n RICHARD \n We are? \n"," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"," MARGARET \n Should you leave the cart? \n \n RICHARD \n It's our cart. I didn't know you were such \n a prude. \n \n MARGARET \n I've come to realize that being my assistant \n gave you more access to my life than I ever \n imagined, but there are a few things you \n don't know about me. \n \n RICHARD"," Really? Does she think that too? \n \n RICHARD \n I don't know. I've got to get to the \n airport to find out. \n Debbie doesn't say anything, then breaks into a smile. \n \n \n \n \n \n \n \n \n \n 105. \n \n DEBBIE \n (so romantic) \n He's going to stop her from leaving! At the \n airport!"," Hey. Watch it. You're still my assistant. \n \n RICHARD \n You were going to promote me anyway. \n \n MARGARET \n Sure of that? \n \n RICHARD \n Nope. Not at all. \n Margaret takes a look at herself in the mirror. \n \n MARGARET \n Well, come on. If we're going to do this, \n we might as well put on a show. \n"," MARGARET \n Well, we need to talk. \n \n RICHARD \n You want to talk with me? Fine. Grab your \n broom and let's go. \n Margaret is dumbstruck. The receptionist is shocked. The \n elevator arrives and Richard gets in. Margaret follows. As the \n doors close, Richard shouts out to the receptionist. \n RICHARD (cont'd) \n Watch my phones! \n"," \n \n \n \n \n \n 31. \n \n GEOFFREY \n So you must be Margaret. We've heard a lot \n about you. All of it bad. \n Margaret tentatively walks off the yacht in her none to practical \n sling backs. \n GEOFFREY (cont'd) \n I mean, I almost shit myself when I heard he \n was marrying the devil woman. \n \n MARGARET"," risk going to jail? Well, you're making me \n editor for that. I mean, did you think I'd \n do this out of the kindness of my heart? \n \n MARGARET \n You work for me! \n \n RICHARD \n You know, during my employee orientation, \n the HR rep didn't mention anything about me \n marrying you. \n \n MARGARET \n Look, I came to this town alone and with"],[" HANDSOME MAN \n You're awfully nice to fly him first class. \n Margaret nods her head and agrees. It sucks to be Richard. \n \n EXT. AERIAL OF SITKA - DAY \n \n We see the natural beauty of South Eastern Alaska. Sitka is an \n island the size of Maui. Only an eight mile stretch of coast is \n inhabited, the rest is complete wilderness. At the center of the"," grandchild's wedding day. It's a dream come \n true for me. A dream come true. Please let \n me see Richard get married before I die. \n Please. \n Long beat. Richard doesn't know what Margaret is going to say. \n Margaret doesn't know what Margaret is going to say. Finally, \n she goes to speak, but can only get out... two big thumbs up. \n The crowd cheers. \n \n EXT. SITKA - DAY"," The Pioneer bar is a classic Alaskan bar, decorated with pictures \n of every fishing vessel that has made Sitka its home. \n But tonight estrogen rules, as all the patrons are women CHEERING \n for an oiled, toned, and BEARDED MAN in a tiny thong who gyrates \n to the beat of Prince's \"Sexy Motherfucker.\" On stage with the \n dancer, Margaret tries to not look miserable in her NOVELTY \n"," MR. GILBERTSON \n And where's that located? \n \n MARGARET \n (still no idea) \n In his hometown. \n \n RICHARD \n Sitka. \n \n MR. GILBERTSON \n Is that on Long Island? \n Only Richard has the answer. Margaret tries to cover. \n \n MARGARET \n Why don't you tell him? \n \n RICHARD"," mountain walls on either side. Although it is still warm out, an \n icy beach can be seen straight ahead. \n MARGARET (cont'd) \n Where are we? \n \n RICHARD \n The north pole. Congratulations, we made \n it. \n (off Margaret's look) \n It's a glacier. Tracy's Arm. You better \n let me take it from here. \n \n MARGARET"," Margaret is about to throttle the Pirate, when Richard pulls her \n back. \n \n RICHARD \n C'mon. I got an idea. \n Richard leads Margaret to the door. As they are leaving Margaret \n shouts out. \n \n MARGARET \n I didn't know there were a lot of pirates in \n Alaska! \n \n INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY \n"," Sorry everybody, but protocol says we need \n to get this unruly passenger off the plane \n ASAP. Sitka's the closest airport, so if \n it's OK with you, I'm gonna have the captain \n turn this bird around. \n There are wild cheers from the passengers. Margaret blushes. \n HANDSOME MAN (cont'd) \n (winks at Margaret) \n Told you I was a romantic. \n"," stay at a hotel. Also, we've got another \n little surprise for you two. \n \n MARGARET \n Surprise? Another surprise? \n \n RICHARD \n She's not good with surprises. \n \n MARGARET \n I'm really not good with surprises. \n \n EXT. SITKA AIRPORT - DAY - CONTINUOUS \n"," EXT. SITKA AIRPORT RUNWAY - DAY \n \n Flight 1601 glides to a safe landing. Richard and his family \n wait on the tarmac, and the plane taxis to them. A truck drives \n stairs to the front door of the plane and the door opens. \n Margaret steps out. Richard walks up the steps. \n \n MARGARET \n This wasn't supposed to happen. \n Richard looks Margaret in the eye. \n"," A big banner that reads: CONGRATULATIONS RICHARD AND MARGARET!!! \n with wedding bells and a graphic showing the journey from New \n York to Sitka. The banner is being held up by a group of 30 \n PEOPLE with excited looks on their faces. \n Richard's mom DEBBIE (60) is front and center. She's a sweet \n lady who cooked Richard a hot breakfast every morning until he \n left the house."," Alaska. \n \n MR. GILBERTSON \n You're going to Alaska this weekend? \n \n MARGARET \n (Alaska???) \n Yes. Of course we're going to Alaska. \n That's where Richard is from. \n Gilbertson begins to walk around. He's getting worked up. \n \n MR. GILBERTSON \n You think you can beat me with this B-S \n story? Forcing your secretary..."," Debbie stops. Sitka Airport is very small, so they are already \n outside by all the cars parked in the loading zone. \n Debbie and Annie excitedly look at each other. \n \n DEBBIE \n Well you two... \n \n GRANDMA ANNIE \n ...you're getting married this weekend! \n \n MARGARET RICHARD \n What? What? \n GRANDMA ANNIE (cont'd)"," final boarding to Sitka. Margaret gets off her phone. \n \n MARGARET \n So what do I need to know up there? Bullet \n points. \n \n RICHARD \n I told âem we've been dating for six months. \n We've kept it a secret from everyone... \n (under his breath) \n ...and that you're a naughty minx in the \n sack."," (heard it all) \n I don't care, sir. \n Richard finds his boarding pass and hands it over. \n \n RICHARD \n OK then. You're a sweet lady. Thanks. \n Richard hustles to the plane as they shut the doors. \n \n INT. PLANE TO ALASKA - DAY \n \n Margaret takes her seat and sits next to a well dressed HANDSOME"," It doesn't stop there. \n \n MARGARET \n This coming from the sociopath. \n \n RICHARD \n Oh, please. \n \n MARGARET \n I'd never bring me here. \n \n RICHARD \n You drove! \n \n MARGARET \n I mean to Alaska. \n \n RICHARD \n Are you kidding me?"," The house is decked out in sheik Alaskan decor. Somehow, it \n makes bear heads and deer antlers look good. Everything is first \n class. Margaret is a little awe struck. \n \n DEBBIE \n We'll show you around later. \n \n MARGARET \n Uh huh. \n \n \n \n \n \n \n \n \n \n 32."," MARGARET \n You wanna be an editor? You need to make \n \n \n \n \n \n \n \n \n \n 21. \n \n RICHARD \n OK. Fine. Then if we \"make this happen\"? \n You're promoting me to editor. \n \n MARGARET \n I'm doing what? \n \n RICHARD \n We go to Alaska and lie to my family? I"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," luck. It's an Alaskan thing. \n \n DEBBIE \n We've planned everything. \n Margaret isn't sold, so Grandma Annie goes for the clincher. \n \n GRANDMA ANNIE \n I'm old, Margaret. I don't have much time \n left. Richard lives so far away, and I \n never see him. Now I find out he's getting \n married, and I have a chance to see my one"," Ramone throws Richard a phone. \n \n RICHARD \n Thanks, Ramone. \n \n RAMONE \n No problem. \n Ramone gives Margaret a flirty wave. She awkwardly waves back. \n Richard pushes the cart out the front door and does not pay. \n Margaret is confused. \n \n EXT. SITKA GENERAL STORE - DAY - CONTINUOUS \n \n Richard keeps pushing the cart, Margaret catches up. \n"],[" A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," Margaret reads as MR. GILBERTSON (48) sits down. He's an intense \n man in a bad suit. He sits in silence until Margaret looks up. \n \n MR. GILBERTSON \n Margaret. Good to see you. I know how busy \n you are. Congrats on the promotion. Read \n about it in P-W. \n \n MARGARET \n Yeah. Well, those announcements are silly,"," aren't they? Like everyone who needs to \n know doesn't know already. \n Margaret has been trying to figure out how she knows this man, \n but now gives up. \n MARGARET (cont'd) \n Have to admit, I can't place where we know \n each other from. \n Gilbertson smiles. He didn't expect her to remember. \n \n MR. GILBERTSON \n Three years ago? We worked together. \n"," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," \n \n \n \n \n \n 14. \n Gilbertson smiles. She's quick. \n \n MR. GILBERTSON \n I've edited it down. It's better. \n \n MARGARET \n Well then, get it published at another \n house. \n \n MR. GILBERTSON \n They all just don't get me. \n \n MARGARET \n All? \n"," Margaret is excited to get away from Gilbertson. \n \n MARGARET \n Yes, of course. \n She unbuckles her seat belt, about to get out of her seat. \n \n MR. GILBERTSON \n What's this about? \n \n \n \n \n \n \n \n \n \n 110. \n \n FLIGHT ATTENDANT \n (never done this before)"," so that's the way it is. \n Richard's phone rings and he picks it up. \n \n \n \n \n \n \n \n \n \n 11. \n RICHARD (cont'd) \n Your 10:55 is here. Mr. Gilbertson? \n \n MARGARET \n Who is this guy? \n \n RICHARD \n He said you knew each other. You weren't"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," MR. GILBERTSON \n (mock sympathy) \n Ahhhh. That's a shame. Too bad we can't \n work something out. \n Margaret stops looking at her file. It all becomes clear. \n \n MARGARET \n Oh, no. No, no, no. I won't do it. \n \n MR. GILBERTSON \n Do what, Ms. Mills? \n \n MARGARET \n \n "," MR. GILBERTSON \n Hey there kids. Good to see ya! \n \n \n \n \n \n \n \n \n \n 94. \n \n RICHARD \n (to Dad) \n What did you do? \n Geoffrey doesn't answer. He's not proud of himself. \n RICHARD (cont'd) \n (getting angry) \n What did you do, dad?! \n"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," MR. GILBERTSON \n And where's that located? \n \n MARGARET \n (still no idea) \n In his hometown. \n \n RICHARD \n Sitka. \n \n MR. GILBERTSON \n Is that on Long Island? \n Only Richard has the answer. Margaret tries to cover. \n \n MARGARET \n Why don't you tell him? \n \n RICHARD"," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," Gilbertson smiles. \n \n MR. GILBERTSON \n Now was that so hard? \n \n EXT. PAXTON ESTATE - DAY \n \n Richard sits by himself and finishes a beer by the shore. \n Gertrude walks up to him, looking fabulous, with two more beers. \n \n GERTRUDE \n So here's the deal. I'm going to have a \n million questions for you tomorrow..."," The Handsome Man leads a handcuffed and still dazed Gilbertson \n down the steps. \n \n MARGARET \n (to Gilbertson) \n Hey! Do you think getting arrested might \n affect you at work? \n Gilbertson has no retort. \n \n \n \n \n \n \n \n \n \n 115. \n MARGARET (cont'd)"," \n \n 17. \n \n MR. GILBERTSON \n Favorite flower? \n \n RICHARD \n Tulips. But only when they're in season. \n \n MR. GILBERTSON \n Childhood pet name? \n \n RICHARD \n Miss Mittens. \n \n MARGARET \n Are we done here? \n \n MR. GILBERTSON"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," MR. GILBERTSON \n Well not all. Two hundred fifty, two \n hundred sixty-one. Ish. \n \n MARGARET \n I'll be fired and laughed out of the \n industry if I publish that book. \n \n MR. GILBERTSON \n I'm at the end of my rope, Ms. Mills. I'm \n an author. Not some bureaucrat who brings a \n lunchable to work everyday and lives in his"," brother's garage. You're the last stop, and \n I'm desperate. \n \n MARGARET \n I will never publish your book. Ever. \n \n MR. GILBERTSON \n There's no need to make this difficult. I \n don't turn in your file until Monday... \n \n MARGARET \n This is blackmail. I'll go to your boss. \n \n MR. GILBERTSON"],[" RAMONE (cont'd) \n Mi amo, do you have a question? \n We reveal that Margaret has her hand halfway up, eyes squinted \n shut like the new kid in class not sure of herself. \n \n MARGARET \n No. \n \n RAMONE \n Then why is your hand up? \n \n MARGARET \n I have something to say. It's not a \n question though. \n \n RAMONE"," guy from the liquor store and the strip club.) \n \n RAMONE \n \n \n \n \n \n \n \n \n \n 97. \n \n GRANDMA ANNIE \n It's me, Ramone. \n Margaret gives Annie a kiss, and then turns to Richard. They \n whisper while they walk up to Ramone. \n \n RICHARD \n You look gorgeous. \n \n MARGARET \n"," assets! And now... Ramone! \n The room goes silent as a middle aged RAMONE comes on to the \n stage. He has a pot belly, threadbare thong and a thin mustache. \n Ramone's dance has a Latin theme to it, and he's very good at it. \n Margaret is oblivious. \n \n MARGARET \n What's that smell? \n Margaret finally takes off her blindfold, and finds Ramone about \n an inch away from her face."," Ramone throws Richard a phone. \n \n RICHARD \n Thanks, Ramone. \n \n RAMONE \n No problem. \n Ramone gives Margaret a flirty wave. She awkwardly waves back. \n Richard pushes the cart out the front door and does not pay. \n Margaret is confused. \n \n EXT. SITKA GENERAL STORE - DAY - CONTINUOUS \n \n Richard keeps pushing the cart, Margaret catches up. \n"," INT. SITKA GENERAL STORE - DAY \n \n Richard and Margaret enter the well appointed general store, \n filled with food, booze and electronics. A mini Wal Mart. \n \n RICHARD \n Hey Ramone. \n \n RAMONE \n Hey Richard. Hola mi amo. \n Margaret recognizes Ramone, the male dancer from last night. \n \n \n \n \n \n \n \n \n"," dumbstruck looks on their faces. Ramone mixes drinks and flips \n bottles. Richard runs up to them all, looking excited. \n \n GEOFFREY \n What are you so God damn happy about? \n \n RICHARD \n What? Oh. Well, I'm, uh, going to see \n Margaret. \n \n GEOFFREY \n What?! \n \n DEBBIE \n She violated you. We should report her."," (SMILING) \n You look disgusting. \n \n RICHARD \n So, is this what you dreamed of when you \n were a little girl? \n \n MARGARET \n Oh, you bet. \n They make it to the Gazebo, where Ramone awaits. \n MARGARET (cont'd) \n Ramone. \n \n RAMONE \n \n (QUIETLY) \n Mi amo."," MARGARET (cont'd) \n (belly laugh) \n Ahhh!!! \n Margaret falls out of her chair and her scream frightens Ramone. \n After the initial scare he composes himself and wags his finger \n at her naughty behavior. \n \n RAMONE \n You are a naughty devil. \n Ramone goes to work another part of the stage, and when he turns, \n Margaret jumps off the stage and joins the ladies. \n"," MARGARET \n Why's Ramone letting you steal his stuff? \n \n RICHARD \n It's our stuff. \n \n \n \n \n \n \n \n \n \n 69. \n Richard points to the \"Paxton General Store\" sign. \n \n MARGARET \n That must have been handy in High School. \n \n RICHARD \n You have no idea. \n"," \n \n \n \n \n \n \n \n 98. \n RAMONE (cont'd) \n And if there is anyone who has cause why \n this couple should not be united in marriage \n and love, they must speak now or forever \n hold their peace. \n Gilbertson stays quiet. Geoffrey takes a tug from a flask. \n Ramone is about to continue, but something gets his attention. \n He's not sure what to do."," audience notices. \n RAMONE (cont'd) \n ...before their family and friends. \n \"Family and Friends\" gets a reaction out of Gertrude and \n Geoffrey. She purses her lips. He holds on to his chair in \n order to keep himself seated. \n RAMONE (cont'd) \n For it is family and friends who taught \n Richard and Margaret to love, so it is only \n right that family and friends all celebrate \n that love here today. \n"," They start to fill their cart with cases of champagne. \n \n RICHARD \n Like eight thousand? Depends on the time of \n the year. \n \n MARGARET \n Feels smaller. \n With the cart full they head to the checkout. \n \n RICHARD \n (to Ramone) \n You got the phone I called about? \n \n RAMONE \n Charged up, ready to go, number changed."," blame him. This is all my fault. \n (to Ramone) \n Could you get the band started? And give \n these people something to drink. \n (to Gilbertson) \n And you. Meet me at your dingy in ten, \n you're taking me to the airport. \n \n MR. GILBERTSON \n You got it! \n Margaret nods, hands Richard the bouquet, and confidently walks"," It's our friend, Frank. \n Richard's tone let's Margaret know there's a problem. \n \n MARGARET \n Excuse me, I'll just be a second. \n Margaret takes the phone and exits out French glass doors that \n lead to the backyard. She leaves the door open, and doesn't \n notice Balzac follow her outside. \n \n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \n"," When Margaret recognizes the song, she smiles. \n \n MARGARET \n (mouthing to Richard) \n Nice song. \n Richard shrugs his shoulders. \n \n GRANDMA ANNIE \n Is that your song, dear? \n \n MARGARET \n I guess so. \n Margaret and Annie stop at the end of the aisle. Looking up, \n Margaret sees the justice of the peace, Ramone. (Yes, the same"," MARGARET \n Good lord. \n \n GRANDMA ANNIE \n Ramone was the only male dancer on the \n island for years. No one has the heart to \n tell him to hang it up. \n \n MARGARET \n Want me to do it? \n \n GRANDMA ANNIE \n Thank you dear, but let's keep it our \n secret. \n \n \n \n \n \n \n \n \n"," Grandma Annie gives Margaret and Richard a big hug. Debbie joins \n in. Then Geoffrey. Passengers cheer. \n \n CUT TO: \n \n EXT. PAXTON ISLAND - DANCEFLOOR - DAY \n \n The party is in full swing. \n Balzac chases his balls. \n Ramone slides onstage and SINGS with the band. He has a \n beautiful voice."," (To the crowd) \n We are gathered here today to celebrate one \n of life's greatest moments. To give \n recognition to the beauty, honesty, and \n unselfish ways... \n Margaret looks at Richard on the word \"unselfish,\" but he's \n looking straight ahead, determined to get through this. \n RAMONE (cont'd) \n ...of Richard and Margaret's true love... \n \"True Love\" gets Margaret as well, although no one in the"," MARGARET \n I am so tired. \n Balzac GROWLS when he hears Margaret's voice. He's still mad. \n Margaret just smiles. \n MARGARET (cont'd) \n Think I'm going to take a shower and clean \n off Ramone's bubble gum body oil. Thanks for \n a great night. \n Annie and Debbie smile graciously and wish her good night. Once"," one swig. She has a hard time finishing it off. \n GERTRUDE (cont'd) \n Well I'm empty. I'm going to go get \n another. I think I hear Ramone wrapping up, \n let's get back to the girls. \n \n MARGARET \n I'll be right in. \n Margaret smiles and turns to the ocean. Gertrude goes inside. \n Then, to herself, Margaret silently whispers."],[" Richard's reaction stings, and Gertrude begins to well up. \n Bringing this up is very hard for her. \n \n GERTRUDE \n I'm not talking about dating! You should \n move back here. We can have the life you \n always talked about in High School. I'm \n ready for that now. \n \n RICHARD \n Why are you doing this? \n \n GERTRUDE"," It was getting too messy. We weren't going \n to be able to keep it up. \n \n RICHARD \n Don't start lying to me now. \n Margaret stops for a moment. \n \n MARGARET \n I heard you and Gertrude at the school. I \n think she meant what she said. She's a \n great girl, you should stay. It's the right \n thing. You're perfect for each other. \n"," MARGARET \n You must have... \n \n GERTRUDE \n ... freaked out? Oh you bet. I broke up \n with him on the spot. \n \n MARGARET \n I would hope so. \n \n GERTRUDE \n After getting rejected the first time, I \n can't imagine how hard it was for him to get \n up the courage to ask you. \n Margaret just smiles, feeling guilty about lying when Gertrude is"," RICHARD (cont'd) \n (noticing her change in mood) \n Uh, is something wrong? \n \n GERTRUDE \n No. Nothing's wrong. \n \n RICHARD \n It's been awhile, but I can still tell when \n something's wrong with you. \n Gertrude doesn't want to say anything. \n RICHARD (cont'd)"," married. I want to know these things. \n Gertrude looks down a little embarrassed. \n \n GERTRUDE \n He proposed to me. When we were seniors. \n Margaret laughs. \n \n MARGARET \n I'm sorry. I didn't mean to... He proposed \n to you in high school? \n \n GERTRUDE \n He bought this sweet little ring, and got \n down on his knee. It was so cute."," story like this. \n \n RICHARD \n Well... \n Richard hasn't recovered from seeing Gertrude. \n RICHARD (cont'd) \n Uh, uh, um, I... \n \n GEOFFREY \n Yeah. How did you pop the question? \n Richard is a deer in the headlights. This is getting ugly. \n Margaret sees that Richard is going to crumble, and steps in. \n \n MARGARET"," Richard gives her a polite smile. He's not really in the mood to \n joke. Gertrude notices. \n GERTRUDE (cont'd) \n So no jokes yet? Too soon? \n \n RICHARD \n I'm sorry. I'm just a little... confused. \n \n GERTRUDE \n That kiss didn't seem \"confused.\" \n Richard takes a beat to collect himself. \n \n RICHARD"," where and who he is with, he puts his beer down. He turns to \n Gertrude again with a determined look, gives her a kiss on the \n lips, then follows it up with an even bigger kiss. \n When they finish, Gertrude is grinning, eyes closed. \n Richard looks worried. Something is wrong. \n \n GERTRUDE \n You have been practicing. \n \n RICHARD \n Waddya mean? \n \n GERTRUDE"," But as crazy as this seems. I know now... \n that we're just not meant to be. \n Gertrude pulls back like she's been punched. \n RICHARD (cont'd) \n Thing is... when I said goodbye to Margaret? \n I felt sick. For the three years we worked \n together, I wanted to be as far away from \n her as possible. But now that she's gone?"," forgotten about Margaret completely. \n \n GERTRUDE \n No. I live here now. \n \n RICHARD \n You what? \n \n GERTRUDE \n I moved back about six months ago. I'm \n teaching second grade. At Baranof. \n \n RICHARD \n Did your husband move up here too? \n \n GERTRUDE \n Uh, no. I, ah, got divorced."," RICHARD \n But then things changed. And it wasn't so \n comfortable anymore. \n \n MARGARET \n What kind of things changed? \n \n RICHARD \n Stuff. \n \n MARGARET \n (as if she didn't know) \n You mean, like, Gertrude? \n \n RICHARD \n Yeah... \n Richard stops, he can tell Margaret knows something."," GERTRUDE \n Yes. \n \n RICHARD \n Oh, thank God. I thought this was like, \n something big. \n \n GERTRUDE \n This is something big. \n \n RICHARD \n I coulda used this about five years ago, but \n I'm all good now, promise. Thank you for \n saying that, though. \n Gertrude sees that Richard isn't getting her point. She pulls"," GEOFFREY \n Feels like yesterday to me. \n \n GERTRUDE \n (ignoring Geoffrey) \n So tell me everything. I hear it wasn't \n exactly love at first sight? \n \n MARGARET \n Not exactly... \n \n GRANDMA ANNIE \n Now Richard, what I want to know is how you \n proposed. \n This grabs the group's full attention. Everyone loves to hear a"," Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," RICHARD (cont'd) \n Oh my god. She told you didn't she? \n \n MARGARET \n \n (INNOCENT) \n Told me what? \n Richard is embarrassed. He turns away. \n \n RICHARD \n About the... you know. \n \n MARGARET \n The creepy teenage proposal? \n \n RICHARD \n Ah, shit! \n \n MARGARET"," GERTRUDE \n Well. OK then. What's a girl gonna do? \n (voice cracking) \n I guess you want who you want. \n Gertrude gives a melancholy smile. \n \n RICHARD \n I'm so sorry. \n \n (BEAT) \n But, I gotta go. \n \n GERTRUDE \n Uh-huh. \n Richard gets up. \n \n RICHARD"," Gertrude sits down next to Richard. \n \n \n \n \n \n \n \n \n \n 102. \n GERTRUDE (cont'd) \n ...but for now I thought we'd just sit here \n and drink beer. OK? \n Richard nods. Gertrude hands him a beer. \n \n RICHARD \n Thanks. \n Richard thanks her with a kiss on the cheek. Then, realizing"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," Gertrude rolls her eyes. She's heard this a hundred times. \n \n GERTRUDE \n No Top Gun. Please. \n \n RICHARD \n What? You loved my Top Gun. \n \n GERTRUDE \n No. You loved your Top Gun. I just smiled \n and laughed like a good girlfriend. \n \n RICHARD \n That's right. Ice... man. I am dangerous."," never thought I'd end up divorced and back \n here teaching at my old elementary school. \n That was always Richard's plan. \n \n MARGARET \n For you to get divorced? \n \n GERTRUDE \n (smiles, remembering) \n No. I was going to teach, he was going to \n run his dad's business. He was like a \n little old man. Had it all worked out. \n \n MARGARET"],[" RICHARD \n But it did. \n Margaret looks down. A little embarrassed. \n \n MARGARET \n I'm not the kind of girl who gets saved. \n Richard smiles, and without warning, Margaret grabs him, and \n plants a long, deep, and wet kiss on him. \n The long kiss is interrupted by the Handsome Man and Gilbertson. \n \n HANDSOME MAN \n Uh, sorry, but excuse us."," slowly pull you out. OK? \n \n MARGARET \n I'm really cold. \n \n RICHARD \n Yeah, that's normal when you're surrounded \n by ice. \n \n MARGARET \n (makes sense) \n \n OK. \n Richard stands over a stuck Margaret, whose head just comes up to \n his knee. He calmly looks down on her. \n \n RICHARD"," Margaret nods yes as she puts her arms around Richard. He's \n strong, so it isn't difficult for him to slowly carry her \"over \n the threshold\" style, away from the hole in the ice. He speaks \n once they're safe. \n \n \n \n \n \n \n \n \n \n 92. \n RICHARD (cont'd) \n I've, uh, never done that before. \n \n MARGARET"," Richard turns around and looks for Margaret. He doesn't see her. \n He gets out of the boat and goes onto the glacier, walking in the \n direction he last saw Margaret. \n RICHARD (cont'd) \n Margaret? I know I'm breaking \"the rules\" \n here, but where are you? \n He takes one more step before he hears... \n \n MARGARET (O.S.) \n \n (YELLING)"," The Handsome Man turns to Margaret. \n \n HANDSOME MAN \n (with genuine concern) \n Do you really feel like you're alone? \n \n \n \n \n \n \n \n \n \n 112. \n \n MARGARET \n Oh, good lord. \n \n CUT TO: \n \n INT. TOWER - DAY \n \n Richard and his family stare at the radio, waiting to see if"," Richard!!!!!!!! Help!!!!!!!! \n Richard still can't see her, but runs in the direction of her \n voice. He soon rounds a mound of ice and sees that -- \n Margaret's been swallowed by the ice. Her upper torso sticks out \n of the glacier, held up by her arms. Her eyes are wide, and \n she's almost hyperventilating. It's a bizarre sight. \n MARGARET (cont'd) \n Oh, thank God!"," So I'm going to pull you up by your armpits. \n I'm probably going to touch boob. But don't \n freak out. \n Margaret shakes her head yes. Richard reaches down and slowly \n lifts her out of the ice. Margaret doesn't say a word. \n RICHARD (cont'd) \n When I get you all the way out, I need you \n to hold onto me. I'm going to carry you \n over there."," With no other option, Margaret throws her cell phone and hits the \n eagle suspended 20 feet above her. The eagle drops Balzac and \n Margaret catches him. Balzac looks frightened. \n Tucking Balzac away like a furry football, she runs to her phone \n and picks it up. \n MARGARET (cont'd) \n \n (NONCHALANT) \n Sorry, dropped my phone."," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," Margaret to come over. Margaret winces. \n \n MARGARET \n I have to go now. \n \n HANDSOME MAN \n (putting it together) \n What kind of sick shit is this? \n Margaret nods. This would be a tough one to explain. \n \n MARGARET \n Have a great life. \n Margaret walks toward the group. Richard puts out his hand and"," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," Margaret looks up and sees that the eagle has resumed flying in \n circles above her. She decides to wrap up the call quick and get \n back to the house. \n MARGARET (cont'd) \n Frank, I don't want to sell you on anything. \n But know this. This book is your legacy... \n Margaret looks up and sees the eagle dive towards her and Balzac \n again. She runs. \n MARGARET (cont'd)"," The women encourage Hank on as he moves Margaret's hands to his \n wiggling ass and gives her a feel. She can't help but give and \n embarrassed smile. Finally, the song ends and Hank goes into the \n splits. Thrilled, the room gives him a standing ovation. \n Margaret plays along and gives Hank a kiss on the cheek. She \n begins to get off the stage, but Hank takes her by the hand. \n \n \n \n \n \n "," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," Richard tries to control himself, but BURSTS OUT LAUGHING. \n Margaret is really scared. \n MARGARET (cont'd) \n Wh-, wh-, why are you laughing? \n \n RICHARD \n I'm sorry. I'm sorry. Just relax. I'll \n get you out of there. You've broken through \n an ice bridge. It happens all the time. No \n biggie. \n \n MARGARET"," Richard leaves Margaret's office. She still has her coffee cup \n outstretched in her hand. \n \n \n \n \n \n \n \n \n \n 20. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Richard powers through the office. Co-workers take notice that \n Margaret is following him. \n \n MARGARET \n Richard, come back here."," \n \n 10. \n Margaret and Richard walk away and speak in hushed tones. \n MARGARET (cont'd) \n We need to call his authors and explain what \n happened. And get Frank's publicity \n schedule figured out pronto. \n \n RICHARD \n No problem. I'll just cancel my trip this \n weekend. \n \n MARGARET \n I gave you the weekend off? \n \n RICHARD"," Geoffrey begins dancing slowly, contorting his body. Margaret \n follows, always a half step behind, and can't get into it. After \n a few moments, Margaret stops. \n \n MARGARET \n I'm gonna head back. \n \n GEOFFREY \n We're not done. \n \n MARGARET \n I think I am. \n Margaret begins to leave. Geoffrey calls after her. \n \n GEOFFREY"," GRANDMA ANNIE (89) also waits. She's lived a long time and \n doesn't have a lot of time to screw around. \n When they see Richard, they SCREAM. Margaret's face drops. \n \n ALL \n There he is!!! Where's Margaret? \n Richard blanches white. Margaret looks back with eyes that say \n \"What the hell is going on?\" \n \n \n \n \n \n \n \n \n"],[" The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," Margaret turns back to Richard. All smiles. \n MARGARET (cont'd) \n I've got some explaining to do. \n Margaret and Richard walk down the steps and stand in front of \n Richard's family. \n MARGARET (cont'd) \n (to Debbie) \n Hi. I'm Margaret. I've known your son for \n years, but we've just recently begun to see \n each other romantically. \n (to Geoffrey)"," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," RICHARD \n You think I'd bring you here if I did? \n \n MARGARET \n Well, we just gotta tell âem. \n \n RICHARD \n Tell âem what? \n \n MARGARET \n Tell âem the truth. About us. \n \n \n \n \n \n \n \n \n \n 34. \n \n RICHARD"," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," resigned. I won't tell a soul, my lips are \n sealed. \n Margaret nods at Richard and he opens the door. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Margaret and Richard walk a few steps. Margaret looks straight \n ahead and whispers to Richard. \n \n MARGARET \n What's he doing? \n Richard turns around and takes a peek. Bob gets out of his chair"," GRANDMA ANNIE (89) also waits. She's lived a long time and \n doesn't have a lot of time to screw around. \n When they see Richard, they SCREAM. Margaret's face drops. \n \n ALL \n There he is!!! Where's Margaret? \n Richard blanches white. Margaret looks back with eyes that say \n \"What the hell is going on?\" \n \n \n \n \n \n \n \n \n"," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"," MARGARET \n You must have... \n \n GERTRUDE \n ... freaked out? Oh you bet. I broke up \n with him on the spot. \n \n MARGARET \n I would hope so. \n \n GERTRUDE \n After getting rejected the first time, I \n can't imagine how hard it was for him to get \n up the courage to ask you. \n Margaret just smiles, feeling guilty about lying when Gertrude is"," The Handsome Man turns to Margaret. \n \n HANDSOME MAN \n (with genuine concern) \n Do you really feel like you're alone? \n \n \n \n \n \n \n \n \n \n 112. \n \n MARGARET \n Oh, good lord. \n \n CUT TO: \n \n INT. TOWER - DAY \n \n Richard and his family stare at the radio, waiting to see if"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," RICHARD (cont'd) \n Oh my god. She told you didn't she? \n \n MARGARET \n \n (INNOCENT) \n Told me what? \n Richard is embarrassed. He turns away. \n \n RICHARD \n About the... you know. \n \n MARGARET \n The creepy teenage proposal? \n \n RICHARD \n Ah, shit! \n \n MARGARET"," INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," one swig. She has a hard time finishing it off. \n GERTRUDE (cont'd) \n Well I'm empty. I'm going to go get \n another. I think I hear Ramone wrapping up, \n let's get back to the girls. \n \n MARGARET \n I'll be right in. \n Margaret smiles and turns to the ocean. Gertrude goes inside. \n Then, to herself, Margaret silently whispers."," Margaret goes far from the house so no one can hear. Balzac \n follows her all the way, but Margaret doesn't see him. \n \n MARGARET \n Don't be a cliche, Frank. Don't be the \n wishy washy writer who changes his mind \n every two seconds. \n Margaret notices Balzac, but ignores him. The dog starts YAPPING \n to get attention. She walks away, but Balzac continues barking."," The women encourage Hank on as he moves Margaret's hands to his \n wiggling ass and gives her a feel. She can't help but give and \n embarrassed smile. Finally, the song ends and Hank goes into the \n splits. Thrilled, the room gives him a standing ovation. \n Margaret plays along and gives Hank a kiss on the cheek. She \n begins to get off the stage, but Hank takes her by the hand. \n \n \n \n \n \n "],[" (SMILING) \n You look disgusting. \n \n RICHARD \n So, is this what you dreamed of when you \n were a little girl? \n \n MARGARET \n Oh, you bet. \n They make it to the Gazebo, where Ramone awaits. \n MARGARET (cont'd) \n Ramone. \n \n RAMONE \n \n (QUIETLY) \n Mi amo."," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," \n \n \n \n \n \n \n \n 7. \n Margaret starts walking. Richard quickly catches up, worried \n because he doesn't know where she's going with this. \n \n MARGARET \n I'm firing on all cylinders and you've got \n hearts on your coffee cup, wicked bed head, \n and a wrinkled suit that you wore yesterday. \n \n RICHARD"," The women encourage Hank on as he moves Margaret's hands to his \n wiggling ass and gives her a feel. She can't help but give and \n embarrassed smile. Finally, the song ends and Hank goes into the \n splits. Thrilled, the room gives him a standing ovation. \n Margaret plays along and gives Hank a kiss on the cheek. She \n begins to get off the stage, but Hank takes her by the hand. \n \n \n \n \n \n "," he's done, and leaves Margaret. She's peeved. \n RICHARD (cont'd) \n \n (FLUSTERED) \n What are you? What are you doing here? \n \n GERTRUDE \n Your dad made me come. \n \n RICHARD \n From Chicago? \n Gertrude laughs. The group watches these two see each for the \n first time in years. There is instant chemistry, and Richard has"," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," RICHARD \n But then things changed. And it wasn't so \n comfortable anymore. \n \n MARGARET \n What kind of things changed? \n \n RICHARD \n Stuff. \n \n MARGARET \n (as if she didn't know) \n You mean, like, Gertrude? \n \n RICHARD \n Yeah... \n Richard stops, he can tell Margaret knows something."," RICHARD \n What? \n Richard doesn't know what Margaret is talking about, until she \n nods at the cup. He's embarrassed. \n \n MARGARET \n Are you bored here? Do you need little \n distractions like that to get you through \n the day? \n \n RICHARD \n Uh... \n \n MARGARET \n You have another late night out? \n \n RICHARD \n"," Geoffrey could let it go, but wants to push her. \n \n GEOFFREY \n No. How many years is that? Exactly. \n Margaret gives Geoffrey the slightest look. \n \n MARGARET \n Well, let me see. That would be sixteen or \n seventeen years. Exactly. \n \n \n \n \n \n \n \n \n \n 37. \n \n GEOFFREY"," Margaret turns back to Richard. All smiles. \n MARGARET (cont'd) \n I've got some explaining to do. \n Margaret and Richard walk down the steps and stand in front of \n Richard's family. \n MARGARET (cont'd) \n (to Debbie) \n Hi. I'm Margaret. I've known your son for \n years, but we've just recently begun to see \n each other romantically. \n (to Geoffrey)"," Margaret nods yes as she puts her arms around Richard. He's \n strong, so it isn't difficult for him to slowly carry her \"over \n the threshold\" style, away from the hole in the ice. He speaks \n once they're safe. \n \n \n \n \n \n \n \n \n \n 92. \n RICHARD (cont'd) \n I've, uh, never done that before. \n \n MARGARET"," Margaret and Richard storm out of the squash court. \n \n EXT. PAXTON ESTATE - DAY - CONTINUOUS \n \n The couple walks briskly to the house. \n \n RICHARD \n What was I thinking? They act like they're \n nice, but really, they're evil. \n \n MARGARET \n He's only doing it because he loves you. \n \n RICHARD"," 113. \n \n MARGARET \n What's your point? \n \n RICHARD \n Because I am sick that you left. And if you \n feel sick too, then why shouldn't we just be \n together? \n Margaret goes to answer, but stops. Richard is right. She wants \n to go back. Even the passengers on the plane can see it. \n Gilbertson panics. \n \n MR. GILBERTSON"," GRANDMA ANNIE (89) also waits. She's lived a long time and \n doesn't have a lot of time to screw around. \n When they see Richard, they SCREAM. Margaret's face drops. \n \n ALL \n There he is!!! Where's Margaret? \n Richard blanches white. Margaret looks back with eyes that say \n \"What the hell is going on?\" \n \n \n \n \n \n \n \n \n"," MARGARET \n You must have... \n \n GERTRUDE \n ... freaked out? Oh you bet. I broke up \n with him on the spot. \n \n MARGARET \n I would hope so. \n \n GERTRUDE \n After getting rejected the first time, I \n can't imagine how hard it was for him to get \n up the courage to ask you. \n Margaret just smiles, feeling guilty about lying when Gertrude is"," his attention is focused on the controls, as he looks for the \n playlist \"Songs I Shouldn't Like\" and Charlene's hit \"I've Been \n to Paradise, But I Haven't Been to Me.\" \n \n INT. MARGARET'S ROOM - DAY \n \n \n IN THE BATHROOM \n Margaret turns off the shower, pulls back the curtain and reaches \n for a towel. All she finds is a miniature unabsorbent decorative"," You said it was \"no biggie\". \n \n RICHARD \n Yeah. Well. You OK? \n \n MARGARET \n Yeah. I'm fine. \n Richard smiles. Margaret smiles back. \n Richard walks very comfortably with her in his arms. She fits \n just right. Margaret looks up to Richard gratefully. \n MARGARET (cont'd) \n \n (SMILING)"],[" A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," The Handsome Man leads a handcuffed and still dazed Gilbertson \n down the steps. \n \n MARGARET \n (to Gilbertson) \n Hey! Do you think getting arrested might \n affect you at work? \n Gilbertson has no retort. \n \n \n \n \n \n \n \n \n \n 115. \n MARGARET (cont'd)"," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," Gilbertson smiles. \n \n MR. GILBERTSON \n Now was that so hard? \n \n EXT. PAXTON ESTATE - DAY \n \n Richard sits by himself and finishes a beer by the shore. \n Gertrude walks up to him, looking fabulous, with two more beers. \n \n GERTRUDE \n So here's the deal. I'm going to have a \n million questions for you tomorrow..."," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," really happened, and I'll be on my way. No \n one gets hurt, we all get what we want. \n Margaret takes Richard's hand. \n \n MARGARET \n It's OK. Tell him. \n \n RICHARD \n (to Geoffrey) \n You do not get to make this decision. This \n is my decision. \n (to Gilbertson) \n The truth is... I've been working for"," aren't they? Like everyone who needs to \n know doesn't know already. \n Margaret has been trying to figure out how she knows this man, \n but now gives up. \n MARGARET (cont'd) \n Have to admit, I can't place where we know \n each other from. \n Gilbertson smiles. He didn't expect her to remember. \n \n MR. GILBERTSON \n Three years ago? We worked together. \n"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," GEOFFREY \n I called him yesterday. He told me that you \n were lying, and that he was going to catch \n you. That he was going to send you to \n prison. \n \n MR. GILBERTSON \n (to Richard) \n We made a deal and dad here flew me up. Now \n you tell the truth, and get off scott free. \n It's like it never happened for you. \n \n RICHARD"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," \n \n \n \n \n \n 14. \n Gilbertson smiles. She's quick. \n \n MR. GILBERTSON \n I've edited it down. It's better. \n \n MARGARET \n Well then, get it published at another \n house. \n \n MR. GILBERTSON \n They all just don't get me. \n \n MARGARET \n All? \n"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," Margaret is excited to get away from Gilbertson. \n \n MARGARET \n Yes, of course. \n She unbuckles her seat belt, about to get out of her seat. \n \n MR. GILBERTSON \n What's this about? \n \n \n \n \n \n \n \n \n \n 110. \n \n FLIGHT ATTENDANT \n (never done this before)"," Margaret takes a sip of her coffee and makes a face. \n MARGARET (cont'd) \n But first, run down and get me another \n coffee from your girlfriend, this is cold. \n Margaret holds out her coffee cup. Richard doesn't move. \n MARGARET (cont'd) \n Hello? Richard? Richard! \n Richard says his first words since Gilbertson left. \n \n RICHARD \n I quit."," blame him. This is all my fault. \n (to Ramone) \n Could you get the band started? And give \n these people something to drink. \n (to Gilbertson) \n And you. Meet me at your dingy in ten, \n you're taking me to the airport. \n \n MR. GILBERTSON \n You got it! \n Margaret nods, hands Richard the bouquet, and confidently walks"," flight before sitting nearby. \n \n HANDSOME MAN \n (re: Gilbertson) \n Is this another gay assistant? \n Margaret doesn't say anything and takes her seat. \n \n EXT. PAXTON ESTATE - DAY \n \n TWO COAST GUARDSMAN carry Annie on a gurney to their waiting \n helicopter. Geoffrey, Richard, and Debbie follow behind. They \n all pile into a large chopper and fly off. \n"," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"," 113. \n \n MARGARET \n What's your point? \n \n RICHARD \n Because I am sick that you left. And if you \n feel sick too, then why shouldn't we just be \n together? \n Margaret goes to answer, but stops. Richard is right. She wants \n to go back. Even the passengers on the plane can see it. \n Gilbertson panics. \n \n MR. GILBERTSON"," Margaret reads as MR. GILBERTSON (48) sits down. He's an intense \n man in a bad suit. He sits in silence until Margaret looks up. \n \n MR. GILBERTSON \n Margaret. Good to see you. I know how busy \n you are. Congrats on the promotion. Read \n about it in P-W. \n \n MARGARET \n Yeah. Well, those announcements are silly,"," MR. GILBERTSON \n (mock sympathy) \n Ahhhh. That's a shame. Too bad we can't \n work something out. \n Margaret stops looking at her file. It all becomes clear. \n \n MARGARET \n Oh, no. No, no, no. I won't do it. \n \n MR. GILBERTSON \n Do what, Ms. Mills? \n \n MARGARET \n \n "],[" MAN who is READING A BOOK. She notices the title and he catches \n her stare. Margaret explains. \n \n MARGARET \n I'm sorry, I hate it when people stare at \n what I'm reading. It's just... I worked on \n that book. \n \n HANDSOME MAN \n You wrote it? \n \n MARGARET \n Edited it. It was one of my favorites. \n"," Margaret and Richard enter Bob's office, which is decorated with \n beautiful antiques and first edition books. But unlike \n Margaret's office, this one isn't in the corner. \n Margaret nods at Richard to shut the door. BOB (42) wears a prim \n bow tie, circular tortoise shell glasses, and the air of \n superiority. \n \n MARGARET \n Hey, Bob. \n \n BOB"," Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," MARGARET \n I asked you repeatedly to get Frank to do \n publicity. You said it was impossible. \n \n BOB \n It is. He doesn't do publicity. \n \n MARGARET \n I just talked to him. He's in. \n \n BOB \n But... \n \n MARGARET \n No more buts, Bob. I've been chief for a"," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," INT. ROYCE PUBLISHING - RECEPTION - MORNING \n \n Margaret exits the elevator and receives an enthusiastic... \n \n RECEPTIONIST \n Good morning! \n Margaret quickly walks by and gives only the slightest nod. \n \n INT. ROYCE PUBLISHING - MORNING \n \n Margaret walks through the cubicles and nods hello to her staff, \n who all look busy on the phone. When she turns the corner, they"," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," RICHARD \n I'll have to take your word for it. \n \n MARGARET \n Yes. You will. \n \n RICHARD \n How, exactly, do you define top notch? \n Margaret is smiling as she listens to a message on her phone. In \n an instant, she's all business. \n \n MARGARET \n I need a computer and the internet. Now. \n"," pulls out a SPRAY BOTTLE out of the same drawer, sprays it all \n over his body, and then on his head to help mat down a tricky \n cowlick. Satisfied, he hurries into a nearby corner office. \n \n INT. SKYSCRAPER LOBBY - MORNING \n \n Margaret walks into the lobby and continues talking. Employees \n avoid her and pile into the elevator. \n \n \n \n \n \n \n"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," 3. \n \n INT. MARGARET'S LOBBY - MORNING \n \n DING! The elevator opens and Margaret strides towards the exit \n and the DOORMAN (60). Before Margaret gets to the door, her CELL \n PHONE RINGS. She checks the caller ID and excitedly points at \n her phone as she lets it ring. \n \n MARGARET \n (to phone) \n I knew you would call! Now come on, tell me"," MARGARET (cont'd) \n I fired Bob because he didn't have your best \n interest in mind. Our job is to help you \n succeed. He wasn't doing that. \n Margaret continues to listen to her writer whine, when she \n notices an EAGLE soaring in circles above her and Balzac. Not \n sure what to think, she looks back at Balzac and sees him \n peacefully sit in the grass."," Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," \n \n \n \n \n \n \n \n 7. \n Margaret starts walking. Richard quickly catches up, worried \n because he doesn't know where she's going with this. \n \n MARGARET \n I'm firing on all cylinders and you've got \n hearts on your coffee cup, wicked bed head, \n and a wrinkled suit that you wore yesterday. \n \n RICHARD"," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," \n \n 10. \n Margaret and Richard walk away and speak in hushed tones. \n MARGARET (cont'd) \n We need to call his authors and explain what \n happened. And get Frank's publicity \n schedule figured out pronto. \n \n RICHARD \n No problem. I'll just cancel my trip this \n weekend. \n \n MARGARET \n I gave you the weekend off? \n \n RICHARD"," MARGARET \n (with reverence) \n ...To Kill a Mockingbird. It's all about To \n Kill a Mockingbird. \n \n RICHARD \n Exactly! We could find the next To Kill a \n Mockingbird. God damn, how great is that? \n Margaret smiles. She never knew that Richard had this kind of \n passion for the job. \n RICHARD (cont'd)"," MARGARET \n Should you leave the cart? \n \n RICHARD \n It's our cart. I didn't know you were such \n a prude. \n \n MARGARET \n I've come to realize that being my assistant \n gave you more access to my life than I ever \n imagined, but there are a few things you \n don't know about me. \n \n RICHARD"," Margaret reads as MR. GILBERTSON (48) sits down. He's an intense \n man in a bad suit. He sits in silence until Margaret looks up. \n \n MR. GILBERTSON \n Margaret. Good to see you. I know how busy \n you are. Congrats on the promotion. Read \n about it in P-W. \n \n MARGARET \n Yeah. Well, those announcements are silly,"],[" MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," Gilbertson pulls out a stack of papers and throws them down. \n \n MR. GILBERTSON \n Well, my office is going to reject your \n paperwork on Monday, while we investigate \n whether your behavior is well disposed to \n the good order and happiness of the United \n States. We must protect our sovereignty. \n \n MARGARET \n I'm a threat to the sovereignty of the \n United States? \n"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," MARGARET (cont'd) \n Goodbye, Richard. \n \n EXT. PAXTON ESTATE - DAY \n \n Margaret walks down to the dock carrying her suitcase. She can \n hear that the party is in full swing and smiles. \n \n EXT. BOAT - DAY \n \n Gilbertson drives his little speedboat and Margaret holds her \n suitcase tight. It's choppy, and the outboard motor is loud."," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," you're not here. \n Richard goes to speak, but Margaret motions for him to sit down \n and turn around. He does. Margaret gets off the boat and walks \n away from him on the glacier. \n \n ON THE GLACIER \n Margaret tries diaphragmatic breathing to calm down. \n MARGARET (cont'd) \n (manic, to herself) \n You can do this. Couple more hours, and"," Margaret stares at Richard. \n \n MARGARET \n I'm a lucky woman. \n Margaret does her best to smile. \n \n EXT. DOCK - DAY \n \n The cars park in a lot in the middle of nowhere, near a small \n dock. Everyone gets out of the cars and starts walking to the \n ocean. Margaret is confused. \n \n MARGARET \n I'm not getting out of this car until you"," Margaret is excited to get away from Gilbertson. \n \n MARGARET \n Yes, of course. \n She unbuckles her seat belt, about to get out of her seat. \n \n MR. GILBERTSON \n What's this about? \n \n \n \n \n \n \n \n \n \n 110. \n \n FLIGHT ATTENDANT \n (never done this before)"," tell me where we're going. \n \n RICHARD \n Come on, it'll be OK. I promise. \n Richard points to a small island about a mile away. \n \n EXT. YACHT - DAY \n \n Everyone rides on a 75 foot yacht. Lots of polished wood and \n chrome. Someone passes out beers on board, and the mood is \n festive. Margaret takes a look around at the surreal scene. \n"," MARGARET \n \n \n \n \n \n \n \n \n \n 50. \n \n GERTRUDE \n I actually missed it when I was in the \n states. \n \n MARGARET \n Chicago, right? \n \n GERTRUDE \n Yeah. Since college. \n \n MARGARET \n And now you're back? \n \n GERTRUDE"," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," MARGARET \n Yup. He's in. For now. \n \n \n \n \n \n \n \n \n \n 100. \n \n RICHARD \n Maybe this'll be your Mockingbird? \n \n MARGARET \n Yeah. Right. \n Margaret starts collecting her bags. \n \n RICHARD \n Great exit back there. \n \n MARGARET"," The Handsome Man turns to Margaret. \n \n HANDSOME MAN \n (with genuine concern) \n Do you really feel like you're alone? \n \n \n \n \n \n \n \n \n \n 112. \n \n MARGARET \n Oh, good lord. \n \n CUT TO: \n \n INT. TOWER - DAY \n \n Richard and his family stare at the radio, waiting to see if"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," They continue to dance, Margaret is getting into it. \n MARGARET (cont'd) \n ...to the wall... \n More sand. More fire. \n MARGARET (cont'd) \n ...to sweat drop down my balls... \n Geoffrey stops dancing. What did she say? \n MARGARET (cont'd) \n ...to all these bitches crawl... \n Margaret's eyes are closed, she doesn't realize that she's broken"," Margaret goes far from the house so no one can hear. Balzac \n follows her all the way, but Margaret doesn't see him. \n \n MARGARET \n Don't be a cliche, Frank. Don't be the \n wishy washy writer who changes his mind \n every two seconds. \n Margaret notices Balzac, but ignores him. The dog starts YAPPING \n to get attention. She walks away, but Balzac continues barking."],[" MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," Gilbertson pulls out a stack of papers and throws them down. \n \n MR. GILBERTSON \n Well, my office is going to reject your \n paperwork on Monday, while we investigate \n whether your behavior is well disposed to \n the good order and happiness of the United \n States. We must protect our sovereignty. \n \n MARGARET \n I'm a threat to the sovereignty of the \n United States? \n"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," It was getting too messy. We weren't going \n to be able to keep it up. \n \n RICHARD \n Don't start lying to me now. \n Margaret stops for a moment. \n \n MARGARET \n I heard you and Gertrude at the school. I \n think she meant what she said. She's a \n great girl, you should stay. It's the right \n thing. You're perfect for each other. \n"," 113. \n \n MARGARET \n What's your point? \n \n RICHARD \n Because I am sick that you left. And if you \n feel sick too, then why shouldn't we just be \n together? \n Margaret goes to answer, but stops. Richard is right. She wants \n to go back. Even the passengers on the plane can see it. \n Gilbertson panics. \n \n MR. GILBERTSON"," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," Margaret is excited to get away from Gilbertson. \n \n MARGARET \n Yes, of course. \n She unbuckles her seat belt, about to get out of her seat. \n \n MR. GILBERTSON \n What's this about? \n \n \n \n \n \n \n \n \n \n 110. \n \n FLIGHT ATTENDANT \n (never done this before)"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," They continue to dance, Margaret is getting into it. \n MARGARET (cont'd) \n ...to the wall... \n More sand. More fire. \n MARGARET (cont'd) \n ...to sweat drop down my balls... \n Geoffrey stops dancing. What did she say? \n MARGARET (cont'd) \n ...to all these bitches crawl... \n Margaret's eyes are closed, she doesn't realize that she's broken"," Richard stares at Margaret for a beat. He's exasperated. \n \n RICHARD \n You wanna know why you're here? I'll show \n you why you're here. \n \n MARGARET \n Fine. \n \n RICHARD \n We leave in a half hour. \n \n MARGARET \n I'll be ready in 20 minutes."," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," \n \n \n \n \n \n \n \n 7. \n Margaret starts walking. Richard quickly catches up, worried \n because he doesn't know where she's going with this. \n \n MARGARET \n I'm firing on all cylinders and you've got \n hearts on your coffee cup, wicked bed head, \n and a wrinkled suit that you wore yesterday. \n \n RICHARD"," INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," MARGARET \n Yup. He's in. For now. \n \n \n \n \n \n \n \n \n \n 100. \n \n RICHARD \n Maybe this'll be your Mockingbird? \n \n MARGARET \n Yeah. Right. \n Margaret starts collecting her bags. \n \n RICHARD \n Great exit back there. \n \n MARGARET"," MARGARET (cont'd) \n Goodbye, Richard. \n \n EXT. PAXTON ESTATE - DAY \n \n Margaret walks down to the dock carrying her suitcase. She can \n hear that the party is in full swing and smiles. \n \n EXT. BOAT - DAY \n \n Gilbertson drives his little speedboat and Margaret holds her \n suitcase tight. It's choppy, and the outboard motor is loud."," \n \n \n \n \n \n 41. \n \n MARGARET \n Oh please. I'd wonder too. Honestly, my \n lawyers have been dealing with all of this. \n When you told us at the airport it was the \n first time I'd heard about it. I'm so \n embarrassed. \n \n DEBBIE \n Don't be, dear. Geoffrey's just an ass."," you're not here. \n Richard goes to speak, but Margaret motions for him to sit down \n and turn around. He does. Margaret gets off the boat and walks \n away from him on the glacier. \n \n ON THE GLACIER \n Margaret tries diaphragmatic breathing to calm down. \n MARGARET (cont'd) \n (manic, to herself) \n You can do this. Couple more hours, and"],[" MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," MARGARET (cont'd) \n I was going to get kicked out of the country \n -- so I told Richard that I would destroy \n his career if he didn't marry me. \n \n RICHARD \n Now wait... \n \n MARGARET \n Richard. Please. Let me finish. \n (to the Paxton family) \n Richard wanted to stop this when we got off \n the plane, but I wouldn't let him. Don't"," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," Gilbertson pulls out a stack of papers and throws them down. \n \n MR. GILBERTSON \n Well, my office is going to reject your \n paperwork on Monday, while we investigate \n whether your behavior is well disposed to \n the good order and happiness of the United \n States. We must protect our sovereignty. \n \n MARGARET \n I'm a threat to the sovereignty of the \n United States? \n"," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," back up the aisle with all eyes on her. She stops when she gets \n to Gertrude and leans down. \n \n MARGARET \n Take care of him. \n \n GERTRUDE \n Promise. \n Margaret walks back into the house. Alone. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret's wedding dress is laid out on the bed. Her bag is"," that's inconvenient. So here's what's going \n to happen. We'll play boyfriend and \n girlfriend this weekend for your parents and \n that should be enough for this INS \n interview. \n Richard doesn't react. Margaret doesn't notice. \n MARGARET (cont'd) \n So you need to figure out the travel, \n schedule a justice of the peace for next \n week, and get my lawyer on the phone."," MARGARET \n To have a family! I forgot what it was like \n to have a family. I've been on my own since \n I was thirteen, and I'd forgot what it was \n like to have people that love you, and make \n you breakfast, and give you necklaces... \n \n \n \n \n \n \n \n \n \n 89. \n Suddenly, Margaret has a hard time speaking and is short of"," The sight of Richard inspires Margaret. She turns to Gilbertson \n with a wicked grin on her face. \n \n \n \n \n \n \n \n \n \n 15. \n \n MARGARET \n Know what, Dante? I'm not going anywhere! \n We're getting married! \n Richard has no idea what Margaret is talking about. \n \n RICHARD \n Who's getting married? \n"," Well. That's it. Once she gets back to New \n York, it'll be like this never happened. \n Richard looks defeated. Geoffrey sees how sad his son is, and \n takes a deep breath. \n \n GEOFFREY \n So, you know I think you shouldn't be with \n Margaret, right? \n \n RICHARD \n You've made that crystal clear. \n \n GEOFFREY \n Good."," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," you're not here. \n Richard goes to speak, but Margaret motions for him to sit down \n and turn around. He does. Margaret gets off the boat and walks \n away from him on the glacier. \n \n ON THE GLACIER \n Margaret tries diaphragmatic breathing to calm down. \n MARGARET (cont'd) \n (manic, to herself) \n You can do this. Couple more hours, and"," Can it wait âtil after? \n \n MARGARET \n Uh. Um. No. \n \n RICHARD \n What are you doing? \n Margaret gathers herself and turns around to the crowd. They \n stare back, unsure what to make of this foreigner. \n \n MARGARET \n Hey there, folks. Thanks for coming out. \n I've got a little announcement to make about \n the \"wedding.\" \n"," Margaret is excited to get away from Gilbertson. \n \n MARGARET \n Yes, of course. \n She unbuckles her seat belt, about to get out of her seat. \n \n MR. GILBERTSON \n What's this about? \n \n \n \n \n \n \n \n \n \n 110. \n \n FLIGHT ATTENDANT \n (never done this before)"," Debbie leaves and shuts the door. Margaret reverts back to her \n old self. \n \n MARGARET \n I'm about 15 seconds from bitch. \n \n RICHARD \n Calm down. \n \n MARGARET \n What is going on here? \n \n RICHARD \n Hell if I know. \n \n MARGARET \n You had no idea they knew about us getting \n married? \n"," Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," 113. \n \n MARGARET \n What's your point? \n \n RICHARD \n Because I am sick that you left. And if you \n feel sick too, then why shouldn't we just be \n together? \n Margaret goes to answer, but stops. Richard is right. She wants \n to go back. Even the passengers on the plane can see it. \n Gilbertson panics. \n \n MR. GILBERTSON"," MR. GILBERTSON \n (mock sympathy) \n Ahhhh. That's a shame. Too bad we can't \n work something out. \n Margaret stops looking at her file. It all becomes clear. \n \n MARGARET \n Oh, no. No, no, no. I won't do it. \n \n MR. GILBERTSON \n Do what, Ms. Mills? \n \n MARGARET \n \n "," RICHARD \n But... but what about you? What are you \n gonna do? \n Margaret wants to keep the conversation short. \n \n MARGARET \n Don't worry about me. I'll survive. \n \n RICHARD \n So what? This is it? \n \n MARGARET \n Yup. This is it. \n \n \n \n \n \n \n \n \n"],[" Margaret and Richard enter Bob's office, which is decorated with \n beautiful antiques and first edition books. But unlike \n Margaret's office, this one isn't in the corner. \n Margaret nods at Richard to shut the door. BOB (42) wears a prim \n bow tie, circular tortoise shell glasses, and the air of \n superiority. \n \n MARGARET \n Hey, Bob. \n \n BOB"," MAN who is READING A BOOK. She notices the title and he catches \n her stare. Margaret explains. \n \n MARGARET \n I'm sorry, I hate it when people stare at \n what I'm reading. It's just... I worked on \n that book. \n \n HANDSOME MAN \n You wrote it? \n \n MARGARET \n Edited it. It was one of my favorites. \n"," Richard hangs up the phone. \n RICHARD (cont'd) \n Sorry about that. Damage control. \n \n MARGARET \n She tell you to quit? \n \n RICHARD \n No. No. \n (off Margaret's look) \n Um. Yes? But as I've explained to them, \n after three years together, you're the only \n person on the planet who can make me editor,"," RICHARD \n Have you ever thought there might be a \n reason we've been together for the last \n three years? \n \n MARGARET \n As boss and assistant. \n \n RICHARD \n Things change, Margaret. \n \n MARGARET \n \n (INCREDULOUS) \n Things change? \n \n RICHARD \n Yeah, things change. \n \n MARGARET"," RICHARD \n What? \n Richard doesn't know what Margaret is talking about, until she \n nods at the cup. He's embarrassed. \n \n MARGARET \n Are you bored here? Do you need little \n distractions like that to get you through \n the day? \n \n RICHARD \n Uh... \n \n MARGARET \n You have another late night out? \n \n RICHARD \n"," pulls out a SPRAY BOTTLE out of the same drawer, sprays it all \n over his body, and then on his head to help mat down a tricky \n cowlick. Satisfied, he hurries into a nearby corner office. \n \n INT. SKYSCRAPER LOBBY - MORNING \n \n Margaret walks into the lobby and continues talking. Employees \n avoid her and pile into the elevator. \n \n \n \n \n \n \n"," Painfully long beat where Richard doesn't answer. Margaret \n squeezes Richard's hand hard. \n \n RICHARD \n Uh-huh. \n Margaret smiles and snuggles up to Richard so he can put his arm \n around her. Richard is truly afraid. \n RICHARD (cont'd) \n (more of a question) \n I'm, uh, marrying my boss? \n Margaret turns and puckers her lips to let Richard know that"," \n \n 10. \n Margaret and Richard walk away and speak in hushed tones. \n MARGARET (cont'd) \n We need to call his authors and explain what \n happened. And get Frank's publicity \n schedule figured out pronto. \n \n RICHARD \n No problem. I'll just cancel my trip this \n weekend. \n \n MARGARET \n I gave you the weekend off? \n \n RICHARD"," MARGARET \n I asked you repeatedly to get Frank to do \n publicity. You said it was impossible. \n \n BOB \n It is. He doesn't do publicity. \n \n MARGARET \n I just talked to him. He's in. \n \n BOB \n But... \n \n MARGARET \n No more buts, Bob. I've been chief for a"," Richard leaves Margaret's office. She still has her coffee cup \n outstretched in her hand. \n \n \n \n \n \n \n \n \n \n 20. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Richard powers through the office. Co-workers take notice that \n Margaret is following him. \n \n MARGARET \n Richard, come back here."," MARGARET \n Should you leave the cart? \n \n RICHARD \n It's our cart. I didn't know you were such \n a prude. \n \n MARGARET \n I've come to realize that being my assistant \n gave you more access to my life than I ever \n imagined, but there are a few things you \n don't know about me. \n \n RICHARD"," MARGARET \n Well, we need to talk. \n \n RICHARD \n You want to talk with me? Fine. Grab your \n broom and let's go. \n Margaret is dumbstruck. The receptionist is shocked. The \n elevator arrives and Richard gets in. Margaret follows. As the \n doors close, Richard shouts out to the receptionist. \n RICHARD (cont'd) \n Watch my phones! \n"," Richard comes right back with a waiter in tow. For Geoffrey's \n benefit, Margaret makes a point to thank Richard. \n \n MARGARET \n Thank you, honey. You're being so sweet. \n Richard is surprised, but remembers they're a couple. \n \n RICHARD \n Uh, sure. Honey. \n \n WELL WISHER #2 \n So you just got some big promotion? \n \n MARGARET"," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," \n \n \n \n \n \n \n \n 7. \n Margaret starts walking. Richard quickly catches up, worried \n because he doesn't know where she's going with this. \n \n MARGARET \n I'm firing on all cylinders and you've got \n hearts on your coffee cup, wicked bed head, \n and a wrinkled suit that you wore yesterday. \n \n RICHARD"," MARGARET \n One more question... \n \n RICHARD \n Yes, everyone at work thinks you're a \n lesbian. \n \n MARGARET \n That wasn't my question. \n \n RICHARD \n I know. Just lashing out. \n Margaret smiles. \n \n MARGARET \n Can we stop gutting fish? I need my phone. \n"," aren't they? Like everyone who needs to \n know doesn't know already. \n Margaret has been trying to figure out how she knows this man, \n but now gives up. \n MARGARET (cont'd) \n Have to admit, I can't place where we know \n each other from. \n Gilbertson smiles. He didn't expect her to remember. \n \n MR. GILBERTSON \n Three years ago? We worked together. \n"," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"," he's done, and leaves Margaret. She's peeved. \n RICHARD (cont'd) \n \n (FLUSTERED) \n What are you? What are you doing here? \n \n GERTRUDE \n Your dad made me come. \n \n RICHARD \n From Chicago? \n Gertrude laughs. The group watches these two see each for the \n first time in years. There is instant chemistry, and Richard has"],[" Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," Immigration Services, and I'm deporting you \n to Canada. \n \n MARGARET \n Excuse me? What? This is a mistake. I've \n lived here since 1981. I'm applying for \n citizenship. \n \n MR. GILBERTSON \n You need citizenship now? After the big \n promotion? \n \n MARGARET \n Yes. And all the papers are in."," MARGARET \n We are! \n \n RICHARD \n You and him? \n \n MARGARET \n Stop playing around, honey. \n Margaret is all smiles. Richard is very confused. \n MARGARET (cont'd) \n Mr. Gilbertson is from the INS. I told him \n about us. About us getting married. \n \n MR. GILBERTSON \n You are marrying your male secretary? \n"," MR. GILBERTSON \n Yes, and unfortunately my investigation will \n take awhile, so you'll be deported while \n your case winds through the system. \n (as if he doesn't know) \n Will it affect you at work if you aren't \n allowed to enter the U.S. for the next two \n to three years? \n \n MARGARET \n \"Affect me at work?\" I'll lose my job! \n"," Gilbertson pulls out a stack of papers and throws them down. \n \n MR. GILBERTSON \n Well, my office is going to reject your \n paperwork on Monday, while we investigate \n whether your behavior is well disposed to \n the good order and happiness of the United \n States. We must protect our sovereignty. \n \n MARGARET \n I'm a threat to the sovereignty of the \n United States? \n"," warehouses, and buzzes with activity. Fishing boats line the \n pier, unload their fish, and forklifts take the fish to be \n processed. Everything is clean and organized. \n Richard and Margaret walk down the pier. He points to the SEALS \n that swim everywhere and eat fish scraps. Damn, they're cute. \n Richard waves hello to WORKERS. An elderly Phillipino man, BEK \n BEK, yells at them as he walks into a warehouse."," that's inconvenient. So here's what's going \n to happen. We'll play boyfriend and \n girlfriend this weekend for your parents and \n that should be enough for this INS \n interview. \n Richard doesn't react. Margaret doesn't notice. \n MARGARET (cont'd) \n So you need to figure out the travel, \n schedule a justice of the peace for next \n week, and get my lawyer on the phone."," very proud. I love you Richy. \n \n RICHARD \n I love you too, Grandma. \n Grandma hugs the couple. Everyone smiles except Geoffrey and \n Gertrude. \n \n GEOFFREY \n So did this happen before or after the INS \n agent came sniffing around? \n \n DEBBIE \n What is wrong with you? I'm sorry Margaret. \n Margaret doesn't miss a beat. \n \n "," Margaret and Richard enter Bob's office, which is decorated with \n beautiful antiques and first edition books. But unlike \n Margaret's office, this one isn't in the corner. \n Margaret nods at Richard to shut the door. BOB (42) wears a prim \n bow tie, circular tortoise shell glasses, and the air of \n superiority. \n \n MARGARET \n Hey, Bob. \n \n BOB"," The house is decked out in sheik Alaskan decor. Somehow, it \n makes bear heads and deer antlers look good. Everything is first \n class. Margaret is a little awe struck. \n \n DEBBIE \n We'll show you around later. \n \n MARGARET \n Uh huh. \n \n \n \n \n \n \n \n \n \n 32."," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," I'm sorry if I hurt your feelings. You \n obviously were spending a lot of time \n writing, I just thought you should channel \n all that passion into something else. \n Gilbertson smiles as he pulls a BADGE from his coat pocket. \n \n \n \n \n \n \n \n \n \n 13. \n \n MR. GILBERTSON \n Ms. Mills, I'm with U.S. Citizenship and"," Don't be silly. This is the biggest day of \n your life. You are coming into this family, \n and when it's family, it's no trouble. If \n your parents were with us, they would do the \n exact same. \n Debbie leaves and Margaret smiles as the door closes. Richard \n jumps out of bed and goes to the food. \n \n MARGARET \n \n (TOUCHED)"," They can be a little overwhelming, but \n they're great people. \n \n MARGARET \n What? I'm just working on my tan. \n (off Gertrude's look) \n It's been a long day. \n Margaret looks inside and sees that the party is still raging. \n \n GERTRUDE \n Around the solstice they don't watch the \n clock. Pretty much party âtil they fall \n over. \n"," 68. \n \n MARGARET \n \n (EMBARRASSED) \n Hey. \n They walk a few steps, and before Margaret can say a word. \n MARGARET (cont'd) \n You know him? \n \n RICHARD \n He was my shop teacher. \n \n MARGARET \n Of course he was. How many people are on \n this island?"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," Who knows you're getting married? \n Margaret interrupts. \n \n MARGARET \n No one. With us working together we decided \n it would be too much of a scandal if anyone \n knew. \n \n MR. GILBERTSON \n Have you at least told your family? \n \n MARGARET \n \n (EXCITED) \n My parents are dead! \n \n MR. GILBERTSON"," RICHARD \n So his hands don't go too far. So he \n doesn't... \n Richard makes a chopping motion. Margaret winces. \n \n MARGARET \n Nice. \n From the decapitator, fish are fed into the gut puller, where \n their bellies are slit and the intestines are pulled out. \n MARGARET (cont'd) \n You know, I shouldn't be here. I was a"," Inside one of the brightly lit warehouses, workers at different \n stations process the fish that come off the boats. \n At the top of the line, Bek Bek is HANDCUFFED to the head \n decapitator machine. He happily feeds whole salmon into a \n guillotine, where the heads are chopped off. He awkwardly waves \n when he sees Margaret and Richard. \n \n MARGARET \n Why is he handcuffed to the machine? \n"],[" GEOFFREY \n I called him yesterday. He told me that you \n were lying, and that he was going to catch \n you. That he was going to send you to \n prison. \n \n MR. GILBERTSON \n (to Richard) \n We made a deal and dad here flew me up. Now \n you tell the truth, and get off scott free. \n It's like it never happened for you. \n \n RICHARD"," And? \n \n RICHARD \n Well. It seemed like you were having... \n second thoughts. \n \n MARGARET \n Yeah. I was. \n \n RICHARD \n Maybe we should do it. Come clean. \n \n MARGARET \n Put me down. \n Richard puts Margaret down near the boat. She tries to regain \n her composure. \n MARGARET (cont'd)"," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," she's ready for a kiss. The two slowly begin to come together. \n Just as their dry lips are about to touch, Richard chickens out \n and kisses the hair on the top of her head. \n \n MR. GILBERTSON \n Five years in prison and a two hundred and \n fifty thousand dollar fine. \n \n MARGARET \n What? \n \n MR. GILBERTSON \n If I prove you're lying, you go to federal"," prison for five years. \n Gilbertson takes out a pad and takes notes. \n MR. GILBERTSON (cont'd) \n (to Richard) \n You. Do you know what you're getting \n yourself into? We're going to put you in a \n room and ask you every detail that a real \n couple would know about each other. Do you \n even know her favorite color? \n Richard doesn't answer. Margaret encourages him on with a thinly"," Oh, and I'm not going to be able to publish \n your book after all. \n \n MR. GILBERTSON \n So you are getting married this weekend? \n \n MARGARET \n \n (SMILING) \n Absolutely not. But who knows? \n (looking at Richard) \n We might by the time you get out of jail. \n Gilbertson makes a \"go to hell\" face and shuffles off."," Enraged, but with no recourse for now, Gilbertson checks his \n appointment book and writes down some information. \n \n MR. GILBERTSON \n The INS will see you both in ten days for \n your official interview. Your stories \n better match up on every account. \n Mr. Gilbertson gets right up in Margaret's face as he gives her \n the piece of paper. \n MR. GILBERTSON (cont'd)"," dumbstruck looks on their faces. Ramone mixes drinks and flips \n bottles. Richard runs up to them all, looking excited. \n \n GEOFFREY \n What are you so God damn happy about? \n \n RICHARD \n What? Oh. Well, I'm, uh, going to see \n Margaret. \n \n GEOFFREY \n What?! \n \n DEBBIE \n She violated you. We should report her."," The two have to yell to talk. \n \n MR. GILBERTSON \n I want you to say the words. \n \n MARGARET \n I'm not doing great in the dignity \n department, can we not do this right now? \n \n MR. GILBERTSON \n Say it. \n Margaret closes her eyes. Hating that it's come to this. \n \n MARGARET \n I'll publish your book."," The Handsome Man leads a handcuffed and still dazed Gilbertson \n down the steps. \n \n MARGARET \n (to Gilbertson) \n Hey! Do you think getting arrested might \n affect you at work? \n Gilbertson has no retort. \n \n \n \n \n \n \n \n \n \n 115. \n MARGARET (cont'd)"," The Handsome Man turns to Margaret. \n \n HANDSOME MAN \n (with genuine concern) \n Do you really feel like you're alone? \n \n \n \n \n \n \n \n \n \n 112. \n \n MARGARET \n Oh, good lord. \n \n CUT TO: \n \n INT. TOWER - DAY \n \n Richard and his family stare at the radio, waiting to see if"," A beat. Margaret says matter of fact... \n \n MARGARET \n You wrote the book. \n \n MR. GILBERTSON \n I did. \n \n MARGARET \n You're Dante Dickens? \n \n MR. GILBERTSON \n One of my nom de plumes. \n Gilbertson paces. Margaret stays seated, at a loss. \n \n MARGARET"," Yeah. See you at the wedding. \n \n EXT. PAXTON DOCK - DAY \n \n Richard and Margaret unload champagne. Richard is still thinking \n about Gertrude and wanting to be alone. \n \n MARGARET \n So, what did you and Gertrude talk about? \n Richard lies. \n \n RICHARD \n Nothing. About her school. The kids and \n stuff. Apparently my second grade teacher"," Richard calmly backs out of the office... \n \n INT. RICHARD'S DESK - CONTINUOUS \n \n ... but once he's out of Margaret's sight he runs to his computer \n and sends an instant message to the office \"The Banshee is headed \n to Bob's office.\" \n \n INT. ROYCE PUBLISHING - MORNING \n \n As the message pops up on computers, the quiet office jumps to"," really happened, and I'll be on my way. No \n one gets hurt, we all get what we want. \n Margaret takes Richard's hand. \n \n MARGARET \n It's OK. Tell him. \n \n RICHARD \n (to Geoffrey) \n You do not get to make this decision. This \n is my decision. \n (to Gilbertson) \n The truth is... I've been working for"," \n \n \n \n \n \n 41. \n \n MARGARET \n Oh please. I'd wonder too. Honestly, my \n lawyers have been dealing with all of this. \n When you told us at the airport it was the \n first time I'd heard about it. I'm so \n embarrassed. \n \n DEBBIE \n Don't be, dear. Geoffrey's just an ass."," resigned. I won't tell a soul, my lips are \n sealed. \n Margaret nods at Richard and he opens the door. \n \n INT. ROYCE PUBLISHING - CONTINUOUS \n \n Margaret and Richard walk a few steps. Margaret looks straight \n ahead and whispers to Richard. \n \n MARGARET \n What's he doing? \n Richard turns around and takes a peek. Bob gets out of his chair"," you're under arrest for disobeying a crew \n member, assault, and possible intoxication. \n \n \n \n \n \n \n \n \n \n 114. \n The Handsome Man pulls out flex cuffs, zips them around \n Gilbertson's wrists, and throws him in the bathroom. He then \n takes the CB from Margaret and speaks to the passengers. \n HANDSOME MAN (cont'd)"," Inside one of the brightly lit warehouses, workers at different \n stations process the fish that come off the boats. \n At the top of the line, Bek Bek is HANDCUFFED to the head \n decapitator machine. He happily feeds whole salmon into a \n guillotine, where the heads are chopped off. He awkwardly waves \n when he sees Margaret and Richard. \n \n MARGARET \n Why is he handcuffed to the machine? \n"," Wrong answer. No way. \n \n MARGARET \n What do you mean no way? This is crazy. \n \n RICHARD \n No, crazy was lying to the federal officer. \n \n MARGARET \n Well I don't like this. \n \n RICHARD \n Well I'm not making my Gammy an accomplice \n to a Class C felony! For one second could \n you not be so selfish? \n"],[" MR. GILBERTSON \n And where's that located? \n \n MARGARET \n (still no idea) \n In his hometown. \n \n RICHARD \n Sitka. \n \n MR. GILBERTSON \n Is that on Long Island? \n Only Richard has the answer. Margaret tries to cover. \n \n MARGARET \n Why don't you tell him? \n \n RICHARD"," warehouses, and buzzes with activity. Fishing boats line the \n pier, unload their fish, and forklifts take the fish to be \n processed. Everything is clean and organized. \n Richard and Margaret walk down the pier. He points to the SEALS \n that swim everywhere and eat fish scraps. Damn, they're cute. \n Richard waves hello to WORKERS. An elderly Phillipino man, BEK \n BEK, yells at them as he walks into a warehouse."," The Handsome Man turns to Margaret. \n \n HANDSOME MAN \n (with genuine concern) \n Do you really feel like you're alone? \n \n \n \n \n \n \n \n \n \n 112. \n \n MARGARET \n Oh, good lord. \n \n CUT TO: \n \n INT. TOWER - DAY \n \n Richard and his family stare at the radio, waiting to see if"," forgotten about Margaret completely. \n \n GERTRUDE \n No. I live here now. \n \n RICHARD \n You what? \n \n GERTRUDE \n I moved back about six months ago. I'm \n teaching second grade. At Baranof. \n \n RICHARD \n Did your husband move up here too? \n \n GERTRUDE \n Uh, no. I, ah, got divorced."," this, and I don't plan to. \n (to Margaret) \n I was really beginning to like you. Sorry \n about this. \n Geoffrey opens the door and goes inside. \n \n INSIDE THE GUESTHOUSE \n The guesthouse has been converted into a squash court. In the \n middle of the court, a man patiently sits on a metal folding \n chair. It's Gilbertson. He smiles. \n"," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," Geoffrey and Mr. Maguire see Richard coming their way. Mr. \n Maguire yells at Richard like the old family friend he is. \n \n MAGUIRE \n \n (JOKING) \n I'm mad at you, son! \n \n RICHARD \n Why's that, Mr. Maguire? \n \n MAGUIRE \n You fly up here and don't call me? \n \n RICHARD"," INT. PAXTON ESTATE \n \n Inside, the elegant party carries on. \n \n DEBBIE \n Where's Margaret? We need to go. \n \n RICHARD \n Go where? \n \n DEBBIE \n It's a surprise. Girls are going into town. \n And the boys stay here. I told you, we've \n planned everything. \n \n RICHARD \n Um. She's outside."," Yeah. You'd think you could make it to the \n airport to mark the occasion. \n Grandma Annie interrupts. \n \n GRANDMA ANNIE \n Help him with the bags Geoffrey. \n (to Richard and Margaret) \n Let's get you two settled. \n As Richard and Margaret move towards the house, Annie shoots \n Geoffrey a look that says \"be nice\". \n \n INT. PAXTON ESTATE - DAY \n"," it screwed me up for a little while. \n \n MARGARET \n For a little while? Don't sell yourself \n short. \n \n RICHARD \n When Gert crushed my heart into little \n pieces, a life up here didn't seem so great \n anymore. \n \n MARGARET \n So you moved to the open arms of New York \n City? \n \n RICHARD \n At first it was about getting as far away"," on a piece of paper. He dials. \n \n GEOFFREY \n Yes. Mr. Gilbertson? My name is Geoffrey \n Paxton... \n Only the animal trophies that adorn Geoffrey's office hear the \n rest of the conversation. \n \n INT. MARGARET'S ROOM - DAY \n \n Margaret wakes up. She looks over to Richard asleep on the floor"," his attention is focused on the controls, as he looks for the \n playlist \"Songs I Shouldn't Like\" and Charlene's hit \"I've Been \n to Paradise, But I Haven't Been to Me.\" \n \n INT. MARGARET'S ROOM - DAY \n \n \n IN THE BATHROOM \n Margaret turns off the shower, pulls back the curtain and reaches \n for a towel. All she finds is a miniature unabsorbent decorative"," born. We figured he deserved a home. \n \n GEOFFREY \n And don't let him outside, or the eagles \n will snatch him. \n \n RICHARD \n C'mon dad... \n \n GEOFFREY \n I mean it. They come out of that \n rehabilitation center mean. And hungry. \n \n RICHARD \n Don't listen to him, Margaret. \n"," Alaska. \n \n MR. GILBERTSON \n You're going to Alaska this weekend? \n \n MARGARET \n (Alaska???) \n Yes. Of course we're going to Alaska. \n That's where Richard is from. \n Gilbertson begins to walk around. He's getting worked up. \n \n MR. GILBERTSON \n You think you can beat me with this B-S \n story? Forcing your secretary..."," where and who he is with, he puts his beer down. He turns to \n Gertrude again with a determined look, gives her a kiss on the \n lips, then follows it up with an even bigger kiss. \n When they finish, Gertrude is grinning, eyes closed. \n Richard looks worried. Something is wrong. \n \n GERTRUDE \n You have been practicing. \n \n RICHARD \n Waddya mean? \n \n GERTRUDE"," INT. PAXTON ESTATE UPSTAIRS - DAY \n \n Debbie opens a door for Richard and Margaret. \n \n DEBBIE \n You'll be sleeping here. \n \n INT. MARGARET'S ROOM - DAY - CONTINUOUS \n \n The room is beautiful, right out of Architectural Digest. \n \n DEBBIE \n Bathroom is there, all the towels are in the"," You're a very beautiful woman. \n Margaret smiles with her head turned away from Richard. \n \n MARGARET \n Get some sleep Richard, big day tomorrow. \n \n INT. PAXTON ESTATE - OFFICE - DAY \n \n Not a creature is stirring, except for Geoffrey who creeps into \n his office. He shuts the door softly and goes to his gigantic \n oak desk. He finds a phone number with a New York City area code"," she's gone, they turn their death stare back to Geoffrey. He \n looks genuinely unnerved. \n \n GEOFFREY \n Stop looking at me like that! \n \n EXT. PAXTON ESTATE - DAY \n \n Richard continues to listen to his iPod, and has worked up quite \n a sweat. He's stacks the last log, takes off his soaked through \n shirt, and gets a whiff of himself. Ew. He stinks. \n"," MARGARET \n Who are you people? \n Richard lets Margaret wonder. \n \n EXT. PAXTON DOCK - DAY \n \n The ship docks and we get our first glimpse of the Paxton Estate. \n It sits above the rest of the wooded island and is as tasteful as \n a 15 bedroom Alaskan mansion can be. \n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \n \n \n"," HANDSOME MAN \n You're awfully nice to fly him first class. \n Margaret nods her head and agrees. It sucks to be Richard. \n \n EXT. AERIAL OF SITKA - DAY \n \n We see the natural beauty of South Eastern Alaska. Sitka is an \n island the size of Maui. Only an eight mile stretch of coast is \n inhabited, the rest is complete wilderness. At the center of the"],[" The Pioneer bar is a classic Alaskan bar, decorated with pictures \n of every fishing vessel that has made Sitka its home. \n But tonight estrogen rules, as all the patrons are women CHEERING \n for an oiled, toned, and BEARDED MAN in a tiny thong who gyrates \n to the beat of Prince's \"Sexy Motherfucker.\" On stage with the \n dancer, Margaret tries to not look miserable in her NOVELTY \n"," HANDSOME MAN \n You're awfully nice to fly him first class. \n Margaret nods her head and agrees. It sucks to be Richard. \n \n EXT. AERIAL OF SITKA - DAY \n \n We see the natural beauty of South Eastern Alaska. Sitka is an \n island the size of Maui. Only an eight mile stretch of coast is \n inhabited, the rest is complete wilderness. At the center of the"," MR. GILBERTSON \n And where's that located? \n \n MARGARET \n (still no idea) \n In his hometown. \n \n RICHARD \n Sitka. \n \n MR. GILBERTSON \n Is that on Long Island? \n Only Richard has the answer. Margaret tries to cover. \n \n MARGARET \n Why don't you tell him? \n \n RICHARD"," grandchild's wedding day. It's a dream come \n true for me. A dream come true. Please let \n me see Richard get married before I die. \n Please. \n Long beat. Richard doesn't know what Margaret is going to say. \n Margaret doesn't know what Margaret is going to say. Finally, \n she goes to speak, but can only get out... two big thumbs up. \n The crowd cheers. \n \n EXT. SITKA - DAY"," Sorry everybody, but protocol says we need \n to get this unruly passenger off the plane \n ASAP. Sitka's the closest airport, so if \n it's OK with you, I'm gonna have the captain \n turn this bird around. \n There are wild cheers from the passengers. Margaret blushes. \n HANDSOME MAN (cont'd) \n (winks at Margaret) \n Told you I was a romantic. \n"," 108. \n \n EXT. SITKA AIRPORT - DAY \n \n The helicopter lands, and Richard jumps out. His family follows \n as they run to the control tower. \n \n INT. AIRPORT TOWER - DAY \n \n CHUCK has an easy job. Jets fly into Sitka, but there are only \n about six flights a day. He is half awake as he radios"," Alaska. \n \n MR. GILBERTSON \n You're going to Alaska this weekend? \n \n MARGARET \n (Alaska???) \n Yes. Of course we're going to Alaska. \n That's where Richard is from. \n Gilbertson begins to walk around. He's getting worked up. \n \n MR. GILBERTSON \n You think you can beat me with this B-S \n story? Forcing your secretary..."," final boarding to Sitka. Margaret gets off her phone. \n \n MARGARET \n So what do I need to know up there? Bullet \n points. \n \n RICHARD \n I told âem we've been dating for six months. \n We've kept it a secret from everyone... \n (under his breath) \n ...and that you're a naughty minx in the \n sack."," stay at a hotel. Also, we've got another \n little surprise for you two. \n \n MARGARET \n Surprise? Another surprise? \n \n RICHARD \n She's not good with surprises. \n \n MARGARET \n I'm really not good with surprises. \n \n EXT. SITKA AIRPORT - DAY - CONTINUOUS \n"," Debbie stops. Sitka Airport is very small, so they are already \n outside by all the cars parked in the loading zone. \n Debbie and Annie excitedly look at each other. \n \n DEBBIE \n Well you two... \n \n GRANDMA ANNIE \n ...you're getting married this weekend! \n \n MARGARET RICHARD \n What? What? \n GRANDMA ANNIE (cont'd)"," horizon. \n \n \n \n \n \n \n \n \n \n 87. \n As they jet up the coast away from civilization, the green trees, \n blue water and wildlife (bears, puffins, moose) that inhabit the \n coastline have a calming effect on both of them. In Alaska, it \n doesn't take long to leave humanity behind. \n Eventually, the boat travels through a channel with steep"," A big banner that reads: CONGRATULATIONS RICHARD AND MARGARET!!! \n with wedding bells and a graphic showing the journey from New \n York to Sitka. The banner is being held up by a group of 30 \n PEOPLE with excited looks on their faces. \n Richard's mom DEBBIE (60) is front and center. She's a sweet \n lady who cooked Richard a hot breakfast every morning until he \n left the house."," Cross all your T's and dot your I's with \n this ruse, Ms. Mills. \n \n MARGARET \n There are no \"T's\" or \"I's\" in \"Love\" Mr. \n Gilbertson. \n Gilbertson leaves and shuts the door hard. Margaret goes back to \n her desk like this is all in a days work. \n MARGARET (cont'd) \n Why are you from Alaska? Sweet Jesus,"," I want to get to know you all, and spend \n some real time up here in Alaska. \n (to Annie) \n I'm not sure when you are going to see him \n get married, but I promise as long as I'm \n with him, he'll be happy. \n Passengers cram up to the plane windows to see what will happen. \n \n GRANDMA ANNIE \n That's all we ever wanted."," EXT. SITKA AIRPORT RUNWAY - DAY \n \n Flight 1601 glides to a safe landing. Richard and his family \n wait on the tarmac, and the plane taxis to them. A truck drives \n stairs to the front door of the plane and the door opens. \n Margaret steps out. Richard walks up the steps. \n \n MARGARET \n This wasn't supposed to happen. \n Richard looks Margaret in the eye. \n"," INT. SITKA GENERAL STORE - DAY \n \n Richard and Margaret enter the well appointed general store, \n filled with food, booze and electronics. A mini Wal Mart. \n \n RICHARD \n Hey Ramone. \n \n RAMONE \n Hey Richard. Hola mi amo. \n Margaret recognizes Ramone, the male dancer from last night. \n \n \n \n \n \n \n \n \n"," It's beautiful. \n \n GRANDMA ANNIE \n It's hematite. Alaska diamonds. The blue \n ones like this are very rare. My great \n grandfather gave it to my great grandmother \n when they were married. They were quite a \n scandal, you know. He was Russian and she \n was Tlingit. \n \n (MORE) \n \n \n \n \n \n \n \n \n"," luck. It's an Alaskan thing. \n \n DEBBIE \n We've planned everything. \n Margaret isn't sold, so Grandma Annie goes for the clincher. \n \n GRANDMA ANNIE \n I'm old, Margaret. I don't have much time \n left. Richard lives so far away, and I \n never see him. Now I find out he's getting \n married, and I have a chance to see my one"," Margaret is about to throttle the Pirate, when Richard pulls her \n back. \n \n RICHARD \n C'mon. I got an idea. \n Richard leads Margaret to the door. As they are leaving Margaret \n shouts out. \n \n MARGARET \n I didn't know there were a lot of pirates in \n Alaska! \n \n INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY \n"," warehouses, and buzzes with activity. Fishing boats line the \n pier, unload their fish, and forklifts take the fish to be \n processed. Everything is clean and organized. \n Richard and Margaret walk down the pier. He points to the SEALS \n that swim everywhere and eat fish scraps. Damn, they're cute. \n Richard waves hello to WORKERS. An elderly Phillipino man, BEK \n BEK, yells at them as he walks into a warehouse."]],"string":"[\n [\n \" Painfully long beat where Richard doesn't answer. Margaret \\n squeezes Richard's hand hard. \\n \\n RICHARD \\n Uh-huh. \\n Margaret smiles and snuggles up to Richard so he can put his arm \\n around her. Richard is truly afraid. \\n RICHARD (cont'd) \\n (more of a question) \\n I'm, uh, marrying my boss? \\n Margaret turns and puckers her lips to let Richard know that\",\n \" Immigration Services, and I'm deporting you \\n to Canada. \\n \\n MARGARET \\n Excuse me? What? This is a mistake. I've \\n lived here since 1981. I'm applying for \\n citizenship. \\n \\n MR. GILBERTSON \\n You need citizenship now? After the big \\n promotion? \\n \\n MARGARET \\n Yes. And all the papers are in.\",\n \" Oh, and I'm not going to be able to publish \\n your book after all. \\n \\n MR. GILBERTSON \\n So you are getting married this weekend? \\n \\n MARGARET \\n \\n (SMILING) \\n Absolutely not. But who knows? \\n (looking at Richard) \\n We might by the time you get out of jail. \\n Gilbertson makes a \\\"go to hell\\\" face and shuffles off.\",\n \" MR. GILBERTSON \\n Yes, and unfortunately my investigation will \\n take awhile, so you'll be deported while \\n your case winds through the system. \\n (as if he doesn't know) \\n Will it affect you at work if you aren't \\n allowed to enter the U.S. for the next two \\n to three years? \\n \\n MARGARET \\n \\\"Affect me at work?\\\" I'll lose my job! \\n\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" Enraged, but with no recourse for now, Gilbertson checks his \\n appointment book and writes down some information. \\n \\n MR. GILBERTSON \\n The INS will see you both in ten days for \\n your official interview. Your stories \\n better match up on every account. \\n Mr. Gilbertson gets right up in Margaret's face as he gives her \\n the piece of paper. \\n MR. GILBERTSON (cont'd)\",\n \" Are you thinking about going back to him? \\n Margaret doesn't answer. \\n MR. GILBERTSON (cont'd) \\n We have a deal! You can't back out now! \\n The flight attendant steps in, annoyed that Gilbertson is trying \\n to break up Richard and Margaret. \\n \\n FLIGHT ATTENDANT \\n Sir, you need to sit down. \\n \\n MR. GILBERTSON \\n I will do no such thing. \\n\",\n \" \\n \\n \\n \\n \\n \\n 41. \\n \\n MARGARET \\n Oh please. I'd wonder too. Honestly, my \\n lawyers have been dealing with all of this. \\n When you told us at the airport it was the \\n first time I'd heard about it. I'm so \\n embarrassed. \\n \\n DEBBIE \\n Don't be, dear. Geoffrey's just an ass.\",\n \" \\n \\n \\n \\n \\n \\n 31. \\n \\n GEOFFREY \\n So you must be Margaret. We've heard a lot \\n about you. All of it bad. \\n Margaret tentatively walks off the yacht in her none to practical \\n sling backs. \\n GEOFFREY (cont'd) \\n I mean, I almost shit myself when I heard he \\n was marrying the devil woman. \\n \\n MARGARET\",\n \" MARGARET \\n We are! \\n \\n RICHARD \\n You and him? \\n \\n MARGARET \\n Stop playing around, honey. \\n Margaret is all smiles. Richard is very confused. \\n MARGARET (cont'd) \\n Mr. Gilbertson is from the INS. I told him \\n about us. About us getting married. \\n \\n MR. GILBERTSON \\n You are marrying your male secretary? \\n\",\n \" that's inconvenient. So here's what's going \\n to happen. We'll play boyfriend and \\n girlfriend this weekend for your parents and \\n that should be enough for this INS \\n interview. \\n Richard doesn't react. Margaret doesn't notice. \\n MARGARET (cont'd) \\n So you need to figure out the travel, \\n schedule a justice of the peace for next \\n week, and get my lawyer on the phone.\",\n \" RICHARD \\n Have you ever thought there might be a \\n reason we've been together for the last \\n three years? \\n \\n MARGARET \\n As boss and assistant. \\n \\n RICHARD \\n Things change, Margaret. \\n \\n MARGARET \\n \\n (INCREDULOUS) \\n Things change? \\n \\n RICHARD \\n Yeah, things change. \\n \\n MARGARET\",\n \" Cross all your T's and dot your I's with \\n this ruse, Ms. Mills. \\n \\n MARGARET \\n There are no \\\"T's\\\" or \\\"I's\\\" in \\\"Love\\\" Mr. \\n Gilbertson. \\n Gilbertson leaves and shuts the door hard. Margaret goes back to \\n her desk like this is all in a days work. \\n MARGARET (cont'd) \\n Why are you from Alaska? Sweet Jesus,\",\n \" Who knows you're getting married? \\n Margaret interrupts. \\n \\n MARGARET \\n No one. With us working together we decided \\n it would be too much of a scandal if anyone \\n knew. \\n \\n MR. GILBERTSON \\n Have you at least told your family? \\n \\n MARGARET \\n \\n (EXCITED) \\n My parents are dead! \\n \\n MR. GILBERTSON\",\n \" Margaret for three years. Six months ago we \\n started dating. I recently asked her to \\n marry me, and she said yes. See you both at \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 95. \\n \\n GEOFFREY \\n What are you doing, Richard? \\n \\n RICHARD \\n (grabs Margaret's hand) \\n Come on, we gotta get ready.\",\n \" RICHARD \\n Assistant. \\n \\n MR. GILBERTSON \\n You are marrying your male assistant? \\n \\n MARGARET \\n (matter of fact) \\n We're in love. We tried to fight it. When \\n it's right, it's right. \\n \\n MR. GILBERTSON \\n And this has nothing to do with my visit \\n here today? \\n \\n MARGARET\",\n \" How convenient. So you're not telling \\n anyone that you are getting married? \\n \\n RICHARD \\n Nope. \\n Gilbertson smiles and puts down his pad. \\n \\n MR. GILBERTSON \\n Pathetic. Four questions and I've got \\n enough to send you to prison... \\n \\n MARGARET \\n We're telling his family this weekend. \\n \\n RICHARD \\n We are? \\n\",\n \" Richard and Margaret make it to the attendant at the gate. \\n Margaret is not amused by Richard's attempt at humor. \\n \\n MARGARET \\n \\n (VENOMOUS) \\n Don't make me hate you. \\n Margaret hands her boarding pass to the attendant and breezes \\n through. The attendant gives Richard a look. \\n \\n RICHARD \\n Bringing her home to meet my folks. She's \\n \\n \\n \\n \\n\",\n \" MARGARET \\n You wanna be an editor? You need to make \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 21. \\n \\n RICHARD \\n OK. Fine. Then if we \\\"make this happen\\\"? \\n You're promoting me to editor. \\n \\n MARGARET \\n I'm doing what? \\n \\n RICHARD \\n We go to Alaska and lie to my family? I\",\n \" The sight of Richard inspires Margaret. She turns to Gilbertson \\n with a wicked grin on her face. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 15. \\n \\n MARGARET \\n Know what, Dante? I'm not going anywhere! \\n We're getting married! \\n Richard has no idea what Margaret is talking about. \\n \\n RICHARD \\n Who's getting married? \\n\"\n ],\n [\n \" Enraged, but with no recourse for now, Gilbertson checks his \\n appointment book and writes down some information. \\n \\n MR. GILBERTSON \\n The INS will see you both in ten days for \\n your official interview. Your stories \\n better match up on every account. \\n Mr. Gilbertson gets right up in Margaret's face as he gives her \\n the piece of paper. \\n MR. GILBERTSON (cont'd)\",\n \" MR. GILBERTSON \\n Yes, and unfortunately my investigation will \\n take awhile, so you'll be deported while \\n your case winds through the system. \\n (as if he doesn't know) \\n Will it affect you at work if you aren't \\n allowed to enter the U.S. for the next two \\n to three years? \\n \\n MARGARET \\n \\\"Affect me at work?\\\" I'll lose my job! \\n\",\n \" Gilbertson pulls out a stack of papers and throws them down. \\n \\n MR. GILBERTSON \\n Well, my office is going to reject your \\n paperwork on Monday, while we investigate \\n whether your behavior is well disposed to \\n the good order and happiness of the United \\n States. We must protect our sovereignty. \\n \\n MARGARET \\n I'm a threat to the sovereignty of the \\n United States? \\n\",\n \" that's inconvenient. So here's what's going \\n to happen. We'll play boyfriend and \\n girlfriend this weekend for your parents and \\n that should be enough for this INS \\n interview. \\n Richard doesn't react. Margaret doesn't notice. \\n MARGARET (cont'd) \\n So you need to figure out the travel, \\n schedule a justice of the peace for next \\n week, and get my lawyer on the phone.\",\n \" Immigration Services, and I'm deporting you \\n to Canada. \\n \\n MARGARET \\n Excuse me? What? This is a mistake. I've \\n lived here since 1981. I'm applying for \\n citizenship. \\n \\n MR. GILBERTSON \\n You need citizenship now? After the big \\n promotion? \\n \\n MARGARET \\n Yes. And all the papers are in.\",\n \" MARGARET \\n We are! \\n \\n RICHARD \\n You and him? \\n \\n MARGARET \\n Stop playing around, honey. \\n Margaret is all smiles. Richard is very confused. \\n MARGARET (cont'd) \\n Mr. Gilbertson is from the INS. I told him \\n about us. About us getting married. \\n \\n MR. GILBERTSON \\n You are marrying your male secretary? \\n\",\n \" I'm sorry if I hurt your feelings. You \\n obviously were spending a lot of time \\n writing, I just thought you should channel \\n all that passion into something else. \\n Gilbertson smiles as he pulls a BADGE from his coat pocket. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 13. \\n \\n MR. GILBERTSON \\n Ms. Mills, I'm with U.S. Citizenship and\",\n \" prison for five years. \\n Gilbertson takes out a pad and takes notes. \\n MR. GILBERTSON (cont'd) \\n (to Richard) \\n You. Do you know what you're getting \\n yourself into? We're going to put you in a \\n room and ask you every detail that a real \\n couple would know about each other. Do you \\n even know her favorite color? \\n Richard doesn't answer. Margaret encourages him on with a thinly\",\n \" Wrong answer. No way. \\n \\n MARGARET \\n What do you mean no way? This is crazy. \\n \\n RICHARD \\n No, crazy was lying to the federal officer. \\n \\n MARGARET \\n Well I don't like this. \\n \\n RICHARD \\n Well I'm not making my Gammy an accomplice \\n to a Class C felony! For one second could \\n you not be so selfish? \\n\",\n \" Cross all your T's and dot your I's with \\n this ruse, Ms. Mills. \\n \\n MARGARET \\n There are no \\\"T's\\\" or \\\"I's\\\" in \\\"Love\\\" Mr. \\n Gilbertson. \\n Gilbertson leaves and shuts the door hard. Margaret goes back to \\n her desk like this is all in a days work. \\n MARGARET (cont'd) \\n Why are you from Alaska? Sweet Jesus,\",\n \" I'm a federal officer, so why don't you get \\n me another cocktail and mind your own... \\n BUZZ! ZAP! 400,000 Volts of electricity surge through \\n Gilbertson. He twitches violently and crashes to the floor. \\n Behind him, The Handsome Man holds a stun gun and a badge. \\n \\n HANDSOME MAN \\n Well, I'm a federal Air Marshall. And\",\n \" very proud. I love you Richy. \\n \\n RICHARD \\n I love you too, Grandma. \\n Grandma hugs the couple. Everyone smiles except Geoffrey and \\n Gertrude. \\n \\n GEOFFREY \\n So did this happen before or after the INS \\n agent came sniffing around? \\n \\n DEBBIE \\n What is wrong with you? I'm sorry Margaret. \\n Margaret doesn't miss a beat. \\n \\n \",\n \" she's ready for a kiss. The two slowly begin to come together. \\n Just as their dry lips are about to touch, Richard chickens out \\n and kisses the hair on the top of her head. \\n \\n MR. GILBERTSON \\n Five years in prison and a two hundred and \\n fifty thousand dollar fine. \\n \\n MARGARET \\n What? \\n \\n MR. GILBERTSON \\n If I prove you're lying, you go to federal\",\n \" A beat. Margaret says matter of fact... \\n \\n MARGARET \\n You wrote the book. \\n \\n MR. GILBERTSON \\n I did. \\n \\n MARGARET \\n You're Dante Dickens? \\n \\n MR. GILBERTSON \\n One of my nom de plumes. \\n Gilbertson paces. Margaret stays seated, at a loss. \\n \\n MARGARET\",\n \" GEOFFREY \\n I called him yesterday. He told me that you \\n were lying, and that he was going to catch \\n you. That he was going to send you to \\n prison. \\n \\n MR. GILBERTSON \\n (to Richard) \\n We made a deal and dad here flew me up. Now \\n you tell the truth, and get off scott free. \\n It's like it never happened for you. \\n \\n RICHARD\",\n \" How convenient. So you're not telling \\n anyone that you are getting married? \\n \\n RICHARD \\n Nope. \\n Gilbertson smiles and puts down his pad. \\n \\n MR. GILBERTSON \\n Pathetic. Four questions and I've got \\n enough to send you to prison... \\n \\n MARGARET \\n We're telling his family this weekend. \\n \\n RICHARD \\n We are? \\n\",\n \" \\n \\n \\n \\n \\n \\n 41. \\n \\n MARGARET \\n Oh please. I'd wonder too. Honestly, my \\n lawyers have been dealing with all of this. \\n When you told us at the airport it was the \\n first time I'd heard about it. I'm so \\n embarrassed. \\n \\n DEBBIE \\n Don't be, dear. Geoffrey's just an ass.\",\n \" And? \\n \\n RICHARD \\n Well. It seemed like you were having... \\n second thoughts. \\n \\n MARGARET \\n Yeah. I was. \\n \\n RICHARD \\n Maybe we should do it. Come clean. \\n \\n MARGARET \\n Put me down. \\n Richard puts Margaret down near the boat. She tries to regain \\n her composure. \\n MARGARET (cont'd)\",\n \" resigned. I won't tell a soul, my lips are \\n sealed. \\n Margaret nods at Richard and he opens the door. \\n \\n INT. ROYCE PUBLISHING - CONTINUOUS \\n \\n Margaret and Richard walk a few steps. Margaret looks straight \\n ahead and whispers to Richard. \\n \\n MARGARET \\n What's he doing? \\n Richard turns around and takes a peek. Bob gets out of his chair\",\n \" No way. \\n \\n MARGARET \\n I get why a not rich person would do this. \\n But you've got everything. It doesn't make \\n any sense. \\n \\n RICHARD \\n Know what? This is none of your business. \\n \\n MARGARET \\n I wish it wasn't my business. But \\n unfortunately, it has become my business, \\n because I made a deal with someone I thought \\n I could trust.\"\n ],\n [\n \" Painfully long beat where Richard doesn't answer. Margaret \\n squeezes Richard's hand hard. \\n \\n RICHARD \\n Uh-huh. \\n Margaret smiles and snuggles up to Richard so he can put his arm \\n around her. Richard is truly afraid. \\n RICHARD (cont'd) \\n (more of a question) \\n I'm, uh, marrying my boss? \\n Margaret turns and puckers her lips to let Richard know that\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" I'm a little tired of you making demands and \\n me just jumping... \\n \\n MARGARET \\n (re: wedding stuff) \\n We're not going to need any of this if I \\n don't get out of here. \\n \\n RICHARD \\n OK, high maintenance. Let's go. \\n \\n EXT. PAXTON SPEED BOAT - DAY \\n \\n Unlike the bulky yacht, this boat is built for speed and\",\n \" Yeah. See you at the wedding. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret unload champagne. Richard is still thinking \\n about Gertrude and wanting to be alone. \\n \\n MARGARET \\n So, what did you and Gertrude talk about? \\n Richard lies. \\n \\n RICHARD \\n Nothing. About her school. The kids and \\n stuff. Apparently my second grade teacher\",\n \" Richard hangs up the phone. \\n RICHARD (cont'd) \\n Sorry about that. Damage control. \\n \\n MARGARET \\n She tell you to quit? \\n \\n RICHARD \\n No. No. \\n (off Margaret's look) \\n Um. Yes? But as I've explained to them, \\n after three years together, you're the only \\n person on the planet who can make me editor,\",\n \" You're a very beautiful woman. \\n Margaret smiles with her head turned away from Richard. \\n \\n MARGARET \\n Get some sleep Richard, big day tomorrow. \\n \\n INT. PAXTON ESTATE - OFFICE - DAY \\n \\n Not a creature is stirring, except for Geoffrey who creeps into \\n his office. He shuts the door softly and goes to his gigantic \\n oak desk. He finds a phone number with a New York City area code\",\n \" Margaret and Richard storm out of the squash court. \\n \\n EXT. PAXTON ESTATE - DAY - CONTINUOUS \\n \\n The couple walks briskly to the house. \\n \\n RICHARD \\n What was I thinking? They act like they're \\n nice, but really, they're evil. \\n \\n MARGARET \\n He's only doing it because he loves you. \\n \\n RICHARD\",\n \" The two have to yell to talk. \\n \\n MR. GILBERTSON \\n I want you to say the words. \\n \\n MARGARET \\n I'm not doing great in the dignity \\n department, can we not do this right now? \\n \\n MR. GILBERTSON \\n Say it. \\n Margaret closes her eyes. Hating that it's come to this. \\n \\n MARGARET \\n I'll publish your book.\",\n \" risk going to jail? Well, you're making me \\n editor for that. I mean, did you think I'd \\n do this out of the kindness of my heart? \\n \\n MARGARET \\n You work for me! \\n \\n RICHARD \\n You know, during my employee orientation, \\n the HR rep didn't mention anything about me \\n marrying you. \\n \\n MARGARET \\n Look, I came to this town alone and with\",\n \" And? \\n \\n RICHARD \\n Well. It seemed like you were having... \\n second thoughts. \\n \\n MARGARET \\n Yeah. I was. \\n \\n RICHARD \\n Maybe we should do it. Come clean. \\n \\n MARGARET \\n Put me down. \\n Richard puts Margaret down near the boat. She tries to regain \\n her composure. \\n MARGARET (cont'd)\",\n \" on a piece of paper. He dials. \\n \\n GEOFFREY \\n Yes. Mr. Gilbertson? My name is Geoffrey \\n Paxton... \\n Only the animal trophies that adorn Geoffrey's office hear the \\n rest of the conversation. \\n \\n INT. MARGARET'S ROOM - DAY \\n \\n Margaret wakes up. She looks over to Richard asleep on the floor\",\n \" INT. PAXTON ESTATE UPSTAIRS - DAY \\n \\n Debbie opens a door for Richard and Margaret. \\n \\n DEBBIE \\n You'll be sleeping here. \\n \\n INT. MARGARET'S ROOM - DAY - CONTINUOUS \\n \\n The room is beautiful, right out of Architectural Digest. \\n \\n DEBBIE \\n Bathroom is there, all the towels are in the\",\n \" RICHARD \\n Assistant. \\n \\n MR. GILBERTSON \\n You are marrying your male assistant? \\n \\n MARGARET \\n (matter of fact) \\n We're in love. We tried to fight it. When \\n it's right, it's right. \\n \\n MR. GILBERTSON \\n And this has nothing to do with my visit \\n here today? \\n \\n MARGARET\",\n \" Oh, and I'm not going to be able to publish \\n your book after all. \\n \\n MR. GILBERTSON \\n So you are getting married this weekend? \\n \\n MARGARET \\n \\n (SMILING) \\n Absolutely not. But who knows? \\n (looking at Richard) \\n We might by the time you get out of jail. \\n Gilbertson makes a \\\"go to hell\\\" face and shuffles off.\",\n \" MARGARET \\n You wanna be an editor? You need to make \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 21. \\n \\n RICHARD \\n OK. Fine. Then if we \\\"make this happen\\\"? \\n You're promoting me to editor. \\n \\n MARGARET \\n I'm doing what? \\n \\n RICHARD \\n We go to Alaska and lie to my family? I\",\n \" Don't be silly. This is the biggest day of \\n your life. You are coming into this family, \\n and when it's family, it's no trouble. If \\n your parents were with us, they would do the \\n exact same. \\n Debbie leaves and Margaret smiles as the door closes. Richard \\n jumps out of bed and goes to the food. \\n \\n MARGARET \\n \\n (TOUCHED)\",\n \" \\n \\n \\n \\n \\n \\n 31. \\n \\n GEOFFREY \\n So you must be Margaret. We've heard a lot \\n about you. All of it bad. \\n Margaret tentatively walks off the yacht in her none to practical \\n sling backs. \\n GEOFFREY (cont'd) \\n I mean, I almost shit myself when I heard he \\n was marrying the devil woman. \\n \\n MARGARET\",\n \" Who knows you're getting married? \\n Margaret interrupts. \\n \\n MARGARET \\n No one. With us working together we decided \\n it would be too much of a scandal if anyone \\n knew. \\n \\n MR. GILBERTSON \\n Have you at least told your family? \\n \\n MARGARET \\n \\n (EXCITED) \\n My parents are dead! \\n \\n MR. GILBERTSON\",\n \" Margaret angrily takes a bite of a cinnamon roll and slams it \\n down on the plate. She goes to her suitcase and looks for \\n clothes. A beat passes, and she comes back to the rolls. \\n MARGARET (cont'd) \\n These are really good. \\n She takes a cinnamon roll and leaves. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret board the yacht. They wear athletic clothes\",\n \" RICHARD \\n Have you ever thought there might be a \\n reason we've been together for the last \\n three years? \\n \\n MARGARET \\n As boss and assistant. \\n \\n RICHARD \\n Things change, Margaret. \\n \\n MARGARET \\n \\n (INCREDULOUS) \\n Things change? \\n \\n RICHARD \\n Yeah, things change. \\n \\n MARGARET\"\n ],\n [\n \" INT. PAXTON ESTATE - DAY \\n \\n Downstairs, the engagement party is in full swing. The starched \\n wait staff stands out in the crowd, because the raucous party- \\n goers are all dressed in flannel, T-shirts and baseball hats. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 36. \\n Ponytails rule for the women, and almost all the men have shaggy\",\n \" INT. PAXTON ESTATE \\n \\n Inside, the elegant party carries on. \\n \\n DEBBIE \\n Where's Margaret? We need to go. \\n \\n RICHARD \\n Go where? \\n \\n DEBBIE \\n It's a surprise. Girls are going into town. \\n And the boys stay here. I told you, we've \\n planned everything. \\n \\n RICHARD \\n Um. She's outside.\",\n \" MARGARET (cont'd) \\n We are awful people. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n THWACK! An axe slams down and splits a log in two. Hands \\n quickly place another log down and THWACK! We pull back to find \\n Richard playing the role of executioner. He's still mad after \\n talking to his dad, and is taking it out on the firewood. Rage\",\n \" You're a very beautiful woman. \\n Margaret smiles with her head turned away from Richard. \\n \\n MARGARET \\n Get some sleep Richard, big day tomorrow. \\n \\n INT. PAXTON ESTATE - OFFICE - DAY \\n \\n Not a creature is stirring, except for Geoffrey who creeps into \\n his office. He shuts the door softly and goes to his gigantic \\n oak desk. He finds a phone number with a New York City area code\",\n \" MR. GILBERTSON \\n And where's that located? \\n \\n MARGARET \\n (still no idea) \\n In his hometown. \\n \\n RICHARD \\n Sitka. \\n \\n MR. GILBERTSON \\n Is that on Long Island? \\n Only Richard has the answer. Margaret tries to cover. \\n \\n MARGARET \\n Why don't you tell him? \\n \\n RICHARD\",\n \" EXT. PAXTON ESTATE - DAY \\n \\n Richard and Margaret walk towards the house, which looms above \\n them as they prepare to deliver the news that they aren't getting \\n married. The front door opens, and Geoffrey comes outside in a \\n hurry. He's clearly been waiting. \\n \\n GEOFFREY \\n Come with me. \\n \\n RICHARD \\n Where's mom, dad? We all need to talk. \\n\",\n \" Margaret and Richard storm out of the squash court. \\n \\n EXT. PAXTON ESTATE - DAY - CONTINUOUS \\n \\n The couple walks briskly to the house. \\n \\n RICHARD \\n What was I thinking? They act like they're \\n nice, but really, they're evil. \\n \\n MARGARET \\n He's only doing it because he loves you. \\n \\n RICHARD\",\n \" MARGARET \\n Who are you people? \\n Richard lets Margaret wonder. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n The ship docks and we get our first glimpse of the Paxton Estate. \\n It sits above the rest of the wooded island and is as tasteful as \\n a 15 bedroom Alaskan mansion can be. \\n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \\n \\n \\n\",\n \" MARGARET \\n Why's Ramone letting you steal his stuff? \\n \\n RICHARD \\n It's our stuff. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 69. \\n Richard points to the \\\"Paxton General Store\\\" sign. \\n \\n MARGARET \\n That must have been handy in High School. \\n \\n RICHARD \\n You have no idea. \\n\",\n \" It's our friend, Frank. \\n Richard's tone let's Margaret know there's a problem. \\n \\n MARGARET \\n Excuse me, I'll just be a second. \\n Margaret takes the phone and exits out French glass doors that \\n lead to the backyard. She leaves the door open, and doesn't \\n notice Balzac follow her outside. \\n \\n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \\n\",\n \" INT. PAXTON ESTATE UPSTAIRS - DAY \\n \\n Debbie opens a door for Richard and Margaret. \\n \\n DEBBIE \\n You'll be sleeping here. \\n \\n INT. MARGARET'S ROOM - DAY - CONTINUOUS \\n \\n The room is beautiful, right out of Architectural Digest. \\n \\n DEBBIE \\n Bathroom is there, all the towels are in the\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" Yeah. You'd think you could make it to the \\n airport to mark the occasion. \\n Grandma Annie interrupts. \\n \\n GRANDMA ANNIE \\n Help him with the bags Geoffrey. \\n (to Richard and Margaret) \\n Let's get you two settled. \\n As Richard and Margaret move towards the house, Annie shoots \\n Geoffrey a look that says \\\"be nice\\\". \\n \\n INT. PAXTON ESTATE - DAY \\n\",\n \" 46. \\n \\n EXT. PAXTON ESTATE - SHORELINE - DAY \\n \\n Snow capped mountains watch 20 MEN in short sleeves hit golf \\n balls into the ocean. Green pontoon rafts bob in the water, made \\n up to look like golf greens. Golf balls are stacked in pyramid \\n formations at every hitting area. \\n Richard comes down from the house to join the group. Geoffrey\",\n \" hits a button to stop the treadmill... \\n \\n INT. WOMAN'S APARTMENT - EARLY MORNING \\n \\n A hand knocks an alarm clock off a table to shut it up. RICHARD \\n PAXTON (26) wakes up on pink sheets and looks around to figure \\n out where he is. There are multiple framed pictures of the same \\n model on the walls. \\n Richard looks at the clock and gets up quickly when he sees it is\",\n \" There's someone on the radio for you. \\n The flight attendant points to the Flight Attendant CB located at \\n the front of the plane, outside the cockpit. \\n FLIGHT ATTENDANT (cont'd) \\n Uh, a Richard Paxton? \\n Margaret shakes her head and re-buckles her seat belt. \\n \\n MARGARET \\n Tell him I'm not here. \\n \\n CUT TO: \\n \\n INT. TOWER - DAY \\n\",\n \" she's gone, they turn their death stare back to Geoffrey. He \\n looks genuinely unnerved. \\n \\n GEOFFREY \\n Stop looking at me like that! \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard continues to listen to his iPod, and has worked up quite \\n a sweat. He's stacks the last log, takes off his soaked through \\n shirt, and gets a whiff of himself. Ew. He stinks. \\n\",\n \" Debbie and Richard turn around and look out a picture window. \\n They see Margaret running with Balzac above her head. \\n \\n DEBBIE \\n Oh that's sweet, she's playing with my \\n Balzac. \\n \\n EXT. PAXTON BACKYARD - DAY \\n \\n The eagle is long gone, but Margaret is still running with the \\n dog trying to bait it back. \\n \\n MARGARET\",\n \" Gilbertson smiles. \\n \\n MR. GILBERTSON \\n Now was that so hard? \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard sits by himself and finishes a beer by the shore. \\n Gertrude walks up to him, looking fabulous, with two more beers. \\n \\n GERTRUDE \\n So here's the deal. I'm going to have a \\n million questions for you tomorrow...\",\n \" on a piece of paper. He dials. \\n \\n GEOFFREY \\n Yes. Mr. Gilbertson? My name is Geoffrey \\n Paxton... \\n Only the animal trophies that adorn Geoffrey's office hear the \\n rest of the conversation. \\n \\n INT. MARGARET'S ROOM - DAY \\n \\n Margaret wakes up. She looks over to Richard asleep on the floor\"\n ],\n [\n \" INT. PAXTON ESTATE \\n \\n Inside, the elegant party carries on. \\n \\n DEBBIE \\n Where's Margaret? We need to go. \\n \\n RICHARD \\n Go where? \\n \\n DEBBIE \\n It's a surprise. Girls are going into town. \\n And the boys stay here. I told you, we've \\n planned everything. \\n \\n RICHARD \\n Um. She's outside.\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" MARGARET (cont'd) \\n We are awful people. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n THWACK! An axe slams down and splits a log in two. Hands \\n quickly place another log down and THWACK! We pull back to find \\n Richard playing the role of executioner. He's still mad after \\n talking to his dad, and is taking it out on the firewood. Rage\",\n \" MARGARET \\n Who are you people? \\n Richard lets Margaret wonder. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n The ship docks and we get our first glimpse of the Paxton Estate. \\n It sits above the rest of the wooded island and is as tasteful as \\n a 15 bedroom Alaskan mansion can be. \\n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \\n \\n \\n\",\n \" EXT. PAXTON ESTATE - DAY \\n \\n Richard and Margaret walk towards the house, which looms above \\n them as they prepare to deliver the news that they aren't getting \\n married. The front door opens, and Geoffrey comes outside in a \\n hurry. He's clearly been waiting. \\n \\n GEOFFREY \\n Come with me. \\n \\n RICHARD \\n Where's mom, dad? We all need to talk. \\n\",\n \" Margaret and Richard storm out of the squash court. \\n \\n EXT. PAXTON ESTATE - DAY - CONTINUOUS \\n \\n The couple walks briskly to the house. \\n \\n RICHARD \\n What was I thinking? They act like they're \\n nice, but really, they're evil. \\n \\n MARGARET \\n He's only doing it because he loves you. \\n \\n RICHARD\",\n \" You're a very beautiful woman. \\n Margaret smiles with her head turned away from Richard. \\n \\n MARGARET \\n Get some sleep Richard, big day tomorrow. \\n \\n INT. PAXTON ESTATE - OFFICE - DAY \\n \\n Not a creature is stirring, except for Geoffrey who creeps into \\n his office. He shuts the door softly and goes to his gigantic \\n oak desk. He finds a phone number with a New York City area code\",\n \" It's our friend, Frank. \\n Richard's tone let's Margaret know there's a problem. \\n \\n MARGARET \\n Excuse me, I'll just be a second. \\n Margaret takes the phone and exits out French glass doors that \\n lead to the backyard. She leaves the door open, and doesn't \\n notice Balzac follow her outside. \\n \\n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \\n\",\n \" INT. PAXTON ESTATE UPSTAIRS - DAY \\n \\n Debbie opens a door for Richard and Margaret. \\n \\n DEBBIE \\n You'll be sleeping here. \\n \\n INT. MARGARET'S ROOM - DAY - CONTINUOUS \\n \\n The room is beautiful, right out of Architectural Digest. \\n \\n DEBBIE \\n Bathroom is there, all the towels are in the\",\n \" Debbie and Richard turn around and look out a picture window. \\n They see Margaret running with Balzac above her head. \\n \\n DEBBIE \\n Oh that's sweet, she's playing with my \\n Balzac. \\n \\n EXT. PAXTON BACKYARD - DAY \\n \\n The eagle is long gone, but Margaret is still running with the \\n dog trying to bait it back. \\n \\n MARGARET\",\n \" crazy. \\n \\n RICHARD \\n (could care less) \\n Whatever. \\n Margaret isn't accustomed to Richard talking to her this way, but \\n doesn't push it. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 79. \\n \\n EXT. PAXTON TRAIL - DAY \\n \\n Margaret runs at a fast pace deep in the woods. She's running\",\n \" GRANDMA ANNIE (cont'd) \\n We can fix this no problem. \\n Margaret smiles, but knows that Annie couldn't be more wrong. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 86. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard helps WORKERS build a stage for the band. He's still in \\n a foul mood when Margaret interrupts in a panic. \\n\",\n \" Yeah. You'd think you could make it to the \\n airport to mark the occasion. \\n Grandma Annie interrupts. \\n \\n GRANDMA ANNIE \\n Help him with the bags Geoffrey. \\n (to Richard and Margaret) \\n Let's get you two settled. \\n As Richard and Margaret move towards the house, Annie shoots \\n Geoffrey a look that says \\\"be nice\\\". \\n \\n INT. PAXTON ESTATE - DAY \\n\",\n \" INT. PAXTON MASTER BEDROOM - DAY \\n \\n Debbie and Annie wait outside a bathroom door in a massive master \\n bedroom. They talk to Margaret through the door. \\n \\n DEBBIE \\n I am so excited. Aren't you excited? \\n \\n GRANDMA ANNIE \\n This was my dress from 1929. My mother made \\n it by hand. Amazing how things come back \\n into style. How does it fit?\",\n \" INT. PAXTON ESTATE - DAY \\n \\n Downstairs, the engagement party is in full swing. The starched \\n wait staff stands out in the crowd, because the raucous party- \\n goers are all dressed in flannel, T-shirts and baseball hats. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 36. \\n Ponytails rule for the women, and almost all the men have shaggy\",\n \" GEOFFREY \\n Not now. C'mon. \\n Richard and Margaret look at each other, not sure what to do. \\n Geoffrey storms off and they follow. \\n \\n EXT. PAXTON GUESTHOUSE - DAY \\n \\n Richard, Margaret and Geoffrey arrive at the door to the \\n guesthouse. Geoffrey stops before they go in. \\n \\n GEOFFREY \\n (to Richard) \\n I haven't told your mother about any of\",\n \" MARGARET (cont'd) \\n Goodbye, Richard. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Margaret walks down to the dock carrying her suitcase. She can \\n hear that the party is in full swing and smiles. \\n \\n EXT. BOAT - DAY \\n \\n Gilbertson drives his little speedboat and Margaret holds her \\n suitcase tight. It's choppy, and the outboard motor is loud.\",\n \" she's gone, they turn their death stare back to Geoffrey. He \\n looks genuinely unnerved. \\n \\n GEOFFREY \\n Stop looking at me like that! \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard continues to listen to his iPod, and has worked up quite \\n a sweat. He's stacks the last log, takes off his soaked through \\n shirt, and gets a whiff of himself. Ew. He stinks. \\n\",\n \" Margaret angrily takes a bite of a cinnamon roll and slams it \\n down on the plate. She goes to her suitcase and looks for \\n clothes. A beat passes, and she comes back to the rolls. \\n MARGARET (cont'd) \\n These are really good. \\n She takes a cinnamon roll and leaves. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret board the yacht. They wear athletic clothes\",\n \" INT. MARGARET'S ROOM - DAY \\n \\n Margaret walks into the private bathroom attached to her room and \\n shuts the door. We hear her turn on the shower. \\n \\n INT. PAXTON ESTATE FAMILY ROOM - DAY \\n \\n Geoffrey defends himself to Debbie and Annie with great \\n conviction. Richard walks right by the fighting trio, but \\n doesn't notice anyone. He continues to listen to his iPod and\"\n ],\n [\n \" INT. PAXTON ESTATE \\n \\n Inside, the elegant party carries on. \\n \\n DEBBIE \\n Where's Margaret? We need to go. \\n \\n RICHARD \\n Go where? \\n \\n DEBBIE \\n It's a surprise. Girls are going into town. \\n And the boys stay here. I told you, we've \\n planned everything. \\n \\n RICHARD \\n Um. She's outside.\",\n \" (SUSPICIOUS) \\n Ex-girlfriend, huh? \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 24. \\n \\n HANDSOME MAN \\n (smiling, embarrassed) \\n OK, you got me. I'm a closet romantic. But \\n let's keep that between us. \\n Margaret smiles and makes the \\\"my lips are sealed\\\" motion. Just\",\n \" hits a button to stop the treadmill... \\n \\n INT. WOMAN'S APARTMENT - EARLY MORNING \\n \\n A hand knocks an alarm clock off a table to shut it up. RICHARD \\n PAXTON (26) wakes up on pink sheets and looks around to figure \\n out where he is. There are multiple framed pictures of the same \\n model on the walls. \\n Richard looks at the clock and gets up quickly when he sees it is\",\n \" Yeah. See you at the wedding. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret unload champagne. Richard is still thinking \\n about Gertrude and wanting to be alone. \\n \\n MARGARET \\n So, what did you and Gertrude talk about? \\n Richard lies. \\n \\n RICHARD \\n Nothing. About her school. The kids and \\n stuff. Apparently my second grade teacher\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" MARGARET (cont'd) \\n We are awful people. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n THWACK! An axe slams down and splits a log in two. Hands \\n quickly place another log down and THWACK! We pull back to find \\n Richard playing the role of executioner. He's still mad after \\n talking to his dad, and is taking it out on the firewood. Rage\",\n \" crazy. \\n \\n RICHARD \\n (could care less) \\n Whatever. \\n Margaret isn't accustomed to Richard talking to her this way, but \\n doesn't push it. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 79. \\n \\n EXT. PAXTON TRAIL - DAY \\n \\n Margaret runs at a fast pace deep in the woods. She's running\",\n \" she's gone, they turn their death stare back to Geoffrey. He \\n looks genuinely unnerved. \\n \\n GEOFFREY \\n Stop looking at me like that! \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard continues to listen to his iPod, and has worked up quite \\n a sweat. He's stacks the last log, takes off his soaked through \\n shirt, and gets a whiff of himself. Ew. He stinks. \\n\",\n \" It's our friend, Frank. \\n Richard's tone let's Margaret know there's a problem. \\n \\n MARGARET \\n Excuse me, I'll just be a second. \\n Margaret takes the phone and exits out French glass doors that \\n lead to the backyard. She leaves the door open, and doesn't \\n notice Balzac follow her outside. \\n \\n EXT. PAXTON BACKYARD - DAY - CONTINUOUS \\n\",\n \" You're a very beautiful woman. \\n Margaret smiles with her head turned away from Richard. \\n \\n MARGARET \\n Get some sleep Richard, big day tomorrow. \\n \\n INT. PAXTON ESTATE - OFFICE - DAY \\n \\n Not a creature is stirring, except for Geoffrey who creeps into \\n his office. He shuts the door softly and goes to his gigantic \\n oak desk. He finds a phone number with a New York City area code\",\n \" Margaret and Richard storm out of the squash court. \\n \\n EXT. PAXTON ESTATE - DAY - CONTINUOUS \\n \\n The couple walks briskly to the house. \\n \\n RICHARD \\n What was I thinking? They act like they're \\n nice, but really, they're evil. \\n \\n MARGARET \\n He's only doing it because he loves you. \\n \\n RICHARD\",\n \" Margaret angrily takes a bite of a cinnamon roll and slams it \\n down on the plate. She goes to her suitcase and looks for \\n clothes. A beat passes, and she comes back to the rolls. \\n MARGARET (cont'd) \\n These are really good. \\n She takes a cinnamon roll and leaves. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret board the yacht. They wear athletic clothes\",\n \" MARGARET (cont'd) \\n Goodbye, Richard. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Margaret walks down to the dock carrying her suitcase. She can \\n hear that the party is in full swing and smiles. \\n \\n EXT. BOAT - DAY \\n \\n Gilbertson drives his little speedboat and Margaret holds her \\n suitcase tight. It's choppy, and the outboard motor is loud.\",\n \" There's someone on the radio for you. \\n The flight attendant points to the Flight Attendant CB located at \\n the front of the plane, outside the cockpit. \\n FLIGHT ATTENDANT (cont'd) \\n Uh, a Richard Paxton? \\n Margaret shakes her head and re-buckles her seat belt. \\n \\n MARGARET \\n Tell him I'm not here. \\n \\n CUT TO: \\n \\n INT. TOWER - DAY \\n\",\n \" MARGARET \\n Why's Ramone letting you steal his stuff? \\n \\n RICHARD \\n It's our stuff. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 69. \\n Richard points to the \\\"Paxton General Store\\\" sign. \\n \\n MARGARET \\n That must have been handy in High School. \\n \\n RICHARD \\n You have no idea. \\n\",\n \" INT. PAXTON ESTATE - DAY \\n \\n Downstairs, the engagement party is in full swing. The starched \\n wait staff stands out in the crowd, because the raucous party- \\n goers are all dressed in flannel, T-shirts and baseball hats. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 36. \\n Ponytails rule for the women, and almost all the men have shaggy\",\n \" on a piece of paper. He dials. \\n \\n GEOFFREY \\n Yes. Mr. Gilbertson? My name is Geoffrey \\n Paxton... \\n Only the animal trophies that adorn Geoffrey's office hear the \\n rest of the conversation. \\n \\n INT. MARGARET'S ROOM - DAY \\n \\n Margaret wakes up. She looks over to Richard asleep on the floor\",\n \" EXT. PAXTON ESTATE - DAY \\n \\n Richard and Margaret walk towards the house, which looms above \\n them as they prepare to deliver the news that they aren't getting \\n married. The front door opens, and Geoffrey comes outside in a \\n hurry. He's clearly been waiting. \\n \\n GEOFFREY \\n Come with me. \\n \\n RICHARD \\n Where's mom, dad? We all need to talk. \\n\",\n \" flight before sitting nearby. \\n \\n HANDSOME MAN \\n (re: Gilbertson) \\n Is this another gay assistant? \\n Margaret doesn't say anything and takes her seat. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n TWO COAST GUARDSMAN carry Annie on a gurney to their waiting \\n helicopter. Geoffrey, Richard, and Debbie follow behind. They \\n all pile into a large chopper and fly off. \\n\",\n \" Debbie and Richard turn around and look out a picture window. \\n They see Margaret running with Balzac above her head. \\n \\n DEBBIE \\n Oh that's sweet, she's playing with my \\n Balzac. \\n \\n EXT. PAXTON BACKYARD - DAY \\n \\n The eagle is long gone, but Margaret is still running with the \\n dog trying to bait it back. \\n \\n MARGARET\"\n ],\n [\n \" Yeah. See you at the wedding. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret unload champagne. Richard is still thinking \\n about Gertrude and wanting to be alone. \\n \\n MARGARET \\n So, what did you and Gertrude talk about? \\n Richard lies. \\n \\n RICHARD \\n Nothing. About her school. The kids and \\n stuff. Apparently my second grade teacher\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" It was getting too messy. We weren't going \\n to be able to keep it up. \\n \\n RICHARD \\n Don't start lying to me now. \\n Margaret stops for a moment. \\n \\n MARGARET \\n I heard you and Gertrude at the school. I \\n think she meant what she said. She's a \\n great girl, you should stay. It's the right \\n thing. You're perfect for each other. \\n\",\n \" RICHARD (cont'd) \\n (noticing her change in mood) \\n Uh, is something wrong? \\n \\n GERTRUDE \\n No. Nothing's wrong. \\n \\n RICHARD \\n It's been awhile, but I can still tell when \\n something's wrong with you. \\n Gertrude doesn't want to say anything. \\n RICHARD (cont'd)\",\n \" married. I want to know these things. \\n Gertrude looks down a little embarrassed. \\n \\n GERTRUDE \\n He proposed to me. When we were seniors. \\n Margaret laughs. \\n \\n MARGARET \\n I'm sorry. I didn't mean to... He proposed \\n to you in high school? \\n \\n GERTRUDE \\n He bought this sweet little ring, and got \\n down on his knee. It was so cute.\",\n \" forgotten about Margaret completely. \\n \\n GERTRUDE \\n No. I live here now. \\n \\n RICHARD \\n You what? \\n \\n GERTRUDE \\n I moved back about six months ago. I'm \\n teaching second grade. At Baranof. \\n \\n RICHARD \\n Did your husband move up here too? \\n \\n GERTRUDE \\n Uh, no. I, ah, got divorced.\",\n \" Richard's reaction stings, and Gertrude begins to well up. \\n Bringing this up is very hard for her. \\n \\n GERTRUDE \\n I'm not talking about dating! You should \\n move back here. We can have the life you \\n always talked about in High School. I'm \\n ready for that now. \\n \\n RICHARD \\n Why are you doing this? \\n \\n GERTRUDE\",\n \" Gilbertson smiles. \\n \\n MR. GILBERTSON \\n Now was that so hard? \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard sits by himself and finishes a beer by the shore. \\n Gertrude walks up to him, looking fabulous, with two more beers. \\n \\n GERTRUDE \\n So here's the deal. I'm going to have a \\n million questions for you tomorrow...\",\n \" Who knows you're getting married? \\n Margaret interrupts. \\n \\n MARGARET \\n No one. With us working together we decided \\n it would be too much of a scandal if anyone \\n knew. \\n \\n MR. GILBERTSON \\n Have you at least told your family? \\n \\n MARGARET \\n \\n (EXCITED) \\n My parents are dead! \\n \\n MR. GILBERTSON\",\n \" RICHARD \\n But then things changed. And it wasn't so \\n comfortable anymore. \\n \\n MARGARET \\n What kind of things changed? \\n \\n RICHARD \\n Stuff. \\n \\n MARGARET \\n (as if she didn't know) \\n You mean, like, Gertrude? \\n \\n RICHARD \\n Yeah... \\n Richard stops, he can tell Margaret knows something.\",\n \" 51. \\n \\n MARGARET \\n That surprises you? \\n \\n GERTRUDE \\n Did he ever tell you why we broke up? \\n \\n MARGARET \\n We don't really talk much about stuff like \\n that. \\n \\n GERTRUDE \\n Oh. Well I should shut up... \\n \\n MARGARET \\n No, no. Please. I mean, we are getting\",\n \" MARGARET \\n You must have... \\n \\n GERTRUDE \\n ... freaked out? Oh you bet. I broke up \\n with him on the spot. \\n \\n MARGARET \\n I would hope so. \\n \\n GERTRUDE \\n After getting rejected the first time, I \\n can't imagine how hard it was for him to get \\n up the courage to ask you. \\n Margaret just smiles, feeling guilty about lying when Gertrude is\",\n \" But as crazy as this seems. I know now... \\n that we're just not meant to be. \\n Gertrude pulls back like she's been punched. \\n RICHARD (cont'd) \\n Thing is... when I said goodbye to Margaret? \\n I felt sick. For the three years we worked \\n together, I wanted to be as far away from \\n her as possible. But now that she's gone?\",\n \" Yeah. We'll see what he says. \\n \\n RICHARD \\n Great. Great. \\n \\n MARGARET \\n You ready to get back to the house? \\n \\n RICHARD \\n Uh. Yeah. Uh-huh. \\n \\n MARGARET \\n Well let's go. See you at the wedding, \\n Gertrude. \\n Gertrude just smiles. \\n \\n GERTRUDE\",\n \" story like this. \\n \\n RICHARD \\n Well... \\n Richard hasn't recovered from seeing Gertrude. \\n RICHARD (cont'd) \\n Uh, uh, um, I... \\n \\n GEOFFREY \\n Yeah. How did you pop the question? \\n Richard is a deer in the headlights. This is getting ugly. \\n Margaret sees that Richard is going to crumble, and steps in. \\n \\n MARGARET\",\n \" GERTRUDE \\n Yes. \\n \\n RICHARD \\n Oh, thank God. I thought this was like, \\n something big. \\n \\n GERTRUDE \\n This is something big. \\n \\n RICHARD \\n I coulda used this about five years ago, but \\n I'm all good now, promise. Thank you for \\n saying that, though. \\n Gertrude sees that Richard isn't getting her point. She pulls\",\n \" Richard gives her a polite smile. He's not really in the mood to \\n joke. Gertrude notices. \\n GERTRUDE (cont'd) \\n So no jokes yet? Too soon? \\n \\n RICHARD \\n I'm sorry. I'm just a little... confused. \\n \\n GERTRUDE \\n That kiss didn't seem \\\"confused.\\\" \\n Richard takes a beat to collect himself. \\n \\n RICHARD\",\n \" Are you OK? \\n \\n GERTRUDE \\n I'm fine. Really. Go. \\n Gertrude nods her approval and Richard runs off to the party. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 104. \\n \\n EXT. PAXTON ESTATE - PARTY - DAY \\n \\n Debbie, Geoffrey and Annie sit at a table next to the bar,\",\n \" Oh, and I'm not going to be able to publish \\n your book after all. \\n \\n MR. GILBERTSON \\n So you are getting married this weekend? \\n \\n MARGARET \\n \\n (SMILING) \\n Absolutely not. But who knows? \\n (looking at Richard) \\n We might by the time you get out of jail. \\n Gilbertson makes a \\\"go to hell\\\" face and shuffles off.\",\n \" being so honest with her. \\n GERTRUDE (cont'd) \\n Anyway. The idea that my little old man \\n could be a player... It's just not the \\n Richard I knew. Good thing you're making an \\n honest man of him again. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 52. \\n Gertrude toasts Margaret and knocks back the rest of her beer in\"\n ],\n [\n \" MARGARET \\n To have a family! I forgot what it was like \\n to have a family. I've been on my own since \\n I was thirteen, and I'd forgot what it was \\n like to have people that love you, and make \\n you breakfast, and give you necklaces... \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 89. \\n Suddenly, Margaret has a hard time speaking and is short of\",\n \" Geoffrey could let it go, but wants to push her. \\n \\n GEOFFREY \\n No. How many years is that? Exactly. \\n Margaret gives Geoffrey the slightest look. \\n \\n MARGARET \\n Well, let me see. That would be sixteen or \\n seventeen years. Exactly. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 37. \\n \\n GEOFFREY\",\n \" forgotten about Margaret completely. \\n \\n GERTRUDE \\n No. I live here now. \\n \\n RICHARD \\n You what? \\n \\n GERTRUDE \\n I moved back about six months ago. I'm \\n teaching second grade. At Baranof. \\n \\n RICHARD \\n Did your husband move up here too? \\n \\n GERTRUDE \\n Uh, no. I, ah, got divorced.\",\n \" MARGARET \\n Who are you people? \\n Richard lets Margaret wonder. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n The ship docks and we get our first glimpse of the Paxton Estate. \\n It sits above the rest of the wooded island and is as tasteful as \\n a 15 bedroom Alaskan mansion can be. \\n Richard's father, GEOFFREY (60) waits on the dock. He is a bear \\n \\n \\n\",\n \" RICHARD \\n But then things changed. And it wasn't so \\n comfortable anymore. \\n \\n MARGARET \\n What kind of things changed? \\n \\n RICHARD \\n Stuff. \\n \\n MARGARET \\n (as if she didn't know) \\n You mean, like, Gertrude? \\n \\n RICHARD \\n Yeah... \\n Richard stops, he can tell Margaret knows something.\",\n \" Who knows you're getting married? \\n Margaret interrupts. \\n \\n MARGARET \\n No one. With us working together we decided \\n it would be too much of a scandal if anyone \\n knew. \\n \\n MR. GILBERTSON \\n Have you at least told your family? \\n \\n MARGARET \\n \\n (EXCITED) \\n My parents are dead! \\n \\n MR. GILBERTSON\",\n \" 68. \\n \\n MARGARET \\n \\n (EMBARRASSED) \\n Hey. \\n They walk a few steps, and before Margaret can say a word. \\n MARGARET (cont'd) \\n You know him? \\n \\n RICHARD \\n He was my shop teacher. \\n \\n MARGARET \\n Of course he was. How many people are on \\n this island?\",\n \" he's done, and leaves Margaret. She's peeved. \\n RICHARD (cont'd) \\n \\n (FLUSTERED) \\n What are you? What are you doing here? \\n \\n GERTRUDE \\n Your dad made me come. \\n \\n RICHARD \\n From Chicago? \\n Gertrude laughs. The group watches these two see each for the \\n first time in years. There is instant chemistry, and Richard has\",\n \" RICHARD (cont'd) \\n Oh my god. She told you didn't she? \\n \\n MARGARET \\n \\n (INNOCENT) \\n Told me what? \\n Richard is embarrassed. He turns away. \\n \\n RICHARD \\n About the... you know. \\n \\n MARGARET \\n The creepy teenage proposal? \\n \\n RICHARD \\n Ah, shit! \\n \\n MARGARET\",\n \" MARGARET \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 50. \\n \\n GERTRUDE \\n I actually missed it when I was in the \\n states. \\n \\n MARGARET \\n Chicago, right? \\n \\n GERTRUDE \\n Yeah. Since college. \\n \\n MARGARET \\n And now you're back? \\n \\n GERTRUDE\",\n \" It was getting too messy. We weren't going \\n to be able to keep it up. \\n \\n RICHARD \\n Don't start lying to me now. \\n Margaret stops for a moment. \\n \\n MARGARET \\n I heard you and Gertrude at the school. I \\n think she meant what she said. She's a \\n great girl, you should stay. It's the right \\n thing. You're perfect for each other. \\n\",\n \" Just that you were coming up here this \\n weekend. That we hadn't seen you in a \\n while, and that we'd heard about Margaret \\n for years, but that we'd never met her. \\n Debbie turns to Margaret and takes both of her hands. \\n DEBBIE (CONT'D (cont'd) \\n The way that Richard talked about you? I'll \\n admit, I didn't see this coming. \\n \\n MARGARET \\n Me neither.\",\n \" Well. That's it. Once she gets back to New \\n York, it'll be like this never happened. \\n Richard looks defeated. Geoffrey sees how sad his son is, and \\n takes a deep breath. \\n \\n GEOFFREY \\n So, you know I think you shouldn't be with \\n Margaret, right? \\n \\n RICHARD \\n You've made that crystal clear. \\n \\n GEOFFREY \\n Good.\",\n \" The two have to yell to talk. \\n \\n MR. GILBERTSON \\n I want you to say the words. \\n \\n MARGARET \\n I'm not doing great in the dignity \\n department, can we not do this right now? \\n \\n MR. GILBERTSON \\n Say it. \\n Margaret closes her eyes. Hating that it's come to this. \\n \\n MARGARET \\n I'll publish your book.\",\n \" MARGARET (cont'd) \\n Goodbye, Richard. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Margaret walks down to the dock carrying her suitcase. She can \\n hear that the party is in full swing and smiles. \\n \\n EXT. BOAT - DAY \\n \\n Gilbertson drives his little speedboat and Margaret holds her \\n suitcase tight. It's choppy, and the outboard motor is loud.\",\n \" back up the aisle with all eyes on her. She stops when she gets \\n to Gertrude and leans down. \\n \\n MARGARET \\n Take care of him. \\n \\n GERTRUDE \\n Promise. \\n Margaret walks back into the house. Alone. \\n \\n INT. MARGARET'S ROOM - DAY \\n \\n Margaret's wedding dress is laid out on the bed. Her bag is\",\n \" RICHARD \\n Um. Shouldn't we talk about what we're \\n going to say to my parents? \\n Margaret doesn't look up, annoyed with the question. \\n \\n MARGARET \\n Are you done with the press release? \\n \\n RICHARD \\n Almost. \\n \\n MARGARET \\n \\n (PATRONIZING) \\n Well let's finish big people business before\",\n \" never thought I'd end up divorced and back \\n here teaching at my old elementary school. \\n That was always Richard's plan. \\n \\n MARGARET \\n For you to get divorced? \\n \\n GERTRUDE \\n (smiles, remembering) \\n No. I was going to teach, he was going to \\n run his dad's business. He was like a \\n little old man. Had it all worked out. \\n \\n MARGARET\",\n \" Margaret turns back to Richard. All smiles. \\n MARGARET (cont'd) \\n I've got some explaining to do. \\n Margaret and Richard walk down the steps and stand in front of \\n Richard's family. \\n MARGARET (cont'd) \\n (to Debbie) \\n Hi. I'm Margaret. I've known your son for \\n years, but we've just recently begun to see \\n each other romantically. \\n (to Geoffrey)\",\n \" So when I tell my folks that I want to spend \\n my life finding books? My dad goes ape \\n shit. \\\"How dare you forsake your family... \\n you'll come crawling back to us... you're \\n nothing without our help.\\\" I left that \\n night and we didn't talk for a year. \\n Haven't been back here since. \\n \\n MARGARET \\n So we're \\\"getting married\\\" so you can give\"\n ],\n [\n \" MARGARET \\n You must have... \\n \\n GERTRUDE \\n ... freaked out? Oh you bet. I broke up \\n with him on the spot. \\n \\n MARGARET \\n I would hope so. \\n \\n GERTRUDE \\n After getting rejected the first time, I \\n can't imagine how hard it was for him to get \\n up the courage to ask you. \\n Margaret just smiles, feeling guilty about lying when Gertrude is\",\n \" Did you fake a heart attack? \\n \\n ANNIE \\n We didn't have time for your squabbling, and \\n I knew a helicopter would be the quickest \\n way to the airport. It seemed like the best \\n way. \\n \\n RICHARD \\n The best way? \\n \\n ANNIE \\n And remember, you two promised me that \\n you're going get along. I wasn't kidding \\n about that. \\n\",\n \" Didn't tell you what? \\n \\n ANNIE \\n We're not saying anything until you let us \\n meet Margaret. Now, where's our girl? \\n Richard looks around. Margaret keeps her head down and tries to \\n avoid eye contact. \\n \\n RICHARD \\n Uh. Margaret? You need to come over here. \\n Like now. Honey. \\n The Handsome Man sees Richard with the banner people, calling for\",\n \" GRANDMA ANNIE (89) also waits. She's lived a long time and \\n doesn't have a lot of time to screw around. \\n When they see Richard, they SCREAM. Margaret's face drops. \\n \\n ALL \\n There he is!!! Where's Margaret? \\n Richard blanches white. Margaret looks back with eyes that say \\n \\\"What the hell is going on?\\\" \\n \\n \\n \\n \\n \\n \\n \\n \\n\",\n \" You're right. \\n Debbie collects herself, then starts crying again. \\n \\n GRANDMA ANNIE \\n You go work downstairs, I'll finish this. \\n Debbie tries to calm down, but can't. \\n GRANDMA ANNIE (cont'd) \\n Go! \\n Debbie nods in agreement. Smiling from ear to ear, she leaves in \\n tears. Margaret and Annie watch her go. \\n GRANDMA ANNIE (cont'd)\",\n \" And? \\n \\n RICHARD \\n Well. It seemed like you were having... \\n second thoughts. \\n \\n MARGARET \\n Yeah. I was. \\n \\n RICHARD \\n Maybe we should do it. Come clean. \\n \\n MARGARET \\n Put me down. \\n Richard puts Margaret down near the boat. She tries to regain \\n her composure. \\n MARGARET (cont'd)\",\n \" The women encourage Hank on as he moves Margaret's hands to his \\n wiggling ass and gives her a feel. She can't help but give and \\n embarrassed smile. Finally, the song ends and Hank goes into the \\n splits. Thrilled, the room gives him a standing ovation. \\n Margaret plays along and gives Hank a kiss on the cheek. She \\n begins to get off the stage, but Hank takes her by the hand. \\n \\n \\n \\n \\n \\n \",\n \" GRANDMA ANNIE (cont'd) \\n We can fix this no problem. \\n Margaret smiles, but knows that Annie couldn't be more wrong. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 86. \\n \\n EXT. PAXTON ESTATE - DAY \\n \\n Richard helps WORKERS build a stage for the band. He's still in \\n a foul mood when Margaret interrupts in a panic. \\n\",\n \" Then suddenly Annie takes off her mask, sits up, and yells to th \\n pilot. \\n ANNIE (cont'd) \\n (as if nothing happened) \\n I'm feeling much better. I don't need to go \\n to the hospital. Take us to the airport, \\n please. \\n Richard and Geoffrey are confused. Stunned even. \\n \\n GEOFFREY \\n What... what is going on? \\n (so the Coast Guard can't hear)\",\n \" 113. \\n \\n MARGARET \\n What's your point? \\n \\n RICHARD \\n Because I am sick that you left. And if you \\n feel sick too, then why shouldn't we just be \\n together? \\n Margaret goes to answer, but stops. Richard is right. She wants \\n to go back. Even the passengers on the plane can see it. \\n Gilbertson panics. \\n \\n MR. GILBERTSON\",\n \" ANNIE \\n Why is Richard chopping wood? \\n \\n DEBBIE \\n And don't play dumb. What did you do? \\n Geoffrey is uncomfortable answering in front of Margaret. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 53. \\n \\n GEOFFREY \\n Nothing. I didn't do anything... will you \\n please move. \\n The showdown intensifies. Margaret excuses herself. \\n\",\n \" (STALLING) \\n Uh, sure. Just a second. \\n Margaret can't yell at Richard, so she throws a model wooden \\n sailboat to wake him up. She hits him in the head. \\n \\n RICHARD \\n What the... \\n \\n MARGARET \\n \\n (MOUTHING) \\n Your mother. \\n Richard jumps up and replaces cushions and hides signs of his\",\n \" MARGARET \\n I am so tired. \\n Balzac GROWLS when he hears Margaret's voice. He's still mad. \\n Margaret just smiles. \\n MARGARET (cont'd) \\n Think I'm going to take a shower and clean \\n off Ramone's bubble gum body oil. Thanks for \\n a great night. \\n Annie and Debbie smile graciously and wish her good night. Once\",\n \" Had to get rid of her before I gave you \\n this. Don't think she woulda recovered. \\n Grandma Annie comes from behind and puts her arms around \\n Margaret's neck. When she is done, a stunning blue necklace lays \\n on Margaret's neck. \\n GRANDMA ANNIE (cont'd) \\n You needed something blue. It's silly, but \\n I didn't want to take any chances. \\n \\n MARGARET\",\n \" MARGARET \\n You wanna be an editor? You need to make \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 21. \\n \\n RICHARD \\n OK. Fine. Then if we \\\"make this happen\\\"? \\n You're promoting me to editor. \\n \\n MARGARET \\n I'm doing what? \\n \\n RICHARD \\n We go to Alaska and lie to my family? I\",\n \" story like this. \\n \\n RICHARD \\n Well... \\n Richard hasn't recovered from seeing Gertrude. \\n RICHARD (cont'd) \\n Uh, uh, um, I... \\n \\n GEOFFREY \\n Yeah. How did you pop the question? \\n Richard is a deer in the headlights. This is getting ugly. \\n Margaret sees that Richard is going to crumble, and steps in. \\n \\n MARGARET\",\n \" It was getting too messy. We weren't going \\n to be able to keep it up. \\n \\n RICHARD \\n Don't start lying to me now. \\n Margaret stops for a moment. \\n \\n MARGARET \\n I heard you and Gertrude at the school. I \\n think she meant what she said. She's a \\n great girl, you should stay. It's the right \\n thing. You're perfect for each other. \\n\",\n \" Yeah. See you at the wedding. \\n \\n EXT. PAXTON DOCK - DAY \\n \\n Richard and Margaret unload champagne. Richard is still thinking \\n about Gertrude and wanting to be alone. \\n \\n MARGARET \\n So, what did you and Gertrude talk about? \\n Richard lies. \\n \\n RICHARD \\n Nothing. About her school. The kids and \\n stuff. Apparently my second grade teacher\",\n \" MARGARET (cont'd) \\n I was going to get kicked out of the country \\n -- so I told Richard that I would destroy \\n his career if he didn't marry me. \\n \\n RICHARD \\n Now wait... \\n \\n MARGARET \\n Richard. Please. Let me finish. \\n (to the Paxton family) \\n Richard wanted to stop this when we got off \\n the plane, but I wouldn't let him. Don't\",\n \" MARGARET \\n Yeah, it's a little snug. \\n \\n DEBBIE \\n Come over here. \\n Debbie leads Margaret to a mirror. Grandma Annie follows. \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 84. \\n \\n MARGARET \\n \\n (ADMITTING) \\n It's a lovely dress. \\n Debbie looks at Margaret, and spontaneously begins crying. \\n\"\n ],\n [\n \" Richard hangs up the phone. \\n RICHARD (cont'd) \\n Sorry about that. Damage control. \\n \\n MARGARET \\n She tell you to quit? \\n \\n RICHARD \\n No. No. \\n (off Margaret's look) \\n Um. Yes? But as I've explained to them, \\n after three years together, you're the only \\n person on the planet who can make me editor,\",\n \" Margaret and Richard enter Bob's office, which is decorated with \\n beautiful antiques and first edition books. But unlike \\n Margaret's office, this one isn't in the corner. \\n Margaret nods at Richard to shut the door. BOB (42) wears a prim \\n bow tie, circular tortoise shell glasses, and the air of \\n superiority. \\n \\n MARGARET \\n Hey, Bob. \\n \\n BOB\",\n \" MAN who is READING A BOOK. She notices the title and he catches \\n her stare. Margaret explains. \\n \\n MARGARET \\n I'm sorry, I hate it when people stare at \\n what I'm reading. It's just... I worked on \\n that book. \\n \\n HANDSOME MAN \\n You wrote it? \\n \\n MARGARET \\n Edited it. It was one of my favorites. \\n\",\n \" MARGARET \\n To have a family! I forgot what it was like \\n to have a family. I've been on my own since \\n I was thirteen, and I'd forgot what it was \\n like to have people that love you, and make \\n you breakfast, and give you necklaces... \\n \\n \\n \\n \\n \\n \\n \\n \\n \\n 89. \\n Suddenly, Margaret has a hard time speaking and is short of\",\n \" MARGARET \\n I asked you repeatedly to get Frank to do \\n publicity. You said it was impossible. \\n \\n BOB \\n It is. He doesn't do publicity. \\n \\n MARGARET \\n I just talked to him. He's in. \\n \\n BOB \\n But... \\n \\n MARGARET \\n No more buts, Bob. I've been chief for a\",\n \" RICHARD \\n Have you ever thought there might be a \\n reason we've been together for the last \\n three years? \\n \\n MARGARET \\n As boss and assistant. \\n \\n RICHARD \\n Things change, Margaret. \\n \\n MARGARET \\n \\n (INCREDULOUS) \\n Things change? \\n \\n RICHARD \\n Yeah, things change. \\n \\n MARGARET\",\n \" MARGARET (cont'd) \\n I fired Bob because he didn't have your best \\n interest in mind. Our job is to help you \\n succeed. He wasn't doing that. \\n Margaret continues to listen to her writer whine, when she \\n notices an EAGLE soaring in circles above her and Balzac. Not \\n sure what to think, she looks back at Balzac and sees him \\n peacefully sit in the grass.\",\n \" MARGARET \\n One more question... \\n \\n RICHARD \\n Yes, everyone at work thinks you're a \\n lesbian. \\n \\n MARGARET \\n That wasn't my question. \\n \\n RICHARD \\n I know. Just lashing out. \\n Margaret smiles. \\n \\n MARGARET \\n Can we stop gutting fish? I need my phone. \\n\",\n \" \\n \\n \\n \\n \\n \\n \\n \\n 7. \\n Margaret starts walking. Richard quickly catches up, worried \\n because he doesn't know where she's going with this. \\n \\n MARGARET \\n I'm firing on all cylinders and you've got \\n hearts on your coffee cup, wicked bed head, \\n and a wrinkled suit that you wore yesterday. \\n \\n RICHARD\",\n \" pulls out a SPRAY BOTTLE out of the same drawer, sprays it all \\n over his body, and then on his head to help mat down a tricky \\n cowlick. Satisfied, he hurries into a nearby corner office. \\n \\n INT. SKYSCRAPER LOBBY - MORNING \\n \\n Margaret walks into the lobby and continues talking. Employees \\n avoid her and pile into the elevator. \\n \\n \\n \\n \\n \\n \\n\",\n \" RICHARD \\n What? \\n Richard doesn't know what Margaret is talking about, until she \\n nods at the cup. He's embarrassed. \\n \\n MARGARET \\n Are you bored here? Do you need little \\n distractions like that to get you through \\n the day? \\n \\n RICHARD \\n Uh... \\n \\n MARGARET \\n You have another late night out? \\n \\n RICHARD \\n\",\n \" back up the aisle with all eyes on her. She stops when she gets \\n to Gertrude and leans down. \\n \\n MARGARET \\n Take care of him. \\n \\n GERTRUDE \\n Promise. \\n Margaret walks back into the house. Alone. \\n \\n INT. MARGARET'S ROOM - DAY \\n \\n Margaret's wedding dress is laid out on the bed. Her bag is\",\n \"